Tag: arts administration

Microgrant Recipient: Beyond Art’s Inaugural Arts Event —— Phase IV

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Phase IV © Beyond Art

Beyond Art

“Unleash Creativity. Bridge Worlds. Perform Dreams.” is the philosophy of Beyond Art. Beyond Art is co-founded by Tingwei Lin and Kira Rai Daniel. We commit that the performing arts hold boundless power and potential to not only inspire but also engage our audience, leaving an incredible experience of their lives. We aspire to empower and elevate talented artists within the field.

Phase IV

Phase IV is the first pilot performance presented by Beyond Art and is a cross-field performance combining classical music, dancing, and painting. This innovative art show breaks the misconception that music can only be played by instruments, dancing can only be performed on the stage, and painting can only be done by brushstrokes. The story behind this performance is to unleash creativity to present the best performance. Phase IV integrates four distinct elements: musicians, dancers, painting, and the audience. Each component symbolically represents a phase in the creative and experiential journey of the piece.

Artists

Violin | Vivian Stolt, Juliana Pöyry

Cello | Sam Chung

Dancer | Kira Rai Daniel, Thy-Lan Alcalay

Program

J. S. Bach: Double Violin Concerto with Cello Accompaniment

J. Sibelius: Andante Festivo

J. S. Bach Violin Partita No. 2 in D Minor: III. Sarabande, IV. Gigue

Performance Details

Time: 2:00PM | Sunday, April 21, 2024

Location: theBLANC 11th FL (15 E 40th Street, New York, NY 10016)

Duration: 60 minutes

Phase IV © Beyond Art

Production and Execution

• Conceptualization and development

Phase IV stands distinct from traditional performances, rooted in an innovative concept where art forms converge dynamically. The initial inspiration came from a painter dancing amidst swirls of black paint. Building on this artistic interplay, we anchored the project in classical music, using its rich, emotional qualities to set the foundation. Dancers, engaged in an improvised dance that was both a performance and a live act of painting.

• Artistic integration

The dancers were painted with black and blue paint, chosen intentionally to add depth and dimension to the visual spectacle. The two colors not only distinguished the dancers but also symbolized the blending of different artistic layers and energies. This choice was crucial in enhancing the visual impact and interpretative richness of the performance.

Phase IV © Beyond Art

• Technical considerations

Key technical aspects were meticulously planned to ensure a seamless fusion of music, dance, and painting. The acoustic setup was tailored to optimize the clarity and resonance of the classical compositions, while the synchronization of dance movements with musical cues was carefully choreographed to maintain a cohesive artistic expression. The choice of paint was also critical; its fluidity and color intensity were tested to ensure striking visual effects on the canvas without hindering the dancers’ movements.

• Venue and audience layout

The venue was arranged in an L-shaped seating configuration, designed to offer varied visual perspectives of the performance, thus enriching the audience’s interpretive experience. We believed that each viewpoint would offer a unique interpretation of the arts, enhancing the overall engagement of the audiences.

• Audience interaction

Post-performance, the audience was invited to interact with the art piece directly by walking around the canvas. This engagement was not merely an add-on but a core element of the performance, inviting viewers to become participants in the artistic process, exploring the work up close, and forming personal connections with the visual narrative created by the dancers.

• Final art work

Phase IV © Beyond Art

Acknowledgement

• Venue | theBLANC

We are deeply grateful to theBLANC and the Venue Director Linda Liang for their exceptional support of our Phase IV performance. The venue’s elegant ambiance enhanced both the audience’s and performers’ experience, contributing significantly to the success of our event.

We also appreciate Linda’s dedication and immediate assistance, which were crucial in ensuring the seamless execution of our performance. Their efforts have not only supported us but have also reinforced the reputation of Beyond Art.

• Microgrant | Arts Administration at Teachers College, Columbia University

We are honored to receive a Microgrant from the Arts Administration (ARAD), which provided substantial support for this event. The funding was important in bringing our vision to life. We deeply appreciate the administrative team’s dedicated efforts and assistance, which were vital in organizing and executing the performance.

• Performers

Firstly, our sincere thanks to Vivian Stolt (ARAD’24) for inviting Juliana Pöyry and Sam Chung to contribute their musical talents to our performance. Secondly, we are grateful to Thy-Lan Alcalay for her participation in this innovative project. Finally, Beyond Art deeply appreciates the dedication and cooperation of all our performers, whose rehearsals and performances were essential to the success of the event.

Phase IV © Beyond Art

Conclusion

Phase IV, Beyond Art’s first pilot project and performance, strengthens our mission to “Unleash Creativity. Bridge Worlds. Perform Dreams.” by blending classical music, dance, and painting to create transformative experiences. This performance not only reinforced our commitment to innovative artistic expression but also set a robust foundation for future projects.

We extend our heartfelt thanks to our artists, partners, and audience, whose engagement was crucial to the performance’s success and continues to inspire our future endeavors.

Alumni Spotlight: Alexandra Tweedley (ARAD ’17) on Her Leadership Journey and Innovations as Administrative Director of Dance at The Juilliard School

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We are thrilled to share the spotlight on Alexandra Tweedley ( ARAD ’17) and celebrate her recent promotion to Administrative Director of the Dance Division at The Juilliard School. In our latest interview, Alexandra shares insights into her visionary leadership and the exciting new projects on the horizon for Juilliard’s Dance Division. Let’s check out how much she has accomplished since graduating in 2017, and we’re excited to catch up with her again after our interview in 2022.

As you step into your role as Administrative Director, could you tell us about any new projects or initiatives you’re excited to bring to the Dance Division?

My role in the Dance Division as Administrative Director is to help realize the vision that our Dean & Director, Alicia Graf Mack has for division. I look forward to being a resource to her in this capacity. 

What immediate goals have you set for the Dance Division, and how do they align with Juilliard’s mission?

Under the leadership of Dean & Director Alicia Graf Mack, we aim to incorporate the values of Juilliard into everything that we do in the Dance Division. Those pillars are Equity, Diversity, Inclusion, and Belonging, Creative Enterprise, and Artistic Excellence. 

How has your experience evolved from starting as an assistant to becoming the director? How has your work changed during this journey?

I’ve worked in the Juilliard Dance Division since summer 2017, right after I graduated from ARAD. Every year at Juilliard has been different, learning new things and taking on new challenges. I started as the Administrative Assistant, then Administrative Associate, Events and Projects Coordinator, Assistant Director and now Administrative Director. We’ve had lot of change in my time here, particularly with the challenges of the pandemic, but it has been wonderful working with an amazing staff and faculty and of course our incredible students. 

In your opinion, what are the key qualities for a leader in arts administration?

Working as an Arts Administrator as well as in a higher education environment, I am lucky to see the artists of tomorrow and learn what they need to succeed in their craft. I think all leaders in arts administration should be looking to emerging artists to better understand how to shape the field of tomorrow. 

You’ve always been great at working with different departments and organizations. How do you plan to enhance these collaborations to benefit the Dance Division and its students?

Creative Enterprise is one of the pillars of Juilliard’s mission and a huge part of what we do. We are constantly looking for opportunities for our students to collaborate across divisions to enhance their education. This mission also extends to our faculty and staff, supporting these projects and working collaboratively to make them possible. We hope to continue these collaborations and seek new opportunities for our dancers to grow their artistry. 

With the increasing importance of technology in the arts, how do you envision digital innovation influencing dance education and performance at The Juilliard School?

Digital innovation already has had such an impact on our division, first out of necessity during the pandemic and has grown since then. We quickly had to pivot to virtual offerings during the pandemic, increasing our technological capabilities first to make classes possible and then with livestream capabilities in our performance spaces to reach our audiences. 

We also have increased the curricular offerings for dancers related to technology, including a course on dance composition using film as a medium and our students often explore incorporating technological elements into their independent projects. 

Finally, reflecting on your career and the evolving landscape of arts administration, what updated advice would you give to students aspiring to leadership roles in top arts institutions?

My advice would be to listen – listen to the artists, the administrators, the artistic staff, and all who make the institution run. I have found working with staff, faculty, and students is best to move forward with the knowledge of their experiences to make informed decisions and advocate for our community. If you aren’t yet in an institution where you can do a listening tour, then reach out to those who are for information interviews. Their experiences are so informative for where the field is today. You never know where that conversation may lead!

Microgrant Recipient: DigiHarmony’s Immersive Art Exhibition, Sound of the Cosmos —— A Time to Heal

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Last December, Karlie Liu (ARAD ‘24) and Elizabeth Guo (ARAD ’24) launched DigiHarmony and hosted their inaugural immersive art exhibition, Sound of the Cosmos —— A Time to Heal, with support from the ARAD 2023 Fall Microgrant Program. Read and learn more about their experience!

Sound of the Cosmos —— A Time to Heal, Dec 2023
© DigiHarmony

Artistic experiences have a profound impact on individual healing, as they often evoke a deep connection to something far greater than oneself. This sensation echoes Freud’s concept of the ‘Oceanic’ in Freudian psychology, which represents a vast unity with the universe, culture, history, or nature. Such experiences encourage participants to acknowledge this connection, releasing attachments and fostering fresh self-perspectives. Engaging with art and cultural activities becomes a vehicle for reestablishing this bond, allowing individuals to reframe their personal challenges within a wider context, offering new stress management strategies.

Furthermore, immersing in art reflects the ‘flow state,’ as proposed by positive psychologist Mihaly Csikszentmihalyi. This state of deep involvement not only brings satisfaction and enjoyment but also engenders positive emotions, infusing life with meaning, hope, and fulfillment.

Sound of the Cosmos —— A Time to Heal, Dec 2023
© DigiHarmony
Sound of the Cosmos —— A Time to Heal, Dec 2023
© DigiHarmony

DigiHarmony: Sound of the Cosmos, A Time to Heal is an experimental, in-person art encounter designed to revolutionize how audiences experience the blend of music and visual art. By fusing art performances with state-of-the-art installations and healing practices, we aim to forge profound connections, guiding attendees on a self-reconnection journey.

At the heart of our event is an art performance inspired from ritual and healing practices, crafted to provide a sanctuary for relief and tranquility. This approach integrates therapeutic aspects of the arts to create a rejuvenating, immersive experience.

DigiHarmony invites attendees to a multisensory journey beyond mere entertainment, seeking to uplift the human spirit and promote holistic well-being. We proudly present artists from various disciplines, including visual and performance arts, aiming to captivate visitors by stimulating multiple senses and elevating their engagement.

Key features of this transformative experience include:

Sound of the Cosmos —— A Time to Heal, Artist Orange Li’s Ritual Art Performance, Dec 2023
© DigiHarmony

Meditative Art Performance: Opening with Orange Li’s ritual art performance, her process draws from diverse traditions like shamanism, Daoism, and Buddhism, blending these with childhood memories to create a unique meditative and healing ritual.

Sound of the Cosmos —— A Time to Heal, Experimental Art Installation by Xingwen He, Dec 2023
© DigiHarmony

Experimental Art Installation: Designed by Xingwen He, the space features her captivating light installations, curated to enhance the performances. Our goal is to create an environment where visual aesthetics, art, and music interact to intensify audience engagement.

Sound of the Cosmos —— A Time to Heal, Jazz Performance by Zhanxu Wu & Band Members, Dec 2023
© DigiHarmony

Jazz Performance: Celebrating the rich heritage of Jazz, we intertwine music with art installations to reinvent traditional performances. Zhanxu Wu and talented band members presented original Jazz music, adding a dynamic layer to the experience.

Sound of the Cosmos —— A Time to Heal, Dec 2023
© DigiHarmony
DigiHarmony: Sound of the Cosmos —— A Time to Heal Team Members
© DigiHarmony

DigiHarmony’s overarching aim is to leverage the therapeutic potential of the arts, envisioning this immersive experience as a means for individuals to alleviate stress and find solace in a harmonious blend of sensory stimulation and artistic expression.

ARAD Student Artist Showcase From Fall 2023

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Welcome to ARAD Virtual Gallery! Celebrating our talented #ARADStudentArtists from Fall 2023, we feature diverse works including drawings, sculptures, ceramics, and printmaking. Read and learn more about their artistic journey!

Suzy Feng （ARAD ’25）— Protection and Danger

Suzy Feng (ARAD ’25), Protection and Danger, Wood, chicken wires, acrylic paints, and paper clip, 2023

Walking down the bustling streets of New York, sheds with mottled forest green paint supported by steel scaffoldings can be seen on the sidewalk. These sidewalk sheds serve as a crucial safety measure, shielding pedestrians from the potential hazards of falling debris. However, the sense of security provided by these structures often propels people to hasten their pace, seeking escape from the oppressive feeling induced by the precarious environment beneath the scaffolds.

In this urban setting, the sculpture work seeks to articulate the dichotomy between protection and danger in the cityscape. The medium employed involves wood blocks, mirroring the city streets. Utilizing plastic nets and steel wire mesh, open and closed spaces are created to convey the intricate and multifaceted nature of the street environment, particularly under varying forms of protective infrastructure.

Denzel li （ARAD ’24）— the watcher & Self-portrait

Denzel Li (ARAD ’24), The Watcher, Photo lithography, 12” x 12”, Edition of 5, 2023

Denzel Li (ARAD ’24), Self-Portrait, Plate lithography, 7.5’’ x 11”,  Oct 2023

Tingwei Lin （ARAD ’25）— Uniqueness

Tingwei Lin (ARAD ’25), Uniqueness, Wood, crystal, and acrylic paints, 2023

In a world that often celebrates conformity and uniformity, the art world emphasizes diversity. The Values of Uniqueness is a captivating and thought-provoking sculpture project that seeks to explore the intrinsic beauty and significance of individuality. Art is a powerful vehicle for connecting the audience and creators. Each crystal possesses different intriguing stories. Also, in the middle, the base, which looks like a galaxy, presents the idea that we are living in the same universe but we have unique features and characteristics deserving to be found and appreciated. Uniqueness serves as a reminder that embracing and celebrating our individuality can be a powerful force for positive change and a source of inspiration for us all. 

Chelsey guo （ARAD ’25）— untitled

Chelsey Guo (ARAD ’25), Untitled, Glazed stoneware and porcelain, 2023

Demi Zhao （ARAD ’25）— geometric amnesia

Demi Zhao (ARAD ’25), Geometric Amnesia, Wood, plaster, and acrylic paints, 2023

‘Geometric Amnesia’ is a project that delves into the tactile nature of materials and the imaginative world-building inspired by Miyazaki’s ‘Boy and Heron.’ The artwork transforms a basic wooden slat into an array of geometric shapes, creating an abstract yet meaningful visual dialogue. Central to the piece is the juxtaposition of the natural grain and texture of wood with smooth plaster and vivid acrylic paints, emphasizing the artist’s hand in transforming ordinary materials into something extraordinary. The artwork also reflects a metafictional blend of the film’s narrative depth with the artwork’s geometric forms, suggesting an intersection between the two worlds. This integration imbues the shapes with a sense of story and place, echoing the intricate cosmology and narrative landscape in Miyazaki’s film.

Xuan An （ARAD ’25）— figure drawing

Xuan An (ARAD ’25), Figure Drawing, Colored pencil on paper, 2023

XINYING WANG（ARAD ’25）— Untitled

Xinying Wang (ARAD ’25), Untitled, Resin, vase, and flowers, 2023

This artwork explores the theme of death and rebirth. It appears like a bouquet from a distance, but upon closer inspection, viewers would observe intricate details of the hand and the leaves. The composition, as well as the color of the leaves, mirrors the life cycle of plants, symbolizing the seasonal withering in winter and the rejuvenation upon the arrival of spring. Simultaneously, the gesture and the position of the hand draw parallels to the human life cycle, emphasizing the infinity of new beginnings. The deliberate choice of a tall vase as the stand adds a memorial quality to the piece. This choice suggests a sense of permanence and endurance, mirroring the enduring nature of memories that can transcend the boundaries of mortality.

Tingwei lin （ARAD ’25）— Freedom

Tingwei Lin (ARAD ’25), Freedom, Charcoal on paper, 2023

Living in a democratic country is a pleasure for me because I have the right to express what I want. However, in some parts of communities, systems, or cultures, people are not allowed to express their needs which is disappointing. As we can see in the Freedom, the man is blind and the mouth is sealed by the tape. People without freedom are just like people without lives, no communication, no interaction, no humanity. This drawing is to remind people not to be blinded by the authority, money, and power, but to be clever about what we deserve to have. 

DANIEL ZHU（ARAD ’25）— Stingray & Idol of safeking

Daniel Zhu (ARAD ’25), Stingray & Idol of Safeking, Glazed stoneware, 2023

Xuan an （ARAD ’25）— Tiered echoes of ancient peaks

Xuan An (ARAD’25), Tiered Echoes of Ancient Peaks, Wood panels, polyester fiber fill, watercolors, wood glue, and paper, 2023

‘Tiered Echoes of Ancient Peaks’ is a sculptural representation inspired by Wang Ximeng’s ‘A Thousand Li of Rivers and Mountains’, blending traditional Chinese landscape techniques with modern artistry. The sculpture features two main wooden panels as central peaks, surrounded by smaller, varied panels that create a multi-layered effect, symbolizing the depth and complexity of mountainous terrain. The use of greens and cyans against a light blue background adds dimension, while partially completed peaks invite viewers to imaginatively complete the scene. A final touch of white polyester fiber fill at the edges of the panels mimics mist and clouds, softening the sculpture’s lines and adding an ethereal quality. This artwork is a contemporary reinterpretation of classical themes, celebrating the enduring beauty of natural landscapes.

Through a variety of mediums, these students demonstrated their dedication to their craft. The showcase not only celebrated the achievements of these talented individuals but also highlighted the importance of arts administration in supporting and nurturing the arts. We look forward to witnessing more ARADers’ continued growth and success in the years to come!

Microgrant Recipient: Aidan Yu Hosts Fairytale & Poem Concert

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Last December, Aidan Yu (ARAD ‘25) hosted the Fairytale & Poem concert at Milbank Chapel, Teachers College, Columbia University, with support from the ARAD 2023 Fall Microgrant Program. Read and learn more about his experience!

Clarinetist Aidan Yu (M.A. in Arts Administration ’25, Teachers College, Columbia University) and Pianist Manqing Bian (M.A. in Music and Music Education ’25, Teachers College, Columbia University)
© Photo Credit: Chen Guo (M.A. in Arts Administration ’25, Teachers College, Columbia University)

​​By presenting a concert of newly-formed works infused with cultural elements, we provide a performance opportunity that celebrates the rising generation of musicians, evokes awareness of our dualities and differences, and embraces the harmony of our individualities. 

The Fairytale & Poem concert consists of two parts. The Fairytale represents the first half, where powerful wind from the Balkan and dramatic stories from the Middle East brought Western cultures to the elegant Milbank Chapel. The two musicians who played this part were Aleksandar and Lora. 

Pianist Aleksandar Hadžievsk (M.M. in Piano ’24, Mannes School of Music)
© Photo Credit: Chen Guo (M.A. in Arts Administration ’25, Teachers College, Columbia University)

Aleksandar Hadžievski is a Serbian pianist and composer based in New York City. He studied under Nina Svetlanova at the Manhattan School of Music and later graduated with honors from the Mannes School of Music in 2022 under Vladimir Valjarevic. He is pursuing a Master of Music degree in Piano Performance at Mannes School of Music under the tutelage of Vladimir Valjarevic.

Pianist Lora Al-Ahmad (M.M. in Piano Performance and Composition ’21, Mannes School of Music)
© Photo Credit: Chen Guo (M.A. in Arts Administration ’25, Teachers College, Columbia University)

Lora Al-Ahmad is a pianist and composer from Sofia, Bulgaria. She graduated with honors from Mannes College in New York City, earning a BM degree in Piano Performance, a Double Major Master’s degree in Piano Performance and Composition, and a Professional Studies Diploma in Composition. Her piano studies were under the guidance of Pavlina Dokovska and Vladimir Valjarevic, while she studied composition with Lowell Liebermann.

Pianist Manqing Bian (M.A. in Music and Music Education ’25, Teachers College, Columbia University) and Soprano and Dancer Runyu Feng (M.A. in Opera & Classical Vocal Performance ’24, Montclair State University)
© Photo Credit: Chen Guo (M.A. in Arts Administration ’25, Teachers College, Columbia University)

In the second half, the Poem starts a journey to the East from the “Wedding” Cantata by J.S. Bach to the “Yellow Bird” 黄鹂, composed by Zhou Tian. This part of the concert not only presented the brilliance of Eastern cultures but also showcased the eligibility of our musicians to play music in very different styles. Pianist Manqing Bian is a current Teacher’s college student for M.A. in Music Education. Her music partner, Runyu Feng, is a soprano and dancer currently based in Montclair, NJ, working on her project “Illustrating Beauty,” which combines Western and Chinese dance and music. Our performance philosophy is to spread love and compassion using our music and dance as a medium and art across time, space, and culture as our stage.

The initiation of the concert was like a big boom taking place in our minds. Astonished by the diversity of our repertories, the Fairytale & Poem team members felt it was necessary to bring our music to more people, especially to diverse communities based in New York City. As an arts administrator, it’s my duty to get my musicians a stage and more exposure and, more importantly, present the arts to the public. 

We soon decided to hold the concert at the elegant Milbank Chapel, which has a perfect acoustic design and a traditional layout for chamber music. Thanks to the Arts Administration program and the Teachers College, the Fairytale & Poem concert was honored enough to be sponsored by the ARAD Microgrant. 

Under the support of the ARAD program and other individuals/groups, the Fairytale & Poem concert was successfully held on December 7th at the Milbank Chapel. We received approximately 35 guests, including friends, students, professors, and individuals from other campuses. 

Clarinetist Aidan Yu (M.A. in Arts Administration ’25, Teachers College, Columbia University) and Pianist Manqing Bian (M.A. in Music and Music Education ’25, Teachers College, Columbia University)

We are also grateful for all the encouragement we received after the concert: our first funding from another organization, in-kind donations from students at Mannes, connections, and potential cooperation opportunities with more composers, among many other incentives.

We expect to produce the second Fairytale & Poem concert in the Fall 2024 semester and invite more performing artists with more diverse artworks. We will continue to build the stage for audiences to appreciate different kinds of arts and for performing artists to showcase their virtuosities.

Meet Demi Zhao, ARAD’s New Social Media Coordinator

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ARAD is delighted to welcome Demi Zhao as our new Social Media Coordinator. Learn more about Demi, her goals for her new role, and what she does outside of TC.

Tell us a bit about yourself. Where are you from? What was your undergraduate degree focused on?

I was born in Nantong, China. After 8th grade, when I was 14, I began my study abroad journey in Waterbury, Connecticut for high school, followed by Paris and New York for undergraduate studies at New York University. With passion and curiosity for historical narratives and hands-on creative processes, I double majored in Art History and French, with minors in Psychology, Studio Art, and Digital Art & Design.

What previous experiences have led you to your current role?

Prior to coming to TC, I held various internship positions at PR & Advertising agencies, such as Ogilvy and Hill+Knowlton, where I developed skills in digital campaign, project management, social media engagement, and creating client-facing materials. I also worked as a part-time writer at Musée Magazine, writing columns on Architecture and avant-garde photography exhibition reviews. Additionally, I served as a Gallery Assistant at Fu Qiumeng Fine Art, writing press releases and curating content for various social media platforms for both domestic and international audiences.

How have those experiences informed your current professional path?

Visual communication has played a key role in my past career path and will continue to do so in my future endeavors. Whether it’s creating written or visual content for a gallery’s online presence, targeting specific consumers in a commercial brand’s marketing campaign, or appealing to art lovers and the like with contemporary art, these elements interlace and coalesce into an interdisciplinary web of communication and knowledge. This web deeply informs my approach to shaping a unique voice that communicates ARAD’s institutional values and aims to build a close-knit community. It’s a precious time capsule where alumni, current, and prospective students resonate and build links.

What are you looking forward to in taking on this role?

As a student who has spent several months in the program and has gotten to know the current cohorts, faculty, staff, and some of the alumni, I look forward to creating a variety of digital content that celebrates students’ talents and successes, connects past, current, and prospective students, and utilizes my previous experience in digital content creation to build a lively community that everyone enjoys reading and sharing.

What do you do outside of your time at TC?

I always enjoy taking some time off to stroll through New York’s galleries, shoot film with my Contax, pat my cat when I get home, and hop on a snowboarding trip during the winter season.

Wenjie (Demi) Zhao (ARAD ’25) is currently pursuing her M.A. in Arts Administration at Teachers College, Columbia University. She graduated from New York University with double majors in Art History and French, and minors in Psychology, Studio Art, and Digital Art & Design. She has worked with various arts and cultural organizations, including FITZ & CO, Arts Admin Next, the NYU Department of Art History, Fu Qiumeng Fine Art, Musée Magazine, The Armory Show, and Art in Odd Places.

Microgrant Recipient: Yeajin Choi Attends 2023 Paris Photo Fair

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This Fall, I had the honor of receiving an ARAD microgrant for professional development. The grant helped me travel to Paris, France where I attended the 2023 Paris Photo, one of the largest art fairs in the world dedicated to the photographic medium. This year’s edition of the fair featured 154 galleries and 35 publishers, drawing in more than 65,000 visitors, marking a 7% increase compared to last year. Attending this fair was an insightful professional development opportunity that helped me hone my professional skills in networking, presenting, and understanding the role of art fairs.

Photo: Paris Photo 2023 held at the Grand Palais Ephemere

At the fair, I was able to personally meet and talk with established photographers like the American photographer Todd Hido and the Spanish duo Albarrán Cabrera. Additionally, I met international collectors, gallery curators, and publishers who were at the fair to find this year’s prized prints and publications. Amid the fervent atmosphere of the fair, we eagerly discussed the ever growing role of photo books in the international photography market and discussed the various ways in which mass-produced books may approach the tactility of a physical photo print. Such serendipitous encounters led me to reflect upon fundamental questions like “What does it mean for a photographer to be published?” and “How do we define the network dynamics  between artist, gallery, publisher, and collector?”

I also coincidently got the chance to introduce the works of Korean photographer Myung Duck Joo to a tour group of international collectors. This was a thrilling and educational endeavor that allowed me to practice public speaking skills and the different ways to present unfamiliar art to new audiences. The most rewarding part of this experience was that I was able to represent Korean photography to those more familiar with Japanese photography as the pillar of Asian photography. Myung Duck Joo, as a first-generation Korean photographer, brought a unique perspective to the world of analog photography to the peninsula, and being able to contribute to the recognition of his art felt like a significant milestone. As I presented Joo’s captivating works to international collectors, I could sense their genuine interest in discovering a fresh voice within the canon of analog photography, bridging the cultural gaps in their understanding of the history of photography.

Photo: Tour group presentation of Joo, Myung Duck’s project titled “My Motherland”

Last but not least, one of the most enlightening aspects of my visit was gaining first-hand observations of the intricate dynamics between artists, galleries, publishers, and collectors. The synergy between these key players in the art world was palpable, as artists passionately discussed their creative processes and artistic backgrounds with gallery representatives, publishers explored potential collaborations with galleries, and collectors were keenly searching for new practices and ideas in between all of these discussions. Observing these interactions shed light on my understanding of the symbiotic relationships that fuel the art ecosystem, emphasizing the importance of collaboration and mutual support. Paris Photo was not just a showcase of individual talent but a vibrant hub where artistic visions converged, fostering a collaborative spirit that transcended geographical boundaries.

Photo: Scene of the Galleries Sector of Paris Photo 2023

I hope that these collaborative settings will continue to nurture dynamic discussions that lead to impactful solutions for the various challenges facing society today. I would like to thank ARAD for granting me the ARAD Fall Microgrant to visit Paris Photo 2023 and directly witness the flow of creativity and inspiration in the art market.

Designing for the Arts and Culture: An arts administrator shares her experience on working together with technologists

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In an intense three-day series of workshops spanning one cold weekend in November, ARAD collaborated with the Communications, Media, and Learning Technologies Design (CMLTD) program on Teachers College campus to speculate and design new ideas for the arts and culture. 

This design jam is part of ARAD’s microcourse programming for professional development. It is also notably the first time ARAD professional development program is shared with the educational technology sector at Teachers College. With arts administrators as stakeholders in digital tools created by designers as technologists, the design jam served as a space for these two parties to come together to envision futures for arts spaces and design concrete visions for these futures together. ARAD Program Manager Grace J. Choi, a graduate of the CMLTD program, organized the design jam to bring in Dr. Jin Kuwata and Dr. Yoo Kyung Chang, CMLTD Lecturers, to share their expertise on the Design Thinking Process throughout the three days. 

CMLTD Lecturer Dr. Jin Kuwata works with the ArtMingle.com team in the Problem phase of design thinking.

Design Thinking plays a major role in CMLTD’s annual spring Innovation Award program, which is now supported by the Digital Futures Institute; this design jam serves as a more interdisciplinary approach to the human-centered methodology utilized across industries for problem-solving and solutioning audience needs to have more focus on ill-structured problems in the arts and culture sector. The design jam microcourse instructional roster also included long term product designer Dennis Morgan, Jr., who took charge of the second day’s workshop session to introduce and demonstrate Figma, a collaborative interface prototyping tool which was later used by participating ARAD and CMLTD students to construct wireframes and prototypes for their resulting digital interface solutions. Across the three days of design and strategy workshops, students learned to use Miro as a groupthink tool for archiving, mind-mapping and user journey creation, and communicated with each other using Slack as a social, professional, and project management tool. To empathize with and communicate more effectively the narratives deduced in their problem spaces and solutions, students also tinkered with generative AI image engines to supplement their Figma prototypes and bring their ideas to life.

The Craftrail team presents their interactive Figma prototype to the panelists.

Across the three workshop days culminating in a paneled showcase series of pitch presentations, students were guided not only in design thinking, but also in presentation and communication skills. Storytelling and building compelling narratives lay the foundation for pitching their ideas, and fluency and experimentation with the tools they used to create their prototypes and support their narratives were imperative to constructing their pitches. Each group presented their final pitch presentation in front of a panel: Dr. Davinia Gregory-Kameka, ARAD Assistant Professor, Matthew Barnett from The New-York Historical Society, and Paul Nissenbaum from The Metropolitan Museum of Art. “The students’ ideas were so creative, and I never thought to use AI-generated images to identify factors in audience engagement that may seem more flat on paper”, said Matthew Barnett at the close of the pitch presentations. “I feel like I now have to go out there and tinker with these tools, for sure,” said Paul Nissenbaum, “and the work the students showed us today really showed a future of rethinking museums, organizations, and cultural institutions that is tech-integrated, forward-thinking, and empathetic.”

Panelists Dr. Davinia Gregory-Kameka, Matthew Barnett, and Paul Nissenbaum engage students in feedback after presentations.

Student projects include: AI Museum Buddies, an augmented experience of chatting with AI renderings of artists and their personalities (Suzy Wang, Winnie Liu, Sadia Ahmed, and Sienna Lin); Chinnection, a mobile app helps Chinese teachers prepare and lead world history museum tour in the MET (Kelsey Shao, Mag Zhang, Ying Yang, and Yuhan Lu); Craftrail, a mapped global tapestry experience of learning and sharing traditional crafts around the world (Yixi Cao, Shirley Lyu, and Yiran Yuan); and ArtMingle.com, a social media platform for museum-goers to create an online community. Xuan An, ARAD ’25, shares her experience working with her CMLTD designer counterparts in the interview below.

ArtMingle.com presents their user journey, supplemented by AI generated images and powered by Figma.

What is your project about? How did you and your team members come up with this concept?

The inspiration of our project originated from: some contemporary young people who are interested in art, such as young people in the Z generation, do not want to go to art exhibitions alone due to loneliness or lack of understanding of art; but they do not know where to go. Find a companion to go with. Among this group, there are those who are experienced in art and those who are exposed to art for the first time; we want to build a website to help them find partners who want to watch exhibitions together. This concept comes from our daily life.

What was your favorite part of the design competition?

I liked the design thinking part the most. In design thinking, I learned how to define questions. The group members and I first started from the direction of art education and found problems from the phenomena around us. We found that some Gen Z don’t feel comfortable joining artistic activities alone, as they find their experience lacks self-expression and social connection. 

We then discussed what, why is happening and what can be done to address this problem. To address this problem, our team intends to redesign their experience to reduce loneliness through meaningful, supportive interactions with others, and make it richer.

Starting from this basic purpose, we held a brainstorming session and classified the results using a taxonomy starting with “how might we” questions, leading to one main HMW question that broke down to many: HMW make them feel less lonely and make social connection easier? How might we, for example, build an online community for people with shared interests? Design a museum tour for these people? Would building a chat group about art be part of this? Would we have volunteers join the activities to navigate the socialization process? How large of a role does social media play in these interactions? For academically inclined museum-goers, how appealing would it be to hold online seminars and discussion sessions after visits? And in that line of thinking, how might we also encourage fostering communities around museums in purely social and recreational ways?

After deciding to build a website to help young people match partners to watch the exhibition, we began to think about what kind of interface we should use. I made a website sample by referring to NYFA’s screening page and combining it with the hare team page mentioned by one of my teammates from the CMLTD program, Cute.

Current ARAD student Xuan An (ARAD ’25) pitches funding approaches in the ArtMingle.com pitch presentation.

What’s your favorite part about learning how to use new tools?

I especially like Miro and Slack!

Miro is a useful new tool that allowed me, and our group in general, to host a virtual, dynamic workspace on the website, allowing us to complete our overall plan conveniently and efficiently. Miro has a clear interface and rich functions. I very much look forward to continuing to use it in the future!

Slack is a useful new tool for me to use now, too! It allows participants to post tasks and discussions directly, and work team members to use the network to connect with each other. What I like most about it is the channel design. This design allows users to clearly see the requirements and classification of tasks. Slack made me more productive.

Even though this form of design thinking process is new to you and difficult, what are the rewards?

Our group included students majoring in arts administration as well as students majoring in Communication, Media, & Learning Technologies Design. Being part of the mixed team was rewarding and new, and we learned from each other. When group-thinking and designing for the ArtMingle project, as an ARAD student, I used my practical knowledge in arts management to provide support for the content of our proposal. This is both in terms of links with museums, galleries and galleries and in terms of fundraising, which I look forward to learning more about next semester.

CMLTD students have rich experience in using digital tools, for example, they know how to use Miro, Figma, and AI image generators. They helped me learn these tools, too, and we walked through the design process together on Slack, Miro and Figma. I feel that both majors have their own strengths and complement each other. Our cooperation was very pleasant, and I learned a lot of skills in using digital tools from the CMLTD majors in the team.

Current ARAD student Xuan An (ARAD ’25) breaks down aspects for sustainability models in the ArtMingle.com pitch presentation.

Do you think you will continue to work on the ArtMingle.com idea?

I will. I’m currently learning how to build my own web pages and add simple web page interactivity. Oral interviews were also conducted to understand other students’ perspectives on receiving arts education and socializing in an arts environment.

Photo Credit: Grace J. Choi

Microgrant Recipient: Arts Admin Next (AAN) Host Second Annual Roundtable: “Navigating the Visual Arts Industry”

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On November 11, 2023, Arts Admin Next (AAN) hosted its second roundtable event, “Navigating the Visual Arts Industry,” at TheBLANC. This event, planned and hosted by co-founders Joey Chen (ARAD ’24), Katerina Wang (ARAD ’24), Demi Zhao (ARAD ’25), and Xiaojing Zhu (ARAD ’25), was supported by a microgrant from the Arts Administration program at Teachers College, Columbia University (ARAD).

The roundtable featured distinguished alumni from Columbia University, New York University, and Sotheby’s Institute of Art, showcasing a panel of seasoned professionals in the arts industry. Esteemed guest speakers included Eliana Glicklich-Cohn (ARAD ’09, Senior Manager of Real Estate and Sustainability at The Museum of Modern Art), Kelly Olshan (ARAD ’17, Program Officer at the New York Foundation for the Arts), Isabella Caporuscio (VAA ’22, Manager of Academic Engagement at the Guggenheim Museum), and Maxime Van Melkebeke (SIA’16, Director at Hauser & Wirth). Their presence significantly contributed to bridging the gap between current students and industry veterans.

Drawing over 90 attendees, the event became a convergence of diverse perspectives and experiences. Students and professionals from the Arts Administration program at Teachers College (ARAD), the Visual Arts Administration program at New York University (VAA), and the Art Business program at Sotheby’s Institute of Art (SIA) came together in a shared space of learning and exchange.

The roundtable discussions spanned a wide range of topics. Speakers shared insights on their professional journeys, offering attendees a realistic view of the challenges and triumphs in the arts sector. They discussed the ever-evolving landscape of the art world, offering predictions and advice on navigating future trends. The discussions navigated through various terrains, from post-graduate professional journeys to envisaging future directions in the arts industry. The focus on practical networking strategies within the art world was particularly beneficial, providing relevant knowledge for emerging arts administrators.

The commitment of Arts Admin Next to fostering a vibrant community of arts administrators was palpable throughout the event. As we have introduced ourselves in the roundtable, “At Arts Admin Next, we are more than just an organization; we are a passionate community, a bridge that connects the next-generation arts administrators with professionals who have achieved great success in the arts sector. Our mission is to foster a diverse community where your passion for the arts is not just a solitary journey, but a shared adventure with like-minded souls.” Through annual roundtables, gallery tours, and networking events, AAN strives to provide a dynamic platform for arts administrators and practitioners to connect, discover opportunities, and share ideas in the vibrant city of New York.

The successful execution of this roundtable event stands as a significant testament to the ongoing dedication of Arts Admin Next (AAN) and the Arts Administration program at Teachers College, Columbia University (ARAD), in fostering a diverse and dynamic community within the realm of arts administration. AAN is proud to conclude this year’s roundtable, made possible through significant support from ARAD and the tireless efforts of a dedicated team following more than two months’ meticulous planning and preparation. AAN is actively preparing for the next roundtable, which will concentrate on the global art market and career pathways, specifically offering visa and career guidance for international students. Stay tuned for more upcoming AAN events which will be announced on their Instagram account @artsadminnext!

Photo Credit: Arts Admin Next and Sophia Xuanyi Chen (ARAD ’24)

Meet Diane Tomasi, ARAD’s New Program Associate

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Join us in welcoming Diane Tomasi as our new Program Associate. Learn more about Diane, her goals for her new role, and what she does outside of TC.

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Tell us a bit about yourself. Where are you from? What was your undergraduate degree focused on?

My name is Diane Tomasi: I use she/they pronouns. I’m from a small town in Massachusetts. I began my undergrad in Dance at Adelphi University in Garden City, New York where I went for two years. After two years, I felt that I had taken all the classes I wanted to take and experienced all that I wanted to experience. So, I decided to move to New York City, to see if I could “make it.”

I was 20 years old, and after a year I realized that I was not prepared to “make it” after all, and so I decided to move back home.  Soon after, I found a university in the UK the Liverpool Institute of Performing Arts (LIPA). (It had originally been an all-boys primary school attended by Sir Paul McCartney). I earned my BA in Performing Arts, Dance there.

When I went to LIPA, I was a little older, I knew more of what I wanted to learn, and I had that much more confidence so I was able to focus on the things I wanted to do there. Independent from the program itself, I got a small budget to work with other students and I created a small show, I also received funding to participate in a week-long workshop with an abled/disabled body dance company called Blue Eyed Soul (which has sadly closed since).

What previous experiences have led you to your current role? 

I just finished my master’s in Nonprofit Management from Antioch University and I’m also in the Dance Education program here at Teachers College, so the coming together of my educational background and my creative interests added up to this role. 

How have those experiences informed your current professional path?

While in the workshop, I was introduced to slack-line harness coupled with contact improvisation. A group of about twenty or so of us, all danced and lived together during the week. That experience was very formative for me for so many reasons: meeting new people, some of whom worked professionally with Blue Eyed Soul, the experience of dancing in the air, and the friends I made there, some of whom I’m still in touch with today. After I graduated from LIPA and moved back to the States, I slowly got more and more involved in aerial work to a point where, prior to the pandemic, I was performing professionally.  

I also co-founded a dance company/project, called This Body. This Body is a group of artists who come together to overcome and relieve many of the difficult challenges in creating and performing dance in New York City. Our thought was that if we worked together and helped each other, we could share some of the hardships, such as applying for grants, looking for dancers, producing shows, and more. My personal goal with this company is to become strong enough that we can open it up to other dancers too. To provide resources, community, opportunities to perform, and education around the unfortunate characterization of the ‘starving artist.’

Prior to the pandemic, I had been freelancing mostly with teaching gigs and some administrative work. When the pandemic hit, I ended up losing a lot of work and the instability of freelance life caught up to me.

Concurrently, I had always wanted to get a Master’s Degree, and after much research and debate, I  found what I perceived to be a good fit with a program that seemed to support all of my interests and endeavors. Unbeknownst to me, this program was simply perfect: every class, assignment, and research paper was open-ended and therefore allowed me to focus on dance. I researched what happened to the funding that had been so prevalent in the ’70s and ’80s, I was able to think about and dig into my values as an artist and an educator, and I was able to consider where I would like to go next. 

The last class in my program was focused on pedagogy (children’s education) and andragogy (adult education), and consequently, this class pulled together all the things that I do and am interested into a fine point: caring for the individual and the larger community, helping people to find their creativity and voice, and uplifting the value of art. At the end of this program, I realized that I was not done with my education so I decided to apply to the Dance Ed.D. program here at Teachers College. 

What are you looking forward to in taking on this role?

I’m only taking one class for my program right now because I just needed to get my feet wet and figure out where I wanted to go. I’m especially excited about this position because now I am here more often and I feel much more involved. I’m also interested in learning about the Arts Administration department and Teachers College, in general. I’m also very excited to feel more connected and get to know the people here. Now, I know several faculty members, I’m getting to know the students, and I’m getting a little bit more comfortable with the community and the maze of buildings. It’s all really exciting for me.

To add, this is administration work, so I get to expand my nonprofit management experience, too.  

What do you do outside of your time at TC?

Outside of Teachers College, I teach movement classes: dance, tumbling, and aerial. I am also training in a style of aerial that is new for me called straps. I’m rediscovering my artistic voice and figuring out where I want to go next as a performer. I also crochet a lot, and I work very hard at keeping up my Duolingo streak. 

I teach an adult open-level aerial silks class on Fridays at 7:30 PM at Brooklyn Ninja. Anybody is welcome!

Diane has been teaching tumbling and contemporary dance since 2001, and aerial arts, primarily aerial silks since 2014. At BAX|Brooklyn Arts Exchange, Diane is the Director of AcroBAX II and a tumbling and contemporary dance instructor. Diane created and built the aerial program at Brooklyn Ninja Academy and teaches adult and child classes there. Diane is also a co-founder of This Body, a community of artists who work together to advocate and change the ‘starving artist’ concept around creating art.

In July 2023 Diane received an MA in Nonprofit Management from Antioch University and a BA (Hons) in Performing Arts Dance from Liverpool Institute for Performing Arts in 2005. Diane also has certificates in the Simonson Method of Teacher Training, 2013, Thai Massage Adv Studies Sen Theory & Application, 2010, and Thai Massage Basic Studies Level I & II, 2009. 

Diane uses both they/them and she/her pronouns, and more of and about their work can be found at: www.dianetomasi.com and www.thisbodylives.com.