Interview with faculty member Tim Griffin featured in the newly released free web-based publication

Now available: In Terms of Performance A keywords anthology for contemporary cultural practice Facebook / Twitter / Instagram A new, free, web-based publication on cultural practice is now available. In Terms of Performance is a keywords anthology designed to provoke discovery and generate shared literacies across disciplines. It features essays and interviews from more than 50 prominent artists, curators, presenters, and scholars who reflect on common yet contested terms in contemporary cultural practice. Read more about the project on the e-flux website. Read the extended interview with Tim Griffin on the In Terms of Performance website.

Sarah Demeuse to join MACP faculty in Spring 2017

MA Curatorial Practice at SVA is excited to announce that Sarah Demeuse will be joining our faculty in the Spring 2017 semester. She will be teaching our Practicum 3: Exhibition-Making course which situates a group-curated exhibition off-campus in NYC. Read Sarah's bio here.

Mark Beasley, MACP faculty member, appointed as Curator of Media and Performance Art at the Hirshhor

Two years into her run as director of the Hirshhorn Museum and Sculpture Garden in Washington, D.C., Melissa Chiu is continuing to staff up. Today the museum announced that it is hiring its first-ever curator of media and performance art. The man taking the job is Mark Beasley, who has been a curator at Performa, Creative Time in New York, and the British Council in London. “Mark Beasley is one of the few experts of his kind, and as one of the leading curators of our time, his work has helped to shape this field over the past 15 years,” Chiu said in a statement this morning. Read more on the ARTnews website.

Article by MACP fellow Lux Bai entitled "Teiji Furuhashi: Lovers at the Museum of Modern Art&qu

Standing solemnly as an apocalyptic coda to Nan Goldin: The Ballad of Sexual Dependency (1985) at the Museum of Modern Art, Teiji Furuhashi: Lovers features an eponymous installation that invites viewers to interact with bare apparitions through multimedia technology. In contrast to the Goldin’s brutal details of sex, drugs, and violence during the 1980s in Lower Manhattan, Lovers (1994) displays nudity in an austere, almost asexual manner. Nonetheless, the Japanese artist addresses contemporary love from a similar standpoint as his intense New York neighbor: ars longa, vita brevis. This marks the first time Lovers has been exhibited since its inauguration at MoMA in 1995, one year before th

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