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Ana Cecilia Alvarez & Victoria Campbell

Please email to sign up.
Sex­-Ed is centered on the means by which we give and receive pleasure and the ways in which we understand intimacy. This pilot program aims to produce a communication-​based, pleasure-​oriented, and politically engaged course at BHQFU. 
Monthly workshops will explore concepts relating to sexuality and intimacy. In order to activate a productive and radical sexual discourse, part of each session will be spent workshopping communication structures and developing specific protocols for self-expression and desire.
Workshops will be fun, rigorous, safe, and sexy. Each theme will be an attempt to make sense of—in critical terms—sexual relations on a social or cultural scale. While there will be “theory” involved—and some theories more than others—our approaches will be propelled by the ways in which we can translate concepts into questions, and from questions into practices. How can we orient our sex lives around pleasure and intimacy, rather than capitalist structured patterns of gains and losses? How can we undo not just the structures of domination aimed at our own bodies, but also t​hose aimed at repressing the possibilities between bodies? How can we be more deliberate with one another? And more responsible for one another? 
Visiting guests will include artists, public intellectuals, mothers, and whores.
Ideally, through this program, we hope to have a better idea of how students relate to their sexuality in a group setting as well as how to make communication visible in a classroom. By the end of the sessions, we hope to advance a course—and a practice—that gives everyone an opportunity to imagine the kinds of relationships that live up to their desires across all relationships, and across all desires.
Workshops will take place on the last Thursday of the month. 
2/ 26 : RESPONSE & RESPONSIBILITY : Spectrums of Consent : On Power & Play 
3/ 26 : RELATIONSHIP MODELS: What Does 'Openness' Mean? 
4/ 30 : SEX WORK//WORK & SEX//WORK//SEX: Prostitutes, Professionals, & the Body at Work
5/TBD : ORGASMS : Sustaining Release


Last Thursdays of the month, 7pm / January 2015


Ball Gowns vs. Mini Skirts: Painting Critique

Nicole Wittenberg

In this class we will talk about what paintings actually look like, because as Oscar Wilde said: "It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible." Our focus will be on playfully inventing a shared language to discuss each other's paintings—defining together terms like "image energy", "decorative manners", "constriction vs. composition", "visual cuisine", "recessive vs. aggressive styling", and "mini skirts vs. ball gowns".
Each week 5-10 participants will bring 3-5 paintings for critique, joined by a guest artist. Classes being at 7pm with a brief interview with our guests focusing on process and what we really do in the studio. Participants will be able to request which guest artist they would like to critique with. Guests critics will be announced in mid-January, our first session will be on January 26th. 

Mondays, 7pm / January 2015


The Poetic Act

Ana Božičević & Sophia Le Fraga

The root of poetry implies action: the Greek term poiesis derives from an ancient word for to make. Our class, channeling this active principle, will focus on the poetic act: the act of writing and performing a poem, acting as or while a poet, effecting personal and collective action in poetry. We will make poetry and read it extensively in addition to texts in poetics, theater, philosophy, art theory, aesthetics, religion, psychoanalysis… Class assignments will include completing and performing a poetic play, experiments in humor and Tarot, and an overnight class.
Required book: Psychomagic – Alejandro Jodorowsky

Tuesdays, 7pm / January 2015


Show and Tell: Sculpture

Elizabeth Jaeger

Show and Tell: Sculpture will focus on the aesthetic and conceptual frameworks surrounding “sculpture” focusing on group dialogue and discussion of particular works and projects. Every other week a visiting critic will join the class to give a presentation about an aspect of their work, and to discuss the work of 3-4 students. The following week the class will meet for a round table discussion about a specific topic and/or reading, and workshop the projects of 3-4 students. Students will be asked to attend every class and each student will have a chance to discuss their work with a visiting critic and/or more intimately with fellow classmates. Visiting critics will be announced the first day of class.

Wednesdays, 7pm / January 2015


Study Hall

Andrea Arrubla

Every Friday during spring semester, BHQFU will be open from 12:00pm to 5:00pm for Study Hall. Need a climate-controlled environment to work on a drawing? Want to make lunch and catch up on some reading? Hit a wall with a project and need to bounce ideas off of somebody? Looking for free wifi? We'll be here! Various staff, faculty and surprise guests will be present throughout the semester at BHQFU. Come through!

Fridays 12 to 5pm / January 2015


Collage and the Grammar of Images II

James Brittingham

"Collage and the Grammar of Images II" is a studio that class which will veer wildly between a focused exploration of 'collage' as a specific artistic discipline with a specific history, and a broad application of 'collage' as a metaphor for the constant processes of theft, revision, dis-assembly and recombination through which culture takes its various shapes.

Topics will include: etymology, historical revisionism, film language, monsters, and all kinds of magic (there's a heavy emphasis on magic). 

Classes will begin with a brief lecture and end with critique-style group discussions. But during most of class time participants will attempt their own acts of speech in the Grammar of Images - by making collages. 

Eventually we'll make a book.

Saturdays, 3pm / January 2015


Color Feelings

Jarrett Earnest & Nathlie Provosty

Color knits us into the physical world, shimmering on the edge of language. Color appears through relationships, and while it has “principles,” there are no hard and fast rules—therefor, every color must be approached within the specifics of its situation. Our weekly meetings will strive to widen our vocabulary for color experiences, our conversations like whetstones sharpening the blades of perception. This class will consist of “color encounters,” “color texts," and "color talks," as well as assignments/exercises to share and discuss with the group (both written and visual). “Color Feelings” is about the materiality and metaphysics of color, it’s mechanics and associations—as much about “language” as it is about “things.” Poets, critics and scholars are encouraged to join, in addition to painters, filmmakers, musicians, dancers, and any other interested sensual/intellectual persons.   
For the first meeting, January 25th:
Read Dave Hickey’s essay “Pontormo’s Rainbow.”
Come to class with three “color questions.” (What do you want to ask of color? Be as specific as possible: what do you want to know about color, and why?; what interests/delights/ disturbs you about color, and why?, etc.)

Sundays, 3-5pm / January 2015


Comedy Sketch Book

Sean J Patrick Carney

Comedy Sketch Book is a course that will critically examine sketch comedy through the lenses of theoretical frameworks on humor and the history of contemporary performance art. A follow-up to fall 2014’s Humor and the Abject course, we’ll build upon concepts explored previously, though having taken Humor and the Abject previously is not a prerequisite. A combination of viewing and discourse will expose participants to a broad range of approaches to sketch comedy and the vocabularies and methods to dissect and contextualize them. The course will run the first half of spring semester, and participants should be prepared to allocate time outside of in-class meetings to view and read various assigned materials. We’ll compare and contrast mainstream and experimental/fringe approaches in the interest of understanding complex relationships between form and content across multiple media platforms and contexts.

Sundays, 6:00pm / January 2015


BHQFU Night Live

Sean J Patrick Carney

BHQFU Night Live is a collaborative production. Course participants will assume various roles in the development and execution of a one-hour sketch comedy episode. This will include writing, acting, video and sound production/editing, and managing press and promotional materials. Through a rigorous schedule of workshops and rehearsals, we will complete the production for a summer 2015 release. The episode will also include contributions from guest artists from fall 2014’s Humor and the Abject course.

Sundays, 6:00pm / March 2015


Object Relations: Reading and Talking Together

Jarrett Earnest

"There really is no such thing as art. There are only artists."
                                                — E.H.Gombrich The Story of Art (1950)
        "Let us suppose that the idea of art can be expanded to embrace the whole range of man-made things, including all tools and writing in addition to the useless, beautiful, and poetic things of the world."—George Kubler The Shape of Time (1962)

The art we make and the art we like is connected to the ways we live, the things we read and the adventures we have. However, the nature of these relationships and how they produce art is anything but straightforward—closer to gravitational orbits than direct causal chains.The focus of this class is to think and talk critically about such interconnections via weekly conversations with a visiting artist who assigns a text of their choosing. Participants should be interested in broader interdisciplinary issues of art and culture as discussions will span Kubler's "tools, writing, and the useless, beautiful, poetic things of the world."

This is a seminar and everyone is asked to commit to reading and attending each week of the entire ten-week course. We meet Sunday afternoons October-December. Recordings of last term's "Object Lessons" are available free online for interested students, which will give you a sense of what to expect "( and (

Our introductory meeting will be on September 14th where readings and schedule will be distributed. For this class please read and be ready to discuss Kubler's The Shape of Time.

Visiting artists will include:

Anna Betbeze
Francesco Clemente
Coco Fusco
Ann McCoy
Ira Sachs
Jacolby Satterwhite
Michael Taussig
Ann Waldman
Lisa Yuskavage
Please find the syllabus here (
Course readings:

First Class: Sunday September 14th, 3pm

Sundays, 3pm / September 2014


Humor and the Abject

Sean J Patrick Carney

This seminar-based course will expose participants to various critical and theoretical frameworks on humor and its relationship to the abject. Abjection has been described and interpreted in many ways by a diverse group of thinkers and artists, though a consistent and integral aspect is that it represents that which exists between the subject and the object. In comedy, we witness regular engagement with the volatile, the vulgar, and the violent, as its practitioners employ their craft to explore the things that we think but dare not say. Throughout the semester, we will read various perspectives on humor and abjection, engage with regular visitors whose work explores these topics, and view examples of the wildly varied field of contemporary comedy. 
It will also be funny. 
First Class: Sunday September 14th, 7pm

Sundays, 6pm / September 2014


Drawing, Drawing, Drawing!

Nicole Wittenberg

"How can I know what I think till I see what I say?"
E.M. Forster

In this class we will use drawing to see that we say and to know what we think. Drawing is a fundamental way to decode our thoughts: making blind drawings, movement drawings, weaving drawings, from live models, from performances, from film stills and video projections. Ultimately to better understand "drawing" and how it forms the foundation of our art. 

Bring whatever you like to draw with/on, but here are some recommendations:
  • 2” and/or 4” flat brush (house painters)
  • 1” flat brush (house painters)
  • One Calligraphy brush
  • Two Bamboo pens (or reed pens)
  • Bottle of speedball ink (bowl for water, bowl for ink)
  • Large tube of white acrylic paint
  • Pad of newsprint 22” x 30” or larger
  • Pad of Canson Bristol 19” x 24”
  • Scissors
  • Pencils: HB, 2B, 6B
  • Charcoal: vine and compressed
  • Kneadable eraser
  • White eraser


First Class: Monday September 15th, 3-6pm

Mondays, 3pm / September 2014


Painting Critique ("Yes, And. . .")

James Brittingham

Are your paintings an alienatingtly specific attempt to reconcile some historical paradox about man and his images that you yourself barely understand? Are they inspired by the gruesome details an exotic childhood illness? Do you want to spend three hours talking about three people's painting, and leave even more confused about quality and meaning than you were when arrived?
Come to this class, put your feet in the shit, and go off the rails with us. Slow, dense and intimate, we are going to say "Yes, And. . ."  to just about everything, as we slog through each others' subjectivities and whatever embarrassing, annoying or generally bat-shit ideas we try to hang our subjectivity on. 3 hours - 3 crits. No sidebar conversations! (Probably no special guests).
The class is open to anyone who wants to attend, but those who receive critiques should, you know, come back and critique other people.  
First Class: Monday September 15th, 7pm

Mondays, 7pm / September 2014


Film/Video Critique

Aily Nash & Andrew Norman Wilson

Film/Video critique will facilitate an evolving conversation about approaches to contemporary moving image work through the work of class participants. This course will be capped at around 15 participants, typically with two people presenting during each session. Presented work can take the form of research, text, a film or video, a presentation etc. Film/Video Critique will run for six weeks from mid September to mid October.


First Class: Tuesday September 16th, 7pm

Tuesdays, 7pm / September 2014


Show And Tell, a Sculpture Forum

Elizabeth Jaeger

This course will focus on sculpture in an artistic, curatorial and commercial discourse. Visiting critics include a variety of artists, curators, writers, and dealers by vocation.  As a class we will pose the question:Where should, and does, sculpture go?  The semester will be used to formulate an answer in dialogue with visiting guests. In conjunction, each week 2-5 students will be invited to bring their work in for critique, and to discuss their particular aesthetic, ideas, and intents. Field trips will also be available outside class, as decided on by the class. 


First Class: Wednesday September 17th, 7pm

Wednesdays, 7pm / September 2014


The Only War That Matters Is The War Against The Imagination: A Poetry Workshop

Ana Božičević & Sophia Le Fraga

Thinkers have warned against the imagination as the Pandora's box of the mind or a kind of trick oracle. Kant called it the "blind, yet indispensable function of the human soul" that deals breakthroughs and breakdowns alike. Blind yet image-making, imagination haunts artistic discourses and shares with art the liminal zone between ideal and real, between intellect and feels.
Taking as our point of departure Diane di Prima's caution that "the only war that matters is the war against the imagination," we'll examine imagination's cultural and political implications, focusing on the poetic: from the Romantics, for whom it was a sacred tool of inquiry, to contemporary experimental poets who rigorously imagine their textual sculptures into hard or digital materiality.
We'll discuss the work of the imagination in our own creative work, regardless of genre. We will create new or used poems, textual and multimedia pieces in response to class discussions, and welcome a number of guest speakers — poets, artists, filmmakers, translators, and activists. 
Each class will work as its own unit of inquiry, and anyone is encouraged to attend any meeting; for maximum effect, follow the course to completion. The semester will culminate in a collective performance whose nature you will help us imagine.
First class: Thursday September 18th, 7pm

Thursdays, 7pm / September 2014


Image Ecologies

Aily Nash & Andrew Norman Wilson

This class will be based on screenings of recent moving image work that offers multiplicitous impressions of the world as a whole rather than as composed of separate natural and social realms. Formally these artists combine heterogeneous production processes, found imagery, and artistic disciplines within a single work. Students examine the formal and conceptual qualities of film and video and learn how contemporary artists are exploring ecologies of images. The class will consist of short screenings and discussions of readings. Artists include Trisha Baga, Camille Henrot, Mark Leckey, Sterling Ruby, Jordan Wolfson, and more. This is an eight week discussion-based seminar running from mid October to mid December, and will be capped at around 25 participants. 


First Class: Tuesday October 28th, 7pm

Tuesdays, 7pm / October 2014


Collage and the Grammar of Images

James Brittingham

Communists, Capitalists, Fascists, even Anarchists all practice forms of collage. So will we. We will use collage to investigate the role image-culture has played in the development of character and ideology. Projects (to be supplemented with Power Point lectures) will include:
Imaging the ideal objects,
Imaging ideal subjects,
Misrepresenting historical events,
Designing covers for books that never were and never will be,
Memorializing the living,
and of course
Through discussion and practice we will uncover the Grammar of Images.
Supplemental readings will be provided where appropriate.
We will have old magazine and newspapers and all kinds of blades.
First Class: Monday November 3rd, 3-6pm

Mondays, 3pm / October 2014


Ball Gowns vs Mini Skirts: Painting Critique with Nicole Wittenberg

Nicole Wittenberg

In this class we will talk about what paintings actually look like, because as Oscar Wilde said: "It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible." Our focus will be on playfully inventing a shared language to discuss each other's paintings—defining together terms like "image energy", "decorative manners", "constriction vs. composition", "visual cuisine", "recessive vs. aggressive styling", and "mini skirts vs. ball gowns".
Each week 5-10 participants will bring 3-5 paintings for critique, joined by a guest artist. Classes being at 7pm with a brief interview with our guests focusing on process and what we really do in the studio. Participants will be able to request which guest artist they would like to critique with. Guests critics will be announced October 15th, our first session will be on November 3rd. 
First Class: Monday November 3rd, 7pm

Mondays, 7pm / November 2014


2014 Summer Residency

Stephen Wuensch

This Summer, from June 1st to August 31st, BHQFU is hosting a special artist residency program at its Avenue A loft. Five artists selected from different backgrounds and disciplines share studio space to make, collaborate, and navigate the murky waters of cooperative space.

/ June 2014


Creative Writing Workshop in Prose

Porochista Khakpour

This class will explore the short story and the personal essay—the diminutive siblings of the novel and the memoir—and their relationships to each other. We will discuss issues of prose conception and creation and explore the seemingly opposing modes of fiction and nonfiction. We will examine the role of recreation and fabrication in narratives based on our “real lives” just as we will tackle how to best serve fictions with the stuff of our own personal experience.

Thursdays 7 - 9pm / January 2014


Performance Critique

Joe Kay

This is primarily a critique group wherein students and guests will unpack performances, experiments, and presentations. Participants wishing to present or perform will be paired with a manager/producer (a classmate or guest.)

Fridays 7 - 9pm
Jan. 31 - May 9 / January 2014


Painting Critique

Nicole Wittenberg

Registration is closed for this class. 

Please sign up on our mailing list below for information about future classes.

Feel free to contact us with any questions.  

This course will meet every Monday to critique the work of three to five students per week with a guest critic present. Students will hang/install their work, and can select the date they go based on who they would like their guest critic to be. This course will meet weekly for 14 weeks.

Mondays 7 - 9pm
Jan. 27 - May 5 / January 2014


Chat Room III

Sean J Patrick Carney

Chat Room is an invitation and application-based, 3-month long, 12 class course that focuses on one topic a week relevant to contemporary art and/or media theory through readings and discussion. Chat Room takes place IRL in NYC. Every class will feature a guest participant who wrote the reading of the week. Each class will also feature discussions about the work of the class's participants. Individuals will sign up in advance to have their work discussed on days of their choosing, with guests of their choosing. Classes will last and hour and a half with a 10 minute break halfway between.

Sundays 6 - 8pm
Feb. 9 - May 3 / January 2014


Object Lessons

Jarrett Earnest

Runs Jan. 26 - May 11

First class info + reading

Sunday afternoon interviews with visiting guests, focusing on an artwork important to them. We will discuss painting, sculpture, performance, literature, poetry, and music as interconnected ways of thinking and being in the world. For instance, nightlife darling Juliana Huxtable will talk about the 19th-century hermaphrodite's memoir Herculine Barbin, while iconic abstract painter Dorothea Rockburne will discuss composer Carlo Gesualdo and his radical madrigals. As such, students should be interested in larger interdisciplinary issues of art, and come to class prepared for discussion.

Materials will be available online in advance, a book or screening each week.

Sundays 3 - 5 pm
Jan. 26 - May 11 / January 2014


Film/Video Critique: Image Employment

Aily Nash & Andrew Norman Wilson

Registration is closed for this class. 

Please sign up on our mailing list below for information about future classes.

Feel free to contact us with any questions.  

Film/Video Critique: Image Employment explores the moving image as a tool to investigate various means of contemporary production, labor, and employment. The course considers a broad range of practices from documentary filmmaking, video art, and motion graphics. Students examine the formal and conceptual qualities of film and video and learn how contemporary artists are exploring today’s modes of production. The class will consist of short screenings, discussion of readings, and students will be encouraged to produce work related to the presented topics. Work can take the form of research, text, a film or video, a presentation etc.

Tuesdays 7:30 - 9:30pm
Feb. 4 - May 6 / January 2014


Sculpture Critique

Ruba Katrib

Registration is closed for this class. 

Please sign up on our mailing list below for information about future classes.

Feel free to contact us with any questions.   

This course examines contemporary sculpture through the concept of criticism.  Critique will be enacted and examined as a site of discourse that highlights particular questions around the production and reception of sculpture as an ever expanding mode of contemporary art practice; while also noting the semantic openings and limitations that arise when we discuss ideas around sculpture today. 

Saturdays 3 - 5pm* see below
Feb. 5 - May 10 / January 2014


Writing About Art From a Non Theory Head Perspective

David Salle

Just as there is no place for generalization in art, so too in art writing. 
This class will use the idea of "personality" as a lens through which to approach recent 
art. The emphasis will be on the concrete - describing a work's effects, and how they 
are achieved. The class will also focus on developing a personal point of view, or style,
in prose. To that end we will consider such basic tools of writing as the expressive use
of adjectives, metaphor - both personal/poetical and literary, how to establish useful
historical references, and the like; we will steer clear of the overly theoretical - both as a
matter of style and of thought. The class will take as a starting point the direct connection
between objectively observed, concrete description and the personal or even idiosyncratic
Readings will include samples from the following (incomplete list, and in no particular
Edmund Wilson
Sanford Schwartz
Daniel Mendelsohn
Renata Adler
Fairfield Porter
Manny Farber
George W. S. Trow

Every other Monday, 7 – 9 pm. / September 2013


Family Dinner

Louis Shannon

Family Dinner is a weekly think-tank that brings together ~ 20 young, independent and multidisciplinary New York City based artists and curators in a comfortable setting at BHQFU. We will meet over a communally cooked dinner to discuss the possibilities of independently organized “shows” in a variety of formats; physical, online, published etc. We will then follow through with 3-5 finished exhibitions spanning these formats over the course of the semester. We will also create 3 monthly zines focusing on documenting the output of the class, coordinated by Luck You Collective. In building the student base, I will focus on harnessing different groups to attend that already congregate as loose collectives in promoting their intrinsically DIY shows, and have them work though furthering that practice by becoming accountable for themselves and their collaborative efforts during the class. After the student base is solidified in the first weeks of September we will set the objectives listed above for these groups to work though. The dinner component will be lead by Luck You Collective, and the overall weekly schedule/syllabus will be moderated by myself. 

Thursdays, 7 – 9 pm / September 2013


Performance Critique (“Is That the End?”)

Joe Kay

This is primarily a critique course where students and guests will unpack the performances and experiments that the students deploy. Every participant wishing to present will be assigned a manager/producer. Every class will start with a period of private writing. All participants will then present something from their casual writings or describe something performative they’ve seen since our last session.

Exercises and experiments that have been culled from multiple sources of performance training will be explored by the group (reality TV, media coaching, clown school, Stanislavski, puppetry, Toastmasters International, clowns, weather reporting.) Every 4th meeting the last hour and a half of the course will be opened to the BHQFU community as an open mic.

At the end of every class we will take a thematic group photo.

Every other Friday, 7 PM - 10 PM+ / September 2013


Chat Room II

Brad Troemel

Chat Room is a course that focuses on one topic a week relevant to contemporary art and/or media theory through readings and discussion. Chat Room takes place IRL. Every class will feature a guest participant who wrote the reading of the week. Classes will last and hour and a half with a 10-minute break halfway between.

Sundays 6 - 8pm / September 2013


Painting Critique

Nicole Wittenberg

This course will meet every other Tuesday to critique the work of two to three students per week: exploring image energy and visual fluency. Students will hang/install their work, and can select the date they go based on whom they would like their guest critic to be. Guests will include, Jarrett Earnest, Josephine Halvorson, Alex Katz and Karen Wilken.

Every other Tuesday, 7 – 9 pm / September 2012


BHQFU Movie Night

This weekly meeting is not a class or lecture—it’s movie night! It’s an opportunity to watch movies that you may have always meant to see, but somehow have never found the time to sit down and watch. Over the course of eight weeks, we will watch films from a wide range of periods, genres, and national contexts. These films are linked not by some common theme or subject matter, but rather by their continued, or recent, significance in cultural discourse. BHQFU Movie Night provides a chance to watch eight “must-see” films with popcorn, drinks, and friends—come one, come all!

Every other Tuesday, 8 – 10 pm / September 2013


They Can’t Kill Us All (Conversations on Education)

Joe Riley, Casey Gollan, Victoria Sobel

There are a lot of projects about free education that we want to work on this fall as BHQFU Fellows: forging credentials; researching and writing a free education wiki; working in public; modeling a radically transparent organization; connecting different groups; mapping resources; and organizing lectures, workshops, trainings, and skillshares. Every Wednesday evening we'll hold an open meeting where we discuss education issues, check-in on the projects we're working on, and spawn new ones. It'd be great to meet you and work together to advance the struggle for free education.

Wednesdays, 7 – 9 pm / September 2013


Public Lecture Series

Joe Riley, Casey Gollan, Victoria Sobel

A lecture series on Sunday afternoons at 4pm focused on education but inevitably tangential. Topics may include but will not be limited to: adderall, administrative bloat, anarchy, community, direct action, governance, history, jokes, money, MOOCs, standardized testing, and transparency.

Sundays, 4 – 6 pm / September 2013



Louis Shannon

A series of Bi-weekly classes at BHQFU. They will encompass the various definitions of DIY from Silkscreening in your bathroom, Circuit-bending children's toys, to doing your taxes and more. These workshops emphasize the unlimited possibilities of being hands on, productive and creative in your own space. They are one-off and open for anybody to drop in and participate!

Overview for 8 Workshops

Febuary 3

Zine Making  with Luck You Collective 

February 17    

How to do Taxes  with Haley Mellin

March 3

Silkscreening in your Bathroom 

March 17

Scavenging Chinatown: Circuit bending Toys to make Musical Instruments

March 31

Sewing at home with Alice Tal

April 14

Vacuum Forming in your Kitchen with Jack Shannon

April 28

Plein Air Painting in the streets of NYC with Kathryn Kerr

May 12

DIY Pizza and Dumplings


Sundays, 4 – 6 pm / January 2013


Chat Room

Brad Troemel

Chat Room is an invitation and application-based, 3-month long, 12 class course that focuses on one topic a week relevant to contemporary art and/or media theory through readings and discussion. The course is limited to 25 conversational participants, though there is plenty of room for people to audit as well.

Chat Room takes place IRL in NYC. Every class will feature a guest participant related to that class’s topic of the week and in many cases the required reading of that week will be written by the guest. Chat Room will be a chance to host and refine a conversation in physical space that is already occurring, albeit through passive viewership and ‘Likes’ on Facebook.

Classes will last two hours with a 10 minute break halfway between. Conversations will be lightly moderated to insure no one person or issue monopolizes discussion. Every invitee will be asked to contribute one work (an art project, image series, essay, etc.) in response to a topic discussed in class that will be included in a journal by and about the course at the end of the semester. The journal will feature essays, quotes, reproduced readings, and contributions from invitees.

The 25 participants pay $100, with $5 refunded at the end of the semester for every class attended. This means participants who fully attend the course will pay a total of $40 for the three month course. Auditors pay $120 to attend, totaling $10.00 per class. Money accrued goes towards the weekly guests and the end of semester journal produced.

This is the tentative class schedule. While most people below have confirmed for the dates listed it's likely some will reschedule or be unable to make it. Signing up for the course because there's a single person on this list you want to talk to is a bad idea. Please be flexible and I'll do my best to insure we have a quality guest and reading every week!

Jan 27: Rob Horning on his essay Hi Haters!
February 3: Lev Manovich: Image ProcessingImage NowMedia After Software
February 10: David Joselit
February 17: Daniel Quiles
February 14: Kenneth Goldsmith
March 3: Mckenzie Wark
March 11 (Monday class): Hito Steyerl
March 17: Break
March 24: Andrea Fraser
March 31: TBA
April 7: John Kelsey
April 14: Boris Groys
April 21: Seth Price

Sundays, 6 - 8pm / January 2013


Generative Design_Model Assembly

Sanam Salek

This class is a design course that will approach design in terms of a mathematical relationship between things rather than the pursuit of a single form. Students will investigate and extract logic from ‘natural phenomena’ as it occurs in a variety of disciplines; biology, material science, mathematics, computation, etc. 

These principles will then be translated to an architectural design strategy of a part to whole generative system to develop novel assemblies by repurposing everyday materials as a construction component. The goal will be to create beautiful physical examples of morphological structures embedded with complex information.

Mondays, 7 - 10pm / January 2013



Gabrielle Merz

This course explores the process and application of collaboration in the artmaking context. Discussion topics will include notable collaborative groups (past and present) and practical challenges and solutions to cooperative practices, among others. While the class will include some discussion of historical context and research in this topic area, the primary focus of the course will be on the active practice of collaboration. Participants will engage in a series of collaborative pairings with fellow classmates during the course, examine the ongoing results of the process, and share final projects through a public event at the close of the semester. Final course projects may be actual or conceptual and will be decided on by each collaborative pair/group. Primary objectives for the course are to: 

• Provide active experience in a cooperative practice 
• Investigate challenges & problem solving in the creative process 
• Provide a context for engagement across disciplines 
• Create opportunities for further/future collaboration & cooperation 
• Extend community discussion & access to collaborative projects

Artists/students from any creative discipline (visual art/performance/music/ architecture/interdisciplinary/other) are welcome. Previous collaborative experience is not required; both those new to cooperative practice and those from existing collaborative groups are welcome to apply. The course will be limited to 20 students, with an application process consisting of a brief email questionnaire clarifying interest in the course and background.

Mondays, 7-9pm / January 2013


Japan Studio

Nozomi Kato

6 weeks - March 26th start date

This is hopefully a collective independent study course. A comparative study of the artistic traditions of India, China, and Japan, and how you incorporate this new knowledge into your own work may be emphasized. We can focus on the visual relationship of works of art to Confucianism, Buddhism, Kami-no michi, and Taoism, but we do not have to.

Field trips: TBA. 
Prerequisite: None.

Tuesdays, 7 - 9pm / January 2013


What Is Important?

Brian Edgerton

A democratic seminar class, keeping in mind Oscar Wilde’s advice "That we should treat all trivial things in life very seriously, and all serious things of life with a sincere and studied triviality." Ethics by way of examples, treated more like gossip.  

What is important? will organize around a series of reports given by each class member and followed by a free roving discussion. It will examine the idea of importance, one of the last governing principles in life and in art. It will prompt us each to recount our own lists of those topics which strike us as vitally relevant, and to try to express why. Its goal is to ferret out some common standards of value, if any such things exist. It will be practice in the art of argumentation, analysis, and shooting the shit. A collage of subject-matter will emerge, building upon itself. In the end, possibly even some kind of provisional agreement.

Each class, 1-4 participants will guide the class a on a subject of their choosing for consideration and discussion. The subject should be one which the presenter knows well and feels somehow answers the course's question. Relevant texts in any medium may be assigned in advance. Students may collaborate on presentations.  

Tuesdays, 7 - 9pm / January 2013


Math Wipe

Dmitry Samochine

This will be a class that will explore the inherent beauty and intrigue of Mathematics and Science. The main themes of this class could be categorized as deprogramming. We will discuss concepts which everyone can understand within a few minutes, but which yield very interesting models and results. These ideas are guaranteed to at least pique some interest and ideally reinvigorate and encourage further exploration.

Wednesdays, 7 - 9pm / January 2013


You Watching Me Googling You

Jonah Emerson Bell

This class explores the line between surveillance and documentation as well as the line between public and private. We will be focusing on observation as both a medium and a material. The class will look at how the prevalence of reality TV, social media and surveillance effect how we perceive ourselves, and each other. Together we will work on implementing these systems into the creative process through readings, assignments, and an ongoing project based on self-observation.

Wednesdays, 7 - 9 / January 2013


Advanced Drawing

Alexander Seth Cameron

This course is offered to Cooper Union upperclassmen working independently in any medium. Must be self-motivated. There will be group and individual critiques.

For non-Cooper students interested in auditing the course, please fill out the below form.

Thursdays, 2 - 5pm / January 2013



Alexander Seth Cameron

Critique is the evaluation of choices. This course evaluates the choices manifest in the works of art and acts of speech of its participants.

Goals of the Course:

1.    To enhance critical thinking skills through practice.

2.    To concretely unpack issues of contemporary art and practice.

Class time will be devoted primarily to the critique of participant artwork (generally two presenters per class). Additionally, we will discuss current exhibitions, critical writings presented by the group (see below), and current/historical debates about the value of criticism. Exhibiting participants of the week may elect to open the BHQFU space to the public for a reception after class hours. 

Readings: The Hedgehog and the Fox, Isaiah Berlin, Illness as Metaphor, Susan Sontag, A Rhetoric of Motives, Kenneth Burke, Art Critiques: A Guide, James Elkins. Participants will be asked to contribute readings to the class, specifically writings they consider to be criticisms. There will be two critiques held without artwork, once on the first class meeting, and once on March 28th. These are to offer a kind of baseline, to heighten our self-consciousness of the tools of critique.

Thursdays, 7-9pm / January 2013



Chris Bogia

This course will investigate the real lives of individual contemporary artists living and working in NYC, and see how their tribal tendencies, neighborhoods, interests, and habits inform their lives and their work.

Focus will be on artists as they live through challenges ranging from finding the money to live, sustaining a studio practice, dealing with a shady dealer, managing a studio, to finding a mate. Students can present their own challenges for weekly group discussions, and each week we will visit or invite an artist, based on one student’s research, to perform an activity with. Students will be free to negotiate and propose a multitude of formats, from interviews, outings, physical challenges, poetry slams, baking activities, and karaoke, just to give some examples. However, the format chosen MUST represent a facet of the guest artist’s real life, and you are encouraged to take suggestions FROM THEM.

The student who has chosen the “artist” of the week is responsible for recording this activity, and it will be used in a final presentation for the class, which will be published online. The goal of this class is for participants to demystify the lives of the professional artists who they potentially admire, as well as better understand their relationship to the slippery identity of “artist”. And yes, this class will culminate in a “date an artist” party planned and promoted by the class, which will be open to all Brucers as well as the public.

Readings will include biographies, interviews, and articles focusing on the lives of artists, ranging from the Renaissance to today. This class will meet once a week for 14 weeks during the Spring semester, Thursday 7:30 - 10, with occasional weekend substitutions depending on “artist activities.” This course is participant driven, so all students must attend every class, and documentation of the events must be done within a week of the event and uploaded on our course blog.

Thursdays, 7:30 - 10 / January 2013


Drawing Circus

Edward Stanton

Each session is three hours outside your comfort zone. 

As the founding director of the Drawing Circus, about all I ask of my students is to “show-up,” not just physically, but like a SPICY CHINESE SAUCE. The DC has zest and substance and is therefore vastly more Interesting than a run-of-the-mill figure drawing class. Although it uses a performer it is NOT a figure drawing class. Here is why: It ENERGIZES and STIMULATES the mind which is the aspect of consciousness and intellect experienced as combinations of thought, perception, memory, emotion, will and imagination.

It possesses characteristics that I don’t think can be evaluated with the words, “I like,” or “I don’t like.” It brings contrast and flavor to the act of drawing. It makes you stand up and PAY ATTENTION. This is why it seems to cater to experienced participants although talented high school students have done very well. It deals with the participants IMAGINATION. It is NOT under the control of outsiders. Each student is in charge of his/her own work. I believe the Drawing Circus is a worthy and positive part of our society as a creative free flow of ideas. It is about BEING CREATIVE, staying with it and having an EXPERIENCE.

A Drawing Circus ® is a rendezvous with the unexpected • a creative encounter and a jump from the ordinary • an attitude • it is a continuous drawing work-out in an experimental studio setting that may favor chance operations • it is something to experience and interpret • it is an immersive experience • there is nothing to understand, it is work where you can just go and get lost • there are performing artists from theater and dance, costumed and nude • music and energy will fill the air • lighting will vary from bright and colored to dark • we celebrate messiness and contraryness • the evening will make you feel that you are completing, with your imagination and drawings the performance that is happening in the room • one sessio is three hours outside your comfort zone in a supportive and creative studio • depending on your involvement, this can be a perception- twisting, walk-in environment • the goal is to create a sense of adventure; there is always a lot to see, and drawing it helps you see it.

May 11 & 12 from 1-4pm / January 2013



Thank You!