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International Lab for Art Practices

Spring quarter: March 29 – June 16/ meets weekly

Enrollment deadline: March 18

About

The International Lab for Art Practices (ILAP) is a distinct and solid online program organized as a consistent alternative for education in Fine Arts. Through exchanges and critical discussions in contemporary art practices, the program fosters the creative and professional development of artists, curators, critics, researchers, educators, and anyone in the contemporary visual arts field working in an interdisciplinary environment.

The program focuses on the development of an international career through reflections and activities on different modes of practice and the examination of various contexts worldwide. During each quarter, participants will experience critical mentorship and be given assignments devoted to their professional development while working on a proposed project. These include a series of theoretical discussions and exercises tailored according to each participant’s interests and aspirations, as well as live sessions with experts.

Photo: Humberto Sandoval, Asco, 1975.

Overall themes

PROGRAM STRUCTURE
3 CYCLES/each quarter

The program is structured to reflect a complete cycle of work––participants will engage in a variety of activities ranging from theoretical discussions and research to the development of work based on a proposed project.

Each quarter covers the following:

Duration: four weeks. In the first four weeks of the program, we will focus on discussions about international art practices. Some of the topics we will address are:

    • Introduction to international art practices and debates on contemporary art today
    • Contemporary art spaces: types, models, and agents
    • Forms of market circulation 
    • Open calls and funding opportunities

Duration: four weeks. In this cycle, we will elaborate on the elements of the project proposal that will be developed in the program’s next stage. Over these four weeks, we will discuss topics such as:

    • Artist statement and biography
    • Portfolio
    • Online presence: website and social media 
    • Networking

Duration: Four weeks – In the final stage, participants will focus on the elaboration of their projects, and we will bring questions such as: 

    • Project planning and production
    • Project description
    • Potential collaborations and partnerships
    • Forms of exhibition

Each year, participants will be able to present works developed throughout the program in three exhibition opportunities. These exhibitions will happen in the spring or fall quarters.

Methodology

A 'community-based' versus 'individual-centered' education:

At Uncool Artist, we believe that creating strong and lasting bonds is key to a sustainable career. Our focus is on cohesive work and collaborative growth at the expense of stimulating a romanticized view of "the artist” or "the curator” as figures in the art world. For us, a welcoming and interdisciplinary community is the primary way to professional, financial, and emotional fulfillment for all those involved, while respecting individualities and specific necessities without losing sight that we are stronger when we collaborate.

Lecturers

As part of the program, participants will be able to hear from experts in various areas of contemporary art practice. A selection of lecturers such as artists, curators, critics, gallery owners, and other art professionals will join us to talk about relevant themes in contemporary art based on their work and experience. The sessions will take place online via video conference and will be moderated by our program coordinators.

2021 Spring Quarter Lecturers

Billy Gerard Frank

Billy Gerard Frank (born in Grenada) is a multi-disciplinary artist, and autodidact living in New York who works at the intersection of art, filmmaking, design, and activism. He was recently selected to represent Grenada at 58th La Biennale di Venezia 2019. Frank’s practices mine personal, political, and social histories and challenge dominant and normative discourses around them. His research-based work addresses issues of migration, race, and global politics, relating to gender, minority status, and post-colonial subjects.
His collected, altered and own mix media artworks and films have been exhibited in groups and solo shows in galleries and institutions like The Brooklyn Museum (2020) and is in several private collections and institutions like National Academy Museum of Fine Arts and Design. Frank is also the founder of Nova Frontier Film Festival & LAB that showcases films and arts from and about the African Diaspora, the Middle East, and Latin America.
Since 2005, after studying filmmaking and media arts at The New School University, and New York University, Frank has worked as a writer, director, and production designer, in both narrative and documentary films that were screened at international film festivals, like Sundance and Berlinale. Frank currently lives and work in Brooklyn, New York.

Laura Raicovich

Laura Raicovich is a New York-based writer and curator currently completing a book on museums, cultural institutions, and the myth of neutrality titled Culture Strike: Art and Museums in an Age of Protest (Verso 2021). She also serves as interim director for the Leslie Lohman Museum of Art. In 2019 she was a Rockefeller Foundation Fellow at the Bellagio Center, and was awarded the inaugural Emily H. Tremaine Journalism Fellowship for Curators at Hyperallergic. While Director of the Queens Museum from 2015 to 2018, Raicovich co-curated Mel Chin: All Over the Place (2018), a multi-borough survey of the artist’s work, and co-edited Assuming Boycott: Resistance, Agency, and Cultural Production (2017), an anthology of essays about artists’ diverse efforts to challenge institutional and systemic oppression globally. Raicovich, who launched Creative Time’s Global Initiatives in 2012, was formerly Dia Art Foundation Deputy Director, and served at the Guggenheim and Public Art Fund in various capacities. She lectures internationally and in 2019-20 co-curated a seminar series titled Freedom of Speech: A Curriculum for Studies into Darkness at the New School’s Vera List Center for Art and Politics, from which she is co-editing an anthology of writings on the subject (forthcoming 2021).

Omar López-Chahoud

Omar López-Chahoud has been the Artistic Director and Curator of UNTITLED. since its founding in 2012. As an independent curator, López-Chahoud has curated and co-curated numerous exhibitions in the United States and internationally. Most recently, he curated the Nicaraguan Biennial in March 2014. López-Chahoud has participated in curatorial panel discussions at Artists’ Space, Art in General, MoMA PS1, and the Whitney Museum of American Art in New York City. López-Chahoud earned MFAs from Yale University School of Art, and the Royal Academy of Art in London.

2021 Winter Quarters Lecturers

Chloë Bass

Chloë Bass is a multiform conceptual artist working in performance, situation, conversation, publication, and installation. Her work uses daily life as a site of deep research to address scales of intimacy: where patterns hold and break as group sizes expand. She began her work with a focus on the individual (The Bureau of Self-Recognition, 2011 – 2013), has recently concluded a study of pairs (The Book of Everyday Instruction, 2015 – 2017), and will continue to scale up gradually until she’s working at the scale of the metropolis. Chloë has held numerous fellowships and residencies, most recently from the CUNY Center for the Humanities, Lucas Artist Fellows, Art Matters, Denniston Hill, the Recess Analog Artist-in-Residence, and a BRIC Media Arts Fellowship. Her projects have appeared nationally and internationally, including recent exhibits at The Studio Museum in Harlem, Kunsthalle Wilhelmshaven, BAK basis voor actuele kunst, Knockdown Center, The Kitchen, the Brooklyn Museum, CUE Art Foundation, Elizabeth Foundation for the Arts Project Space, The Southeastern Center for Contemporary Art, the James Gallery, and elsewhere. Reviews, mentions of, and interviews about her work have appeared in Artforum, The New York Times, Hyperallergic, The Brooklyn Rail, BOMB, Temporary Art Review, and Artnews among others. Her monograph was published by The Operating System in December 2018; she also has a chapbook, #sky #nofilter, forthcoming from DoubleCross Press. Her short-form writing has been published on Hyperallergic, Arts.Black, and the Walker Reader. She is an Assistant Professor of Art at Queens College, CUNY, where she co-runs Social Practice Queens with Gregory Sholette.

María Elena Ortiz

María Elena Ortiz is a curator at PAMM, where she is spearheading the Caribbean Cultural Institute (CCI). At PAMM, Ortiz has organized several projects including The Other Side of Now: Foresight in Contemporary Caribbean Art (2019); Latinx Art Sessions (2019); william cordova: now’s the time (2018); Beatriz Santiago Muñoz: A Universe of Fragile Mirrors (2016); Ulla von Brandenburg: It Has a Golden Sun and an Elderly Grey Moon (2017); Firelei Báez: Bloodlines (2015); and Carlos Motta: Histories for the Future (YEAR). Ortiz has contributed to writing platforms such as the Davidoff Art Initiative, Terremoto Magazine, and others. A recipient of the Colección Patricia Phelps de Cisneros (CPPC) and Independent Curators International (ICI) Travel Award for Central America and the Caribbean, Ortiz’s curatorial practice is informed by the connections between Latinx, Latin American, and Black communities in the US and the Caribbean.

William Cordova

William Cordova is an interdisciplinary cultural practitioner born in Lima, Peru. Lives and works in Lima, Miami, and New York City. Cordova’s work addresses the metaphysics of space and time and how objects and perception changes when we move around in space. He received a BFA from The School of the Art Institute of Chicago in 1996 and an MFA from Yale University in 2004. William Cordova has been an artist in residence at The Studio Museum in Harlem, American Academy in Berlin (Germany), CORE program at the Museum of Fine Art in Houston, Headlands Center for the Arts, Artpace, Skowhegan School of Painting & Sculpture, Lower Manhattan Cultural Council, among others. He has exhibited in the US, Latin America, Europe, and Asia. His work is in the public collection at the Whitney Museum of American Art, Guggenheim Museum (New York, US), Walker Art Center (Minneapolis, US), Harvard University (Cambridge, US), Yale University (New Haven, US), Museo de Arte de Lima (Lima, Peru), Ellipse Foundation (Cascais, Portugal), Perez Art Museum (Miami, US), La Casa de las Americas (Havana, Cuba), among others. Cordova participated in the 2008 Whitney Biennial, 2010 Museum of Modern Art/PS1 Greater New York exhibition, an overview presentation of contemporary artists whose contributions to the arts have had a significant influence in society. He also participated in the highly anticipated “Pacha, Llaqta, Wasichay” exhibition at the Whitney Museum of American Art and the 13th Havana Biennial (Cuba) in 2019. Recent group exhibits include “on the lower frequencies I speak 4U (alquimia sagrada)” at Sikkema Jenkins (New York, US) in 2020. Forthcoming solo exhibitions include Galerie Florian Schonfelder (Berlin, Germany), Columbia University (New York, US), and Livia Benavides 80M2 (Lima, Peru) in 2021. Cordova is co-curator of the Greenwood Centennial (Tulsa, US) and the 2020 Prism Art Fair, a non-profit project focused on African Diaspora artists. He also founded the Miami AIM Biennial in 2020.

Advisers

Each quarter, participants will receive individual critical mentorship by advisers who will discuss participants' research and projects during virtual studio visits. The selection of advisers is composed of artists, researchers, writers and curators who are actively engaged in contemporary art practice. Sessions last for 40 minutes online via video conference and will be moderated by our program coordinators.

2021 Artist's Advisers

Aliza Edelman

Aliza Edelman, Ph.D., is an independent curator, art historian, and editor. Her research interests span the modern Americas and the Middle East, with emphasis on the art of the postwar United States and Brazil, the transnational histories of abstraction and concretism, and gender and feminism. In New York, she has organized two historical surveys on Judith Lauand, a pioneer of postwar Latin American concrete abstraction and the only female member of São Paulo’s Grupo Ruptura in the 1950s. Selected scholarly writings are included in the following volumes: Women of Abstract Expressionism (Yale University Press, 2016); American Women Artists, 1935-1970 — Gender, Culture and Politics (Ashgate Press, 2016); and Constructive Spirit: Abstract Art in South and North America, 1920s-1950s (Newark Museum, 2010). She recently published, with Alison Poe, “Eva Hesse’s Laocoon: Mitigated Antiquity and Specters in Space,” in Woman’s Art Journal (Spring/Summer 2020). She earned her doctorate in modern and contemporary art history from Rutgers University, New Jersey, completing the certificate program in curatorial studies, and her BA from Smith College. Her dissertation focused on the material and popular culture related to the rise of the postwar Modern Woman and Abstract Expressionism. She is the Book Review Editor of Woman’s Art Journal.

Andrew Freiband

Andrew Freiband is an artist, film producer, and research-artist. He is the founder and director of the Artists’ Literacies Institute (ALI), an experiment in arts education and engagement that helps artists reframe their artistic practice as research, and then connects them to new possibilities for intervening meaningfully in social, ecological, political, civic, and economic systems.
As a critique of the instrumentalization of artists as only communicators or servants of the marketplace, the ALI seeks to discover new, more meaningful roles for artists in their society and communities.
He holds more than two decades of extensive field experience at the many intersections of art, education, media, film, journalism, literature, social impact, international development, research, and strategic design.

Elisa Wouk Almino

Elisa Wouk Almino is a writer, literary translator, and editor. She is the senior editor at Hyperallergic and the editor of Alice Trumbull Mason: Pioneer of American Abstraction (Rizzoli, 2020). She teaches art writing and translation at UCLA Extension and Catapult. 

Ilana Harris-Babou

Ilana Harris-Babou’s work is interdisciplinary; spanning sculpture and installation, and grounded in video. She speaks the aspirational language of consumer culture and uses humor as a means to digest painful realities. Her work confronts the contradictions of the American Dream: the ever unreliable notion that hard work will lead to upward mobility and economic freedom.
She has exhibited throughout the US and Europe, with solo exhibitions at The Museum of Arts & Design and HESSE FLATOW in New York, USA. Other venues include The Whitney Museum of Art, New York, USA; The Studio Museum, New York, USA; Sculpture Center, Queens, USA; Kunsthal Charlottenborg, Copenhagen, Denmark; Kunsthaus Hamburg, Hamburg, Germany; Casa Encendida, Madrid, Spain; West Space, Melbourne, Australia; among others.
She has been reviewed in the New Yorker, Artforum, and Art in America, among others. She holds an MFA in Visual Art from Columbia University and a BA from Yale University.

Julian A. Jimarez Howard

Julian is a curator, artist, writer, and arts administrator based in New York City. His conceptual focus is on the many points of friction between intention, articulation, and reception. He was the founder and co-director of OUTLET Fine Art, an innovative gallery in Brooklyn from 2012 – 2016 as well as roving curatorial project Associated Gallery. He has worked on over 80 exhibitions with more than 300 artists, and his projects have been reviewed in places like New York Magazine, The Creator’s Project, Cool Hunting, The New York Times, and Art in America. His writing has been featured in various publications like Garage Magazine and Whitehot Magazine of Contemporary Art. He currently manages the Corporate Art Program for Johnson & Johnson. 

Julie Dumont

Julie Dumont (Brussels, 1974) started her activities as an independent curator in São Paulo (Brazil) in 2014. She entered the Fita Tape gallery as a partner in 2015, then created the curatorial initiative “The Bridge Project” in September 2017. The Bridge Project mixes artists from different stages of their career and countries, focusing on giving more visibility to young or under-represented artists through exhibitions in commercial and non-commercial spaces in São Paulo, Brussels and New-York mainly. In this frame, she curated “Os Hallucinés” with Thomas Perroteau, Julien Nagereau, and Theodore Erreira Guyer (ISLA, São Paulo, September 2018); “O que a Imagem Não Revela” with Marcelo Amorim, Nino Cais, Denise Gadelha, Gordana Manic, Ivan Padovani, André Passos, and Marco Maria Zanin (ISLA, São Paulo, November 2018); “O Maravilhamento das Coisas” with Leda Catunda, Mano Penalva, Daniel Barclay, Sergio Pinzon, Mayla Goerisch, Bruno Brito, Mariano Barone, Matheus Chiaratti, Martin Lanezan, and Tatiana Dalla Bona (Sancovsky Gallery, São Paulo, March 2018); “Campo Aberto” with Charlotte Marchand (Sancovsky Gallery, São Paulo, May 2018); “Re-Que-Bra” with Mano Penalva (Frédéric de Goldschmidt Collection, Brussels, June 2018); “Hasta Tepito” with Mano Penalva (B[X] Gallery, New York, August 2018); “A Matéria da Memória” with Guita Soifer and Inna Cymlich (Soma Gallery, Curitiba, October 2018); “Nós e Eles” with Nicolas Bourthoumieux (Projeto Fidalga, São Paulo, November 2018); “Umbigo do Desejo” with Matheus Chiaratti at Quadra gallery (Rio de Janeiro, April 2019); “Tropical Gardens” with Alice Quaresma, Daniel Barclay, and Mano Penalva at Le 26 BY (Brussels, June 2019); “Escape Entrópico” with Manuela Costa Lima at Quadra (Rio de Janeiro, August 2019); “Sob o Céu Estrelado” with Lin Yi Hsuan at Projeto Fidalga (December 2019); and “O Efeito Tyndall” with Adriana Affortunati, Alexandre Brandão, C.L. Salvaro, Jurgen Ots, and Nicolas Bourthoumieux (Central Galeria, February 2020 – published on Terremoto IG). She was invited as a resident curator at Residency Unlimited (NYC, August 2018).

Project Opportunities

Participants are encouraged to present their projects to the public, either virtually or in person. The purpose of these activities is to offer opportunities for experimentation and to create a platform for the inclusion of participants in the art circuit in an effective and sustainable way. Projects will be planned in collaboration with or guided by our research and curatorial team.

Opportunities for presenting projects at Uncool Artist:

Uncool Artist Website and Social Media

Participants will have a dedicated page on the Uncool Artist website and will be featured on our social media. As we look forward to supporting professional development, participants will also be encouraged to write texts to be published on our website and social media platforms. 

Further details

With a customized blend of platforms and online education methodology, Uncool Artist offers a unique approach to online learning practices based on over 20 years of the school founders’ combined experience. The program is organized in quarters, with 12 weeks of meetings and activities. Ideally, each participant will enroll in all 4 quarters for deeper professional development.

Dates

– Winter Quarter 2021: January 4 – March 24
– Spring Quarter 2021: March 29 – June 16
– Summer Quarter 2021: July 5 – September 22
– Fall Quarter 2021: September 27 – December 15

Engagement

We will be meeting weekly throughout each quarter–with additional programming made up of monthly lectures and studio visits.

Group Meetings:
Weekly
Wednesday
1:00 pm–4:00 pm EST

Lectures:
Once a month (TBD)
Mondays
1:00 pm–4:00 pm EST

Online Studio Visits:
8 visits per quarter
Held on Mondays
40 minutes each visit – Scheduled times between 1:00pm and 4:00pm EST

How to enroll

ILAP was created for artists, curators, critics, researchers, educators, and anyone in the cultural sector aiming to pursue an international career in the arts. It proposes an alternative to master’s degrees and serves as a platform for those seeking to continue engaging in critical discussions about the art world today and aiming to expand their networks.

To enroll in the program, please send us an email with:
– Your first and last name
– Pronoun
– Address (please include city, state, country, and zip code)
– Phone number
– Link to your website (if available)
– Link to your Instagram profile (if available)
– A brief statement (500 words)
– Portfolio (up to 10 pages or 10Mb)

Send your email to contact@uncoolartist.com with “Enrollment – Uncool Artist ILAP USA” in the subject line.

Once we receive your materials, we will contact you with further information about the enrollment process. Tuition for each quarter is USD 2,325.00 (full). We will consider scholarships case by case. Apply, and we will schedule a meeting.

Interviews will start on February 15th. ILAP accepts up to 10 participants per quarter, so the order of application counts. Do not wait until the last minute! This is not a selection process, but the interview is a significant moment for the coordinators to learn more about you and your goals with the program prior to your enrollment. Send your material as soon as possible and enjoy the conversation with us.

Certificate

Participants in the program will receive a partial certificate (equivalent) at the end of each quarter and a complete certificate at the end of the whole program, accompanied by a record of achievement.

Language

All meetings, lectures, and studio visits will be in held English. Participants must be fluent in reading, writing, understanding, and speaking English.

Coordinators

INSCREVA-SE JÁ

Matrículas abertas até 16 de outubro

Prazo final para envio de candidaturas a bolsas de estudos: 11 de outubro. Consulte regulamento no F.A.Q.

R$ 640
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