5/29/24 Classroom Visits In the Classroom with Maria D. Rapicavoli CMA Resident Artist Maria D. Rapicavoli shares how she relates to her students through her immigrant background. Click to expand media gallery. As part of CMA's Residency for Experimental Arts Education, Maria D. Rapicavoli teaches art to second-through-fifth graders twice weekly at Hudson Guild , one of the oldest community centers in Manhattan's Chelsea neighborhood. Below, visit Maria in her classroom and get a glimpse at her students' artworks. On Windows and Domestic Architecture. My students are very focused on houses and domesticity. When I first introduced the window project , they immediately honed in on the architecture of the home. My students live in the Elliott Houses surrounding Hudson Guild, so they all live in small apartments. That’s why they love to represent freestanding houses. This student made a house with a big garden. For her, the project was all about the outdoor space that she doesn’t have. For them, the idea of large windows means a beautiful house. When we were walking to the Whitney Museum, I pointed out the new condos with fully mirrored exteriors. I said, “This is not private. Everyone can see you! Would you really like to live there?” They were like, “Yeah of course! Look how big the windows are.” Even before we began discussing the window project, architecture played a big role in a lot of students’ projects. There was one class where I asked students what they wanted to make, and they immediately responded “a house.” They didn’t give it a second thought! On Abstraction and Representation. We did this face project last week. We were talking about perspective and points of convergence, so I showed them examples of multi-faced sculptures and cubism. We looked at images of Bust of Sylvette , the statue near Washington Square Park. They were confused by it at first, but then they started to create some really amazing works. Isabelle and Abby are twins, and they made this work together. It’s functional, like a bracelet. Isn’t it wonderful? It’s also a double face. This work is an attempt to move away from representation. First the student made a face, but then she covered it with color. She wasn't happy with a realistic representation, so I reminded her that cubism was not about being realistic, but about different points converging. Mason was not really into building a face sculpture, but he was very excited about making a multi-faceted space. This is a guy with a phone, and these are all his friends. Mason includes many different characters in his work and always makes drawings of them. This is a project that Shannon has been working on for a while. It was part of the papier-mâché project , but she wanted to make something very ambitious. It’s a large dress, and we’re going to put a mannequin body on top. These slips are from the project where students identified something that they want to bring into their lives . Look how detailed this one is. It’s an iPhone 14, which you can tell because it has three lenses! On Brothers and Sisters. There are always two or three students who will stay for the second class. I let them work independently and keep the cabinet door open so they can choose their art materials. There is a brother and sister that I hope will go on to become artists. They are very, very talented. The sister is constantly asking questions and is very critical and curious about art. She will ask me “do you call it art?” Meanwhile, the brother is always trying to build things. He keeps asking me for solutions to make his sculptures work. I have been buying different materials and tape because he’s been so curious. On Age Differences and Creativity. I have found that my students respond best when I give them a specific thing to make. The telescope project was an example of one of those projects — students had a very clear idea of what they wanted to make. I also notice a major difference between the 2nd–3rd graders and the 4th–5th graders. The 2nd–3rd graders are very open with their creativity. They also influence each other a lot. If one student is using purple, they will all use purple. The 4th–5th graders are more reluctant to use their creativity. They naturally gravitate towards representation, but I have been introducing them to abstract art all year long. They were very skeptical about abstraction at the beginning of the year, but now they are really into it. My teaching experience is mostly with kids that are either younger or older than my current students. It’s interesting to see how my students experience art. They are more self-conscious than toddlers or younger kids. At the same time, they’re still kids, so they like to play and have fun. Of course, they want to look cool, and don’t always want to show their friends that they actually like making art! On Exploring the Chelsea Neighborhood. The field trips to galleries and museums have been an incredible experience, not just for my students, but also for me. I’m used to teaching kids who have been exposed to art. However, my students at Hudson Guild had no idea what a museum or gallery was. They had never been to the High Line , even though it’s minutes away from where they live. Now that they’ve had these experiences with art, they can go back for free, whenever they want. I think it’s amazing. It has made my whole experience as an Artist in Residence. They are also starting to see art wherever they go. When we are walking to a museum or gallery, they’ll point to something on the High Line and ask “Ms. Maria, is that art?” They are seeing and understanding that art is not just about decoration. It’s not just paintings that you make in art class. It’s something you can experience outside, and it’s all around them. On Relating to Her Students. I learn from my students every day, because they challenge me on many levels. English is not my first language, and they use a lot of slang that I don’t understand. Our communication is often built on misunderstandings. Also, as a foreigner, my students don’t always know how to relate to me. When we first met, they knew there was a cultural difference between us, even though I have been in the United States for a long time. Many of my students are minorities, and they don’t realize that I am also part of a minority in my own country. I’m Sicilian, so I have experienced racism my entire life, which can be hard for Americans to understand because it’s not based on skin color. They have very derogatory names for people from the South of Italy, and I have been called those words many times by people from my own country. However, in America, I am very privileged because of the color of my skin. My students are starting to understand that with me. They recognize that I’m different from them, yet there is something connecting us. My students are not very familiar with Italy or Italian culture. They do love hearing stories about Mount Etna, the volcano that I grew up next to. I’m from Catania, Sicily — an area surrounded by beautiful nature. New York City is quite the opposite in terms of setting, but being in a big city has a lot of advantages that I didn’t have growing up. I tell my students that I grew up in a small town that was full of nature, but had zero art. In contrast, they have the opportunity to see amazing art, right here in their neighborhood. It’s very special for them. I hope they will start walking towards the galleries on 10th Avenue and keep exploring their neighborhood. Interview and photography by Kerry Santullo for Children's Museum of the Arts NEXT Emergency Exhibition: New Training for Future Artists and Art Lovers Take a Virtual Tour on Bloomberg Connects Donate Now

Residency for Experimental Arts Education: Virtual Information Session Friday, June 30, 2023 4 PM to 5 PM Virtual Media Inquiries: adam@culturalcounsel.com RSVP Artboard 2_edited.jpg Prospective applicants for Children's Museum of the Arts' Residency for Experimental Arts Education are invited to join a free virtual information session. Access link will be shared upon registration. About The Residency for Experimental Arts Education Children’s Museum of the Arts’ Residency for Experimental Arts Education imagines what can happen when an artist educator is given the platform and support to realize an ambitious arts curriculum. Each Resident Artist is paired with one of our three NYC-based partner schools and CBOs — Hudson Guild in Chelsea, Children’s Workshop School in the East Village, and P396K Sid Miller Academy in Brownsville — for the duration of the academic year. Resident Artists will create and implement a long-form curriculum, build relationships between young artists and their local arts community, create an original work of art for permanent installation within the school, and publish their research along the way. Artists are invited to apply through July 14, 2023 . Learn More: cmany.org/residency Apply: https://forms.gle/SaVGEt4NDGzqDM4V7 Questions? Contact residency@cmany.org Donate Now

Open Studio: Texture and Touch Free Community Artmaking Thursday, January 25, 2024 3 PM to 5 PM Pier 57 Pier 57, 11th Avenue, New York, NY, USA Media Inquiries: adam@culturalcounsel.com RSVP Shinique Smith, Soul Elsewhere, 2013, artist’s denim jeans, bleach, ink, fiberfill, and rope, 56 x 18 x 12 in. Photo by Jason Mandella. Yinka Shonibare, Woman Shooting Cherry Blossoms, 2019, unique fiberglass sculpture, Dutch wax printed cotton textile, bespoke hand-colored globe, steel, brass, zamak, wood, resin, and silk, 244 x 193 x 436 cm © Yinka Shonibare CBE, by Stephen White. Art calls upon viewers to engage with their senses, yet there is one sense that we often cannot use when viewing works in museums or galleries – touch! Artists will look at textually intriguing works by Shinique Smith and Yinka Shonibare , both of whom use materials that are personal to their practices but familiar to the public. Artists will reflect on their favorite textures and fabrics and create their own abstract sculptural paintings that evoke similar moods. About Open Studio Open Studio at Pier 57 invites children to explore hands-on projects across a wide range of artistic disciplines. Each session introduces children to the elements and principles of art while surveying artists across generations. Specially designed for children on the Autism Spectrum but welcoming to all, each session is multisensory focused. Participants will explore art materials (such as clay, paper, or textiles) at their own pace alongside movement breaks and ample time for storytelling and social interaction. Open Studio is recommended for ages 12 & under. What To Expect This activity takes place in the Community Classrooms at Pier 57, located just beyond the food hall. The program’s curriculum is rooted in accessible artmaking practices and Children’s Museum of the Arts’ pedagogy of Look, Make, Share. Take a peek at one of our virtual Inclusives lessons, catered to children with Autism, that families can try at home: here ! Please be advised this is not a dropoff session. While caregivers are welcome to stay with their children, families are encouraged to enjoy the extraordinary setting of Pier 57 in the adjacent Family Living Room for the duration of the session. Caregivers are advised to remain on the premises while children are working. Image Credit: Shinique Smith, Soul Elsewhere , 2013, artist’s denim jeans, bleach, ink, fiberfill, and rope, 56 x 18 x 12 in. Photo by Jason Mandella. Children's Museum of the Arts' Open Studio at Pier 57 is generously supported by the Horace W. Goldsmith Foundation, Cornelia T. Bailey Foundation, Ruth Foundation for the Arts, William Talbott Hillman Foundation, The LeRoy Neiman and Janet Byrne Neiman Foundation, Milton and Sally Avery Arts Foundation, Google Community Grants Fund,, Bloomberg Philanthropies, Harriet Ames Charitable Trust, The Cowles Charitable Trust,, and the Viniar Family Foundation. Donate Now

See More Children's Museum of the Arts 4/10/24 Artists in Schools Visiting the Whitney Biennial CMA Resident Artist Maria D. Rapicavoli visited the Whitney Biennial with her third graders from Hudson Guild. NEXT IN

See More Children's Museum of the Arts 10/13/23 Interviews "I realized then that art was a messy, imperfect, and deeply human practice that I wanted to pursue." Artist Michael Dayton Hermann on viewing Mike Kelley's work for the first time in the 90s. NEXT IN

See More Children's Museum of the Arts 6/28/19 News News Remembering Barbara Hunt McLanahan (1964-2019) New York Times Obituary Children’s Museum of the Arts is deeply saddened by the loss of its Executive Director Barbara Hunt McLanahan, who passed away on June 25, 2019, after a hard-fought battle with cancer. She was 55 years old. Appointed to the position of Executive Director in February 2013, Barbara was a driving force in the museum’s programmatic growth and its move to the 10,000-sq-ft state-of-the-art facility in SoHo. Most recently, Barbara conceived of and championed the museum’s 30th anniversary CIVICKIDS: Make Art. Make A Difference, a year-long series of exhibitions, community events, and digital art calls that foster civic engagement and shared community pride through artmaking. “Barbara was a remarkable leader, truly a force of nature: dynamic, brilliant, passionate and above all deeply devoted to her family, of which she considered CMA to be a part — and we, her. Barbara dedicated her career to nurturing and showcasing artists through her wide-ranging accomplishments as a curator and arts administrator on both sides of the Atlantic. Her position as the Executive Director at CMA reflected her steadfast belief in the transformative power of art and commitment to making art accessible to all. As she stated in a 2016 interview, “Side-by-side, non-judgmental art making encourages the celebration of individual identity, alongside empathy and respect for difference, for others who look different and who express themselves differently.” Barbara consistently fought for equal access to arts education, particularly for children from underserved communities, such as those in foster care, on the Autism spectrum, those living in transitional housing, and children with physical disabilities. Barbara will be remembered by all who knew her for her off-the-charts energy, personal warmth, contagious laugh, and rigor in fundraising and advocating for the arts. William Floyd, President of the Board of Directors at CMA, states, “Barbara was a remarkable leader, truly a force of nature: dynamic, brilliant, passionate and above all deeply devoted to her family, of which she considered CMA to be a part — and we, her. She has left an indelible mark that can be seen in every aspect of the museum.” Barbara is survived by her husband, Michael, and daughter, Jade. The Barbara Hunt McLanahan Memorial Fund at CMA, initiated by her family, will support the Arts for All Initiative, a program for children with disabilities. A memorial will be held at CMA on Monday, October 7, 2019 at 6:30pm. Born in Manchester in 1964, Barbara began her career in the UK, working at Camerawork Gallery + Darkroom in London (1992–96) before moving to New York in 1997. She worked first at Visual AIDS (1997–2000), and later served much-admired tenures at Artists Space (Executive Director, 2000–13) and Judd Foundation (Executive Director, 2006–13), before joining the CMA in 2013. Throughout her career, she made time to volunteer and shared her time and expertise with countless organizations and individuals. She sat on the boards of the African and Asian Visual Arts Archive (AAVAA), Leisure Services Committee for the Royal National Institute for the Blind in the UK, and the Satellite Academy’s Arts Benefit All Coalition Alternative (ABACA). She also participated in Godzilla, a coalition of Asian-American artists and curators. Barbara joined the board of the Jerome Foundation in Minneapolis in 2007 and later assumed the role of Chair of the Board of Trustees at the Carmago Foundation in Cassis, France in 2017. As a panelist and lecturer at museums, conferences, and universities all over the U.S. and the UK, she spoke consistently about strategies for emerging artists, promoted diversity and inclusion in the arts, and championed less commercial paths, such as artist-run alternative spaces. For her many achievements, she was named Chevalier de L’Ordre des Arts et des Lettres by the Republic of France in 2006. NEXT IN News

Open Studio: Trompe L'Oeil Free Community Artmaking Monday, April 1, 2024 3 PM to 5 PM Pier 57 Pier 57, 11th Avenue, New York, NY, USA Media Inquiries: adam@culturalcounsel.com RSVP Liu Bolin, Soft drinks, 2012. Courtesy of Danysz Gallery, Paris/Shanghai. Neil Gall, Yellow (Poussin), 2014, oil on linen. Courtesy of the artist and David Nolan Gallery. Célia Kogut, Mezzanine en trompe l'oeil (détail), 2009 Make art that deceives the eye in honor of April Fools Day! Artists such as Liu Bolin , Neil Gall , and Célia Kogut have perfected the art technique of trompe l’oeil to ‘fool’ viewers into believing that a three-dimensional artwork actually exists on a flat plane. Children will draw inspiration from these artists such as as they play with illusion and perspective to create works that are not quite what they seem. About Open Studio Open Studio at Pier 57 invites children to explore hands-on projects across a wide range of artistic disciplines. Each session introduces children to the elements and principles of art while surveying artists across generations and continents. Specially designed for children on the Autism Spectrum but welcoming to all, each session is multisensory focused. Participants will explore art materials (such as clay, paper, or textiles) at their own pace alongside movement breaks and ample time for storytelling and social interaction. Open Studio is recommended for ages 12 & under. What To Expect This activity takes place in the Community Classrooms at Pier 57, located just beyond the food hall. The program’s curriculum is rooted in accessible artmaking practices and Children’s Museum of the Arts’ pedagogy of Look, Make, Share. Take a peek at one of our virtual Inclusives lessons, catered to children with Autism, that families can try at home: here ! Please be advised this is not a dropoff session. While caregivers are welcome to stay with their children, families are encouraged to enjoy the extraordinary setting of Pier 57 in the adjacent Family Living Room for the duration of the session. Caregivers are advised to remain on the premises while children are working. Image Credit: Liu Bolin, Soft drinks , 2012. Courtesy of Danysz Gallery, Paris/Shanghai. Children's Museum of the Arts' Open Studio at Pier 57 is generously supported by the Horace W. Goldsmith Foundation, Cornelia T. Bailey Foundation, Ruth Foundation for the Arts, William Talbott Hillman Foundation, The LeRoy Neiman and Janet Byrne Neiman Foundation, Milton and Sally Avery Arts Foundation, Google Community Grants Fund, Bloomberg Philanthropies, Harriet Ames Charitable Trust, The Cowles Charitable Trust, and the Viniar Family Foundation. Additional support is provided, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. Donate Now

7/20/23 Reflections Viewing Yayoi Kusama at David Zwirner Summer camp students spent an afternoon discovering larger-than-life sculptures. Click to expand media gallery. Earlier this week, we had the pleasure of connecting two longtime Chelsea neighbors — David Zwirner and Hudson Guild — for a behind-the-scenes tour at Yayoi Kusama ’s blockbuster new exhibition, I Spend Each Day Embracing Flowers . Hats off to Bloomberg Arts intern Eva for capturing these fun shots — color coordinating not intentional but very welcome! Our deepest gratitude to everyone at David Zwirner for facilitating such a unique and memorable experience for these students. NEXT Emergency Exhibition: New Training for Future Artists and Art Lovers Take a Virtual Tour on Bloomberg Connects Donate Now

See More Children's Museum of the Arts 10/5/23 Interviews "Doodling on other kids’ binders or drawing in class helped me form an identity and connect to others." Artist Alexandra Rubinstein on using art to transcend language and becoming an artist during her undergraduate years. NEXT IN

See More Children's Museum of the Arts 10/5/23 Interviews "The more you like what you do, the stronger the work will be." Artist Jessica Alazraki on the first drawing class she ever took and representing Latinx artists. NEXT IN