Associate Professor of Art
She has previously taught at SUNY, CUNY, RISD, Columbia, Parsons, Amherst College, and the Ox-Bow School of Art in addition to extensive undergraduate and graduate Visiting Artist engagements throughout the U.S. and in Canada.
Rafferty is an interdisciplinary visual artist based in New York. Selected exhibitions include the 2014 Whitney Biennial, New York, MOMA/PS1, The Kitchen, Artists Space, FLAG Art Foundation, The Aspen Museum of Art, The Jewish Museum, Portland Institute for Contemporary Art, White Flag Projects, ARTSPACE, NZ, in addition to dozens of commercial galleries. Her website is located at sgrstudio.info.
From 2005-2007, she was the co-editor of North Drive Press, and her writing on art and comedy has appeared in numerous publications, exhibition catalogues, and online. A catalogue of her 2011 solo exhibition - Remote - at the Rachel Uffner Gallery where she is represented is available via Distributed Art Publishers. Her work is in the permanent collections of the Museum of Modern Art, NY, the Whitney Museum of American Art, NY, and the New Britain Museum, CT.
This course is a rigorous research project in the possibilities, meanings, histories, practices and contemporary meanings of drawing. It functions as an introduction to different ways drawing is used in contemporary art making. As such, we will be doing different types of investigations weekly. Through investigations into the history of drawing practices- with particular focus on its role in the liberal arts- students will develop a facility with materials, methods, concepts, and critique. Collaboration and shared findings are highly encouraged. In addition, students will be asked to do two essential drawing/artmaking activities alongside weekly projects: 1. maintain a strong sketchbook practice, and 2. develop an individual and personal visual vocabulary of concepts, themes, topics, subjects to be used in the creation of (drawing) artwork. Reading, writing, field trips, and oral critique are essential parts of the course as are the foundational activities of drawing and looking. This class will be challenging and useful for students at all levels of drawing experience, but is designed as a drawing foundation.
This is a hybrid studio-seminar course for students in the studio arts and photography. The course will critically engage with many prevalent themes shared among contemporary visual arts of all disciplines. Weekly student presentations and adaptive critiques will take place alongside reading discussions, screenings, and artist presentations and at least one field trip. Students will develop their art-making/photography-making practice in dialogue with expanded contemporary art practices. This course is for intermediate students in all disciplines who are interested in incorporating a thematic approach to their art making.
This course is a foundational art-making course, an update of a traditional optical color theory course or section in 2D foundations. In addition to the basics of color theory, we will consider the cultural and conceptual meanings of specific colors, and other seemingly neutral design elements such as stripes and patterns. Instead of approaching these subjects from a formal angle of relations, we will investigate how colors can be approached on the level of psychology, anthropology, literature, history, and art history. Projects will consist of physical and conceptual color theory exercises. Readings will include David Batchelor, Lisa Robertson, Herman Melville, Charles Baudelaire, Ludwig Wittgenstein, Michael Taussig, Colour after Klein. Students will be expected to make artworks weekly outside of class in addition to reading, while in-class time will be devoted to in-class exercises, material demonstrations, artist presentations, critiques, museum visits, and collaborative projects.
This course will foster the growth of independent voice and projects for Studio Arts concentrators in the late stages of Division II. As a preparation for sustained Division III work, students will cultivate methodologies and practices around consistently making, presenting, and honing work outside of the assignment paradigm. Select readings and discussions about what it means to be a studio artist in the 21st Century will complement regular group and partner critiques. Throughout the semester, students will develop work in whatever media, method, and approach they choose.
This is a foundational art-making course based on artist Paul Thek's "Teaching Notes," for a "4-D Sculpture" class at Cooper Union around 1980. The original class kicked off with a 177 line of questions and prompts including "Redesign a rainbow, Should art be useful?Useless?, and How can we humanize the city?" We will work on many of these questions, as well as new ones inspired by Thek's teaching and 21st century concerns. This class will be free-form but rigorous and demanding, students can expect to get their hands and their minds dirty through a fearless engagement with making art.
This course is structured around the tropes of comedic aesthetics: stand-up, slapstick, situations, puns, pratfalls, and pity. Taking aesthetic and thematic cues from comedians and funny situations rather than from a specific artistic medium or technique, students will utilize video, audio, photographs, diagrams, performance, and sculptural props to create and document new artworks that are informed by the aesthetics and practices of humor. Concurrent threads of pathos, performance, identity, and language will also be explored in examples of historical and contemporary artworks and performances. Weekly screenings and readings will be organized by type of comedic strategy or format (stand-up, slapstick, ensemble, wordplay, radio/audio recording, television, concrete comedy, skits/sketches, parody, impressions, etc.) In addition to major self-directed and collaborative artmaking assignments, assignments will include exercises, field recordings, and texts.
This course is a foundational art-making course, an update of a traditional optical color theory course in 2D foundations. Added to that, we will cover digital tools and basics for working with images. In addition to the basics of color theory, we will consider the cultural and conceptual meanings of specific colors, and their use in art. Instead of approaching these subjects from a formal angle of relations, we will investigate how colors can be approached on the level of psychology, anthropology, literature, history, and art history. We will discuss artmaking in college and in the 21st century. Projects will consist of physical and conceptual color theory exercises, and practical assignments aimed to get Division I students ready for success in college, specifically those interested in the visual arts and art studies. Students will be expected to make artworks weekly outside of class in addition to reading, approximately 6-8 hours per week, while in class time will be devoted to in class exercises, material demonstrations, artist presentations, critiques, museum visits, collaborative projects, and introductions to facilities, faculty, and staff around campus.