applying for future internship

I have wrote a letter to a former boss, who works at Hawthorne Cedar Kwolls in Hawthorne New York, asking for a position as assistant art teacher. The letter reads:

 I wanted to get in touch with you, because I graduate college this Spring. I wonder if you could help me get an internship at Hawthorne Cedar Knolls or one of the other schools where you are now working. I'm interested in working during the summer and potentially into the next school year. Being a one-to-one  helped me to understand a few of the students a lot better and gave me the opportunity to handle their specific needs. This time around, I am interested in applying for a job as assistant or full time art teacher at one of the schools. I am still extremely interested in working with special needs children especially within the arts. I feel that I have a lot to offer the children and staff using my four year
s of art school experience. I have been exposed to all different types of mediums and materials within an art class setting and believe that my skills of basic art terminology and craft can really help these children succeed. I would also be interested in the possibility of working with the children through theatre, as this is also an area in which I have quite a lot of experience.  I will be in Croton from Dec. 24th-Jan 7th and would be very happy to meet with you or visit one of the schools and talk about the possibilities of employment. Please contact me when you have a chance.

criteques

late semptember- studio visit with Kim Russo and Robert Jumper
late semptember-  group critique with Robbie Ball, Max Moore
October- group critique with Jenna Delorenzo, Claire Altamari
Late October- studio visit with Micheal
Late October- criteuqe and studio visit with Micheal and painting class
Early October- studio visit Jill Lerner, group crit with  Jay Van Dam, Jeffrey heart
Late november- group criteque with Nathan, Racheal Robbins, and Trevor
December- individual criteque with Robert Jumper
December- individual critique Rachel Robbins
December- Individual with Milli Patranelli

"How Marina Abromavic's Red-Velvet Rope at the MoMA Works" Mark Byrne

 Marina Abromavic's performance at the Moma, is discused by Mark Byrne. He talks about "The Artist is Present" and how the line to see the artist is, "anything but democratic." He explains that VIP guests have priority in line over public guests. Celebrities the Bjork and other famous singers were able to beat the line and even bring there own entourage ahead of everyone else who waited for hours and hours. This kind of special tratment is not surprising, but i was surprised that Abromavic didnt have more of a say over it. Her work is very provactive and in your face, so i expected her to want more ordinary people to come instead of VIP guests.

Does the poilitics of line have any deeper meaning to the artist and her work?

Is Mark Byrne suggesting that it would be more fair if everyone, celebrities included, had to wait in the back of the line?

How much time did some of the VIP guest sit with the artists?

"Antagonism and Relational Aesthetics" Claire Bishop

In this article, Claire Bishop explains Bourriaud's interpretation of relational aesthetics by summarizing his point of view.  The works of Liam Gillick and Rirkrit Tiravanija have a lot to do with this topic because Bourriaud uses them as prime examples of artists that work with relational aesthetics. Bishop also brings up the work of Thomas Hirschorn and Santiago Sierra. She states that the work of Hirschorn and Sierra is more successful due to its political focus and the fact that it is more democratic.

Rumsfeld's Unkown Known, or Iraq's Initiation into Democratic Practice by Slavoj Zizek

Slavoj Zizek's article covers American  torture, and torture methods. He explaines that there is a "total lack of guilt by way of remaining ignorant of what is known." He continues to explain that as Americans, we are educated enough so to know that torture is exhisting but we chose to do nothing about it. Zizek compares American torture to Iraqi torture, He calls the Iraqi approach "anonymous" and uses the word "brutalism." In the end of the article he explains how America is the most dangerous kind of power because it takes the position of "merely defending itself." 

What are the ramifications of torture that occurs in America?
What are the specific laws that deal with torture?
Can verbal harassment in prison be considered a form of torture?

Among the Inept, Reaserchers Discover, Ignorance Is Bliss Erica Goode

Erica Goode illustrates the research of Dr. Dunning, a professor of psychology at Cornell University. He has been working hard, on trying to  prove that people that are not good at something usually believe that they are, while people that are good at something usually believe that they are not. I believe this theory to be true based on my own experience with other working artists at school, including myself. Sometimes its hard to recognize success within yourself even when other people see it. And when someone is bad or unsuccessful at something, it's easier to ignore that and pretend to be content with that bad piece of work. Therefore, ignorance is bliss.

Can bliss be achieved without ignorance?
What sort of ignorance is present in the art world today?
How can we avoid ignorance all together?

"Who Needs a White Cube These Days?" Roberta Smith

Roberta Smith discusses how various groups and gallery owners have found different ways of dealing with generic "white cube" gallery space. She explains that some spaces are successfull in selling work, while others do not sell work at all even when the work has potential. In the end, she explains that although many have approached the gallery differently, these examples do not usually survive for very long. Gallery spaces are important in there appearances. Sometime the "white cube" aids to the success of the work in it, other times it has no relevances and functions only as a space to hold the work.

What kinds of galleries in New York break the generic "white cube" look?

How does a gallery become alternative space?

Is it important for galleries to be transparent?