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“There is a huge boom in the elderly population, not just in New York City but everywhere — we’re all living longer,” Kristin Sakoda said by way of introducing the importance of programs that address the “cultural, social, and economic life” of the aged. Sakoda is the program manager of one such effort: Seniors Partnering with Artists Citywide (SPARC), a residency administered by the city’s Department of Cultural Affairs (DCA) in partnership with local arts councils in each borough and funded by the Department of the Aging.
The initiative, which brings artists into New York City’s senior centers, is entering its fourth year, with a call for proposals due at the end of September. The six-month residency places 50 teaching and practicing artists in as many senior centers across the five boroughs, and last year attracted applications from 130 artists, according to Sakoda.
Begun with a pilot in 2010 that saw 12 artists in residence at nine senior centers, the program received $200,000 in National Endowment for the Arts funding the following year to expand the program to its present size. Since 2012, however, it has been funded by the City’s Department for the Aging and run under the auspices of the DCA, bringing practitioners ranging from chefs to choreographers into municipally backed senior centers.
Though the focus is on delivering a program for resident seniors, some artists have been able to develop independent projects based on their participation in SPARC. “Working with seniors very much had a reciprocal effect on the artists’ practices,” Ryan Max, deputy director of external affairs at the DCA, said.
Last year, for example, participating dance company De Novo (led by choreographers Ian Wen and Irina Kom) included seven seniors from the Astoria senior center where they had been in residence when they staged Houseguest at the Martha Graham Center for Contemporary Dance.
Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.
There is not a hint of psychological trauma in Astrup’s art, despite the parallels in his own experience to that of his countryman Edvard Munch.
The Greenberg Steinhauser Forum in American Portraiture Conversation Series continues with presentations on Hung Liu, African Methodist Episcopal aesthetics, and the Oak Flat conflict.
Inspired by her foremothers’ recycling of materials, Jan Wade creates altarpieces, shrines, and memory jugs out of found objects.
This retrospective of the work from a São Paulo photo club is a reminder that Modernism was not solely a European phenomenon.
After students around the world responded to online classes by the historic art school, the League launched e-telier™ to elevate its digital learning experience.