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Articles by Joe Fusaro
The Visual Experience
Our classic introductory visual arts curriculum has been completely updated for today’s high school students! In this comprehensive new edition, you will find diverse contemporary art, art from cultures around the globe, postmodern and traditional elements and principles, media arts, and all-new studios. The Visual Experience continues to provide students with a solid foundation in the visual arts with Essential Questions to focus learning and inquiry throughout the book.
The Visual Experience
Print + Digital The Visual Experience, 4th Edition The Visual Experience is a comprehensive introductory visual art curriculum for grades 9–12 that integrates art criticism, aesthetics, art history, and art production. The fourth edition includes diverse contemporary art, postmodern principles, elements and principles, digital media, and all-new studios.
No Preservatives | The Science and Ethics of Contemporary Art Conservation: A Discussion with Tom Learner
Tom Learner is senior scientist at the Getty Conservation Institute (GCI) and the person responsible for the Pacific Standard Time exhibition From Start to Finish: De Wain Valentine’s Gray Column, which has received a lot of positive press reaction, including a recent article in the New York Times. Richard McCoy: How did you arrive at your position of conservation scientist?
Family Business | Art21 Magazine
New Yorker collage series (2012-present). Image provided by the artist. Now, being an artist also means creating a platform to monumentalize the wide range of cultural histories. I grew up hearing the music of La Gran Manzana (The Big Apple) blaring from bodegas, six-floor walk-ups, and taxicabs. Henry Hierro, my father, is the singer/songwriter for the group, a fixture in the merengue movement popular in New York City in the 1980s.
Agency in the Classroom: Who Makes the Decisions?
The word agency describes the capacity of a person to act in a given environment. By analogy, it could be the capacity of a student artist to create in the art classroom. But who makes the art-making decisions in that environment? Is it my job, as the teacher, to decide what will get made and how, or do I hand over some decisions to my students and guide them in the process?
Philadelphia Illuminated
Public space has always been a contested realm; the questions of who is seen, heard, and permitted to take up space feel eternally relevant. These are, in short, questions of power, and which groups wield it. In 2017, however—with its political spectacles, airport sit-ins, massive protests, and monuments both toppled and fixed—American public space is uniquely fraught.
What if balance was about process, rather than outcome?
Photo credit: Steve Bognar. “The journalist…never had the slightest intention of collaborating with him on the story, but always intended to write a story of his own.” —Janet Malcolm, The Journalist and the Murderer, 1990 Journalists often talk about balance, and it is usually in the context of a finished piece of writing: was it “fair and balanced”? Did it consider all sides of an issue? Did it appear to take a side?
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