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e-flux Education

@efluxeducation

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@efluxeducation feature: Anahid Nersessian on the Poetry Field School’s cultivation of “secret knowledge and self-mastery” and the history of the workshop method in American literary education. @anahidnersessian @poetryfieldschool Read it at the link in bio. Images: [1] Elain Kahn (third from right) leads a Poetry Field School workshop session at House of Seiko, Los Angeles, April 22, 2026. Photo: Fía Benitez. [2] A flyer for the Poetry Project’s schedule of workshops and readings at St Mark’s Church in-the-Bowery, New York, 1967. Courtesy of Larry Fagin and the Poetry Project.
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@efluxeducation feature: Ross Birrell @birrell.ross remembers David Harding (1937–2026) as an artist and teacher who combined “aesthetic education with social emancipation” at Glasgow School of Art. Read it at the link in bio. Images: [1] David Harding (right) with filmmaker Marissa Keating outside his residence in Glasgow, ca. 2021. Photo: Alan Dimmick. [2] David Harding working with Environmental Art department students on a community mural in Blackhill, Glasgow, 1987. Courtesy of Alan Dunn.
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@efluxeducation feature: Angella d’Avignon @heyangella on UC Irvine’s Burns Piñon Ridge Reserve, the Burns Projects art space, and using the desert to teach scientific and creative disciplines alike. Read at the link in bio. Image: [1] Liz Stringer, *So Blue* (detail), 2025. Installation view, “Mostly Thorns,” Burns Projects, UC Irvine’s Burns Piñon Ridge Reserve, Yucca Valley, California, 2025. Photo: Jesse Colin Jackson. [2] Oliver George-Brown, a PhD candidate in UC Irvine’s Integrated Composition, Improvisation and Technology program, performs his thesis concert Performing Transecology at Burns Projects, October 2025. Photo: Jesse Colin Jackson.
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@efluxeducation feature: Kim Córdova @thisiskimco reflects on the sixteen-year history of SOMA’s “MFA-like program” in Mexico City. Her essay, included in the new volume Living to Learn: Art & Education for the Common Good—published this month by Inventory Press and the Institute of Contemporary Art at Virginia Commonwealth University—considers the recent history of Mexico City’s protean art world and why “institutionality can be its own political act.” @somamexico Read it at the link in bio. Images: [1] Visitors at the opening of Miguel Calderón: “Ridiculum Vitae,” La Panadería, Mexico City, 1998. [2] Students participate in an activity with the writer Vivian Abenshushan (third from left) during the 2025–26 SOMA Academic Program. Courtesy of SOMA.
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@efluxeducation feature: George MacBeth @neo_grg on Elvira Leite’s “pedagogy of the streets” in post-revolutionary Porto and her retrospective “Living to teach, teaching to learn” at Galeria Municipal do Porto @galeriamunicipaldoporto. Link in bio. Images: [1] Children from the Pena Ventosa neighborhood of Porto painting signs as part of Elvira Leite’s “educational experiment,” 1977. [2] Children showcasing their handmade puppets, Porto, Portugal, date unknown. © Elvira Leite.
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@efluxeducation feature: Clare Butcher, head of the Image & Language department at the Gerrit Rietveld Academie @rietveldacademie, speaks with Richard Fletcher about processes of “unlearning,” her work with artists in documenta 14, growing up in Zimbabwe, and the “ways in which language has been weaponized in the educational project.” Read it at the link in bio. [1] Clare Butcher [2] Barbara Casavecchia (center) leads the Winter Intensive “Hearing Voices (School of Voice)” at the Ancient Theater of Delphi, as part of documenta 14. Photo: Jero van Nieuwkoop.
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@efluxeducation feature: Juliana Halpert @julianahalpert on how arts education enacted a politic of resistance under fascism and its aftermaths in the Basque Country, as chronicled by three exhibitions at the Museum of Contemporary Art of the Basque Country, Artium Museoa @artium_museoa. Read it at the link in bio. Images: [1] Workshop participants at Arteleku, San Sebastían. Photo: Ricardo Iriarte. Courtesy of Iriarte. [2] A student assembly at the Bilbao School of Fine Arts, 1976. Photo: Iñaki Bilbao. Courtesy of the Iñaki Bilbao Archive. [3] View of “Artelekun zehar: 1987–2002,” Artium Museoa, Vitoria-Gasteiz, Basque Country, 2025. From left: Gema Intxausti, *San Jorge y el dragon*, 1991. Mixed media; José Ramón Amondarain, Cada dfay cada dfa mas, 1993. Mixed media on canvas. Courtesy of Artium Museoa.
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@efluxeducation feature: an excerpt of John Corbin’s 1902 memoir An American at Oxford provides a glimpse of student life and academic expectations during the university’s earliest years in the Middle Ages. Read at the link in bio. Image: a page of the twenty-ninth edition of Alden’s Oxford Guide, published in 1903, featuring a photograph of Oxford University’s old city wall.
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@efluxeducation feature: Theadora Walsh @theadora.tm visits “Last Art School” at the Hunter College Art Galleries @huntercollegeartgalleries and reflects on the long slow death of the San Francisco Art Institute. Read it at the link in bio. Images: [1] The opening reception for *Last Art School*, 205 Hudson Gallery, Hunter College Art, New York, August 27, 2025. Photo: Leo Sano. [2] View of “Last Art School,” 205 Hudson Gallery, Hunter College Art Galleries, New York, 2025. With work from the SFAI Legacy Foundation + Archive. Photo: Argenis Apolinario. [3] View of “Last Art School,” 205 Hudson Gallery, Hunter College Art Galleries, New York, 2025. Photo: Argenis Apolinario.
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@efluxeducation feature: Nilo Goldfarb expands his analysis of Fred Lonidier’s “casual” photographs of the UC San Diego Visual Arts department and the San Diego Group’s reinvention of documentary. Read at the link in bio. Images: [1] Fred Lonidier, Department meeting, 1973. [2] Fred Lonidier, “Student on the phone,” 1982. © UC San Diego Library.
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@efluxeducation feature: Travis Diehl on “after school” at the Carnegie Museum of Art @carnegiemuseumofart and Pittsburgh’s faltering dreams of education for all. Read it at the link in bio. Images: Link Weber & Bowers, architects and Otto R. Eggers, delineator, Mifflin Elementary School (detail), 1931. In “after school” at the Carnegie Museum of Art, Pittsburgh, Pennsylvania, 2025–26. Carnegie Museum of Art, Gift of Pittsburgh Public Schools. [2] Manchester Street Academy, 1970. In “after school” at the Carnegie Museum of Art, Pittsburgh, Pennsylvania, 2025–26. Courtesy of Pittsburgh City Archives. [3] Danielle Dean, The Homework Machine, (1981), 2025. In “after school” at the Carnegie Museum of Art, Pittsburgh, Pennsylvania, 2025–26. Courtesy of the artist.
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@efluxeducation feature: Further Reading, a publishing platform based in Bandung, Indonesia, recently published the fourth edition of its serial journal, Further Reading Print, titled “Learning Within, Learning Without (Modes of Design Enquiry).” Further Reading Print No. 4 compiles essays on the unique tasks of teaching and learning design within, Indonesia, greater southeast Asia, and beyond. In “Design Pedaggedon: Utopian Daydreams in Today’s Dystopia,” design director Andriew Budiman reflects on how personal dislocation, colonial legacies, and rapid technological shifts within the region have shaped design education and practice. Read it at the link in bio. Images: [1] Priyanto Sunarto, Untitled (25/42), 1973. Silk screen, 59 x 84 cm. Gift of United World College of South East Asia. Collection of National Gallery Singapore. [2] Cover of Further Reading Print No. 4: Learning Within, Learning Without (Modes of Design Enquiry).
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