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♪[THEME MUSIC]♪
>>> WELCOME TO "STUDY WITH THE BEST,"
THE MAGAZINE SHOW THAT'S ALL ABOUT CUNY.
I'M TINABETH PINA.
ON TODAY'S SHOW, WE'LL EXPLORE CUNY'S LOCAL COLLEGES,
TELL AN ACTIVIST'S COMPELLING STORY,
CHECK OUT THE PHOTO EXHIBIT AT QUEENSBOROUGH
COMMUNITY COLLEGE, AND SO MUCH MORE. BUT FIRST-
QUEENSBOROUGH'S COMMUNITY COLLEGE RECENTLY HOSTED
AN EXHIBIT WHERE THE ARTIST AND HIS SUBJECT HAD AN
UNUSUALLY CLOSE BOND.
>> MY NAME IS MARK ASNIN.
FOR THE PAST ALMOST 35 YEARS, I HAVE BEEN A
DOCUMENTARY PHOTOGRAPHER.
I STARTED OFF WITH CHARLIE WHEN I WAS 18 YEARS OLD.
MY FASCINATION WITH UNCLE CHARLIE
STARTED WAY BEFORE I WAS 18.
GROWING UP ON A STREET CALLED NECK
ROAD IN THE '60s AND '70s, IT WAS
REALLY THE GOOD FELLOWS WORLD.
SO IN MY FAMILY DYNAMIC, UNCLE CHARLIE WAS THAT PERSON.
HE WAS TATTOOED. HE WAS A FIGHTER.
HE HAD BEEN ARRESTED.
ONE TIME HE SHOWED UP TO MY HOUSE,
AND I WAS GOING SOMEWHERE, AND I GOT IN HIS CAR.
HE OPENED UP THE GLOVE COMPARTMENT
AND HE HAD LIKE A .38.
TO ME, THAT WAS REALLY COOL.
UNCLE CHARLIE WAS A TOUGH UNCLE.
MARCH 10th, 1976, UNCLE CHARLIE WAS
NEVER ABLE TO GO BACK TO WORK.
IN THOSE DAYS, IT WAS CALLED A NERVOUS BREAKDOWN.
HE WENT FROM LIKE A BIG BODYBUILDING GUY,
THE TOUGH GUY UNCLE. HE WAS EMACIATED.
HE WAS BEDRIDDEN, HE WAS ANOREXIC.
HE RECEIVED SOCIAL SECURITY
DISABILITY FOR A DIAGNOSIS OF SCHIZOPHRENIA.
IN THE PROJECTS, IN THE BOOK, YOU
SEE SOME OF THE RECORDS FROM THE
DOCTORS SAYING HE HAS SCHIZOPHRENIA.
BUT ON THE OTHER HAND, OTHER
DOCTORS WOULD TELL YOU THAT WAS NOT A TRUE DIAGNOSIS.
I DIDN'T ORIGINALLY GO TO MY UNCLE AND ASK HIM
BECAUSE OF HIS PHYSICAL AND EMOTIONAL AND
MENTAL CONDITION. IT WAS INTIMIDATING TO ME.
I WENT TO MY AUNT AND SHE ASKED HIM.
MARK WANTS TO PHOTOGRAPH YOU AND
PHOTOGRAPH THE FAMILY FOR ART SCHOOL.
SO HE SAID ABSOLUTELY.
BECAUSE WHEN WE LOOK BACK ALL
THESE YEARS LATER, I WAS GOING TO PAY
ATTENTION TO HIM.
SO I WENT AND MADE PICTURES EVERY WEEK.
I TOOK THIS PICTURE, AND IT'S
THE FIRST PICTURE IN THE BOOK THAT
IS AN ENVIRONMENTAL SHOT OF THE LIVING ROOM.
HE'S LAYING IN THIS CASTRO CONVERTIBLE
LOOKING LIKE HE'S DEAD.
YOU KNOW, IT'S ALL WINDOW, AND MY
PERSONAL EXPRESSION TOLD
THE CLASS EVEN THOUGH I HATE
DOCUMENTARY PHOTOGRAPHY, THIS
IS WHAT YOU'RE SUPPOSED TO DO.
THIS IS IN 85 PALMETTO STREET IN
THE LIVING ROOM WHERE HE SLEPT ON
A CASTRO CONVERTIBLE. FROM '81 UNTIL TODAY,
HE'S REALLY BEEN SITTING IN ONE ROOM WAITING.
HE'S WAITING FOR LIKE THE NEXT DAY
FOR LIFE TO BE RIGHT.
HE NEVER BROKE POSITIVE, HE NEVER
BROKE HIS EMOTIONAL WOES.
HIS DREAM TO GO LIVE IN CALIFORNIA NEVER CAME.
MY UNCLE CLEARLY BELIEVES HE'S A
GENIUS BECAUSE ONE PSYCHIATRIST ONCE SAID HE WAS
BORDERLINE GENIUS. HE TAKES THAT INFORMATION AND HE
USES IT THAT HE WAS A GENIUS AND
HE NEVER GOT OUT.
IN 1987, CHARLIE'S WIFE CAROL LEFT
HIM AND ABANDONED THE CHILDREN.
FOR MANY YEARS, SHE DIDN'T SEE THE CHILDREN.
SHE DIDN'T SEND CHILD SUPPORT.
THAT'S WHEN NEW YORK AND MANY
OTHER PARTS OF THE COUNTRY WERE GOING
THROUGH THE CRACK EPIDEMIC.
ALL OF A SUDDEN, CHARLIE WAS LIVING
AND COHABITATING WITH WOMEN WHO
WERE ADDICTED TO CRACK.
IN THIS EXHIBITION YOU SEE AND IN THE BOOK,
YOU SEE WOMEN SMOKING CRACK.
YOU SEE THEM LIVING IN THE HOUSE WITH HIM.
YOU SEE THEM IN OTHER INTIMATE MOMENTS.
I ALSO HAD MY UNCLE EXPLAINING
TO THEM THAT THIS IS SOMETHING HE WANTED.
HOW CHARLIE WANTED HIS STORY TO BE TOLD,
BLANCA UNDERSTOOD 15 MINUTES OF FAME.
SHE UNDERSTOOD THAT SHE WAS NOW
BEING PHOTOGRAPHED. I PHOTOGRAPHED EVERYTHING
IN HIS LIFE BECAUSE UNCLE CHARLIE REALLY
GAVE ME THAT HUGE OPENING.
I TOLD MY STORY VISUALLY. I CURATED THAT.
I EDITED THAT. AND I THEN RECORDED HIM.
AND HE GOT TO TELL HIS STORY. HE LIVED IT.
I WENT HOME AT THE END OF THE DAY.
THAT'S SOMETHING HE ALWAYS REMINDED ME.
SO HERE AT THE ART GALLERY, THEY'VE
INCORPORATED SOME OF THE TEXT AND IN
THE ROOM THAT THEY BUILT WHERE, I
MEAN, OUTSIDE OF HIS WORDS, YOU CAN
GO INSIDE AND LISTEN TO HIM.
>> I WAS VERY HAPPY TO COLLABORATE WITH
THE SCHOOL OVER THESE 15 YEARS OF THEIR SUPPORT.
I THINK THE AMAZING THING
ABOUT THE GALLERY IS THAT THEY'RE
WILLING TO SHOW THIS KIND OF WORK IN 2016.
THAT'S A REAL COMMITMENT TO THE
STUDENTS AND TO THE COMMUNITY.
I THINK WHEN AN ARTIST OR ANYBODY
ENTERS INTO A PROJECT LIKE THIS,
IT'S HARD TO KNOW THE CONSEQUENCES.
MY FIVE COUSINS, THEY HATE THAT I
EXPOSED THEIR INNER SECRETS,
THE DARKNESS OF THEIR LIVES.
THEY REALLY DON'T LIKE THAT UNCLE
CHARLIE'S WORDS, WHICH ARE SO HARD,
WERE PUBLISHED IN A BOOK.
WAS THAT WORTH IT?
I DON'T REGRET DOING THE PROJECT.
I GOT TO TELL MY UNCLE'S STORY.
PEOPLE WILL SEE IT.
I HOPE THAT OTHER FAMILIES LOOK AT IT.
BUT I DO HOPE SOME PEOPLE, THAT
THEY'LL BE ABLE TO SEE THIS WORK AND
SAY, THAT REMINDS ME OF MY COUSIN'S SISTER.
BUT THEN MAYBE THEY GET A BETTER UNDERSTANDING FOR
WHATEVER PROCESS THEY GO THROUGH.
>> DESPITE SOME DAUNTING OBSTACLES,
RENATA HILL IS EARNING HER ASSOCIATES DEGREE AT BMCC
AND IS ON THE PATH TO A BRIGHT FUTURE.
>> WHEN RENATA HILL MADE THE DECISION TO GO BACK
TO SCHOOL FOR HER DEGREE IN HUMAN SERVICES,
SHE DIDN'T LET HER CRIMINAL BACKGROUND
STAND IN HER WAY.
RENATA HILL IS ONE OF THE STARS OF AN AWARD WINNING
DOCUMENTARY, OUT IN THE NIGHT,
WHICH TELLS HER STORY OF HOW SHE
WAS INCARCERATED ON ONE SUMMER NIGHT IN 2006.
>> WE DECIDED, LET'S GO TO THE CITY.
I WAS LIKE, THE CITY? OUR SAFE HAVEN.
WE GET APPROACHED BY THIS GUY.
IT WAS SOMETHING HE SAID, AND HE
WAS LIKE, LET ME GET SOME OF THAT.
I'M LIKE, LAUGHING, AND I'M LIKE, YOU CAN'T
HAVE NONE OF THEM. WE'RE ALL GAY.
ALL OF THEM IS MY GIRLS.
I'M STILL NOT THINKING THIS
COULD ESCALATE INTO SOMETHING SERIOUS.
WE HAVE GONE BACK AND FORTH.
THAT KIND OF TOOK A TURN TO THE LEFT
BECAUSE AT SOME POINT, HE GOT EXTREMELY ANGRY.
HE SPIT ON ME AND THREW A CIGARETTE.
EVERYTHING JUST WENT LIKE CRAZY FROM THERE.
YOU KNOW, OUR DEFENSE WENT UP.
WE HAD TO PROTECT OURSELVES.
>> DURING AN AGONIZING TRIAL,
RENATA WAS CONVICTED OF GANG ASSAULT IN
THE SECOND DEGREE AND SENTENCED TO EIGHT YEARS IN PRISON
BUT SHE ONLY SERVED THREE AND A HALF.
>> WHEN I CAME HOME IN 2010, I WAS WITH THIS
TRANSITIONAL PROGRAM, AND THEIR MAIN FOCUS
WAS FOR ME TO GET IN COLLEGE.
MY MAIN FOCUS WAS FOR ME TO GET
CUSTODY OF MY SON BACK.
I GOT MY SON BACK, AND I STARTED LOOKING FOR JOBS.
CLOSED DOORS, AND CONSTANTLY, THE DOOR WAS
BEING CLOSED. I WAS GIVEN OPPORTUNITIES.
BUT IN THE PROCESS, I WAS HELPING SO MANY OTHERS
AROUND ME BY SHARING MY STORY, BY HEARING
THEM CRY AND GIVING THEM WORDS
OF WISDOM THAT I WASN'T EVEN TAKING MYSELF.
I WAS LIKE, HOW AM I ABLE TO HELP SO
MANY PEOPLE BUT I CAN'T HELP MYSELF?
WHAT IS IT I NEED TO BE DOING?
EVERYBODY KEPT SAYING, YOU SHOULD GO TO SCHOOL,
YOU SHOULD BE A SOCIAL WORKER.
I'M NOT GOING TO SCHOOL.
I BARELY MADE IT OUT OF HIGH SCHOOL.
YOU WANT ME TO DO EXTRA YEARS IN COLLEGE?
I PUT IN AN APPLICATION.
>> SIX YEARS LATER, SHE'S WELL ON HER WAY TO RECEIVING
HER ASSOCIATE'S DEGREE.
HER SUCCESS, HOWEVER, DID NOT
COME WITHOUT OBSTACLES.
>> IT'S GOING TO BE REALLY DIFFICULT TO FIND
YOU AN INTERNSHIP DUE TO YOUR CRIMINAL BACKGROUND.
A LOT OF THE ORGANIZATIONS USED TO ACCEPT
STUDENTS WITH CRIMINAL BACKGROUNDS,
THEY NO LONGER ARE DOING THAT.
>> RENATA'S PERSEVERANCE LANDED HER AN INTERNSHIP
AT A NOT FOR PROFIT COMMUNITY BASED
ORGANIZATION THAT PROMOTES
ALTERNATIVES TO INCARCERATION.
>> SHE'S REALLY, REALLY DEDICATED
IN WANTING TO MAKE A CHANGE FOR ANY INDIVIDUAL
WHO HAS THAT HISTORY OF CRIMINAL JUSTICE.
SHE HAS SEEN SOME HORRIBLE ATROCITIES,
I WANT TO CALL.
WHILE SHE HAS BEEN INCARCERATED.
BUT THE MAIN FOCUS FOR HER IS REALLY
SHE WANTS TO BE ABLE TO MOVE ON SO
THAT OTHER PEOPLE DON'T HAVE THE SAME TYPE OF
SUFFERING OR INCIDENTS THAT SHE'S HAD TO ENDURE.
>> RENATA STRUGGLED TO FIND AN INTERNSHIP
BROUGHT BMCC'S ATTENTION TO THIS PROBLEM OF PEOPLE
WITH CRIMINAL BACKGROUNDS IN COLLEGE.
LISA ROSE IS DEDICATED TO THIS ISSUE.
>> WE WANT PEOPLE TO BE ENGAGED IN
THE LIFE OF THE COLLEGE, NOT ONLY
IN THE CLASSROOM, BUT WE CAN BE REALLY, VERY, VERY CRITICAL,
IMPORTANT TO PEOPLE WHO COME
HOME FROM OR WHO ARE RE-ENTERING
AND COMING BACK FROM PRISON IN
BEING ABLE TO CREATE THE LIFE THAT THEY IMAGINED.
BUT IT'S REALLY, REALLY A STRUGGLE.
WE HAVE TO UNDERSTAND WHAT THE STRUGGLES ARE.
>> PROFESSOR ROSE IS AMAZING.
I FEEL LIKE SHE'S REALLY DOWN TO, LIKE,
HELP THIS SITUATION. AND TO IMPROVE THIS SITUATION.
I FEEL LIKE SHE SEES THAT THERE'S AN ISSUE.
AND THAT SHE'S TRYING TO FIGURE
OUT A WAY TO IMPLEMENT SOME
TYPE OF PLAN SO THAT WE, AND WHEN
I SAY WE, I MEAN FELLOW STUDENTS
THAT HAVE A CRIMINAL
BACKGROUND, HAVE A SAY IN THAT.
I AM NOT IN A SHELTER ANYMORE.
I HAVE A THREE BEDROOM APARTMENT
WITH ME, MY PARTNER, MY SON, AND HER DAUGHTER.
MY PLACE IS LIKE SO COMFORTABLE,
JUST KNOWING IT'S NOT A JAIL CELL.
AND WHEN I COME HOME, I'M ABLE TO
PUT MY KEY IN THE DOOR AND KNOW I'M
COMING HOME TO MY FAMILY.
EVERY DAY, I WENT THROUGH ALL DAY,
THAT MOMENT IT'S ALL WORTH IT
BECAUSE I LOOK AT THEM AND THINK,
ONE DAY WE'RE GOING TO BE GOOD
WRK RIGHT NOW, WE'RE ALL RIGHT.
BUT ONE DAY, WE'RE GOING TO BE IN
THIS REALLY, REALLY AWESOME PLACE.
I DON'T KNOW WHERE. BUT IT EXISTS SOMEWHERE. YOU KNOW?
>> COMING UP NEXT, BMCC ART PROFESSOR CHARLES McGILL
EXPLORES MATTERS OF RACE AND REPRESENTATION
THROUGH A KIND OF ART THAT IS ENTIRELY HIS OWN.
>> YOU KNOW AT ONE POINT, THE FORMAL TRAINING
AS AN ARTIST IN TERMS OF DRAWING AND PAINTING
ACTUALLY CONCEIVING OF WHETHER IT'S
OBSERVATIONAL DRAWING OR OBSERVATIONAL DRAWING,
AT SOME POINT, THAT GETS LEFT BEHIND.
IT'S KIND OF LIKE, NOW WHAT?
ONE DAY COMING BACK FROM PLAYING
GOLF UPSTATE, WE RAN INTO SOME TRAFFIC.
I WASN'T GOING TO BE ABLE TO MAKE IT
HOME IN TIME TO DRESS OUT OF MY
GOLF CLOTHES AND MAKE IT DOWN TO
CHELSEA WHERE I WAS GOING TO GO AND SEE AN OPENING.
WHEN I WAS THERE, A WOMAN SAID, DO
YOU MIND IF I TAKE A PICTURE OF YOU? I SAID, NO. WHY?
SHE SAID, I HAVE NEVER SEEN GOLF
CLUBS AT AN ART OPENING BEFORE.
AND THAT REALLY WAS A MOMENT WHERE
I SAID, IF I CAN SOMEHOW INCORPORATE GOLF,
GOLF EQUIPMENT, GOLF WHATEVER, GOLF
PARAPHERNALIA, IF I CAN GET THAT
INTO MY STUDIO PRACTICE AND
COMBINE IT WITH MY EVER PRESENT
DESIRE TO WORK THROUGH RACE AND REPRESENTATION,
YOU KNOW, IT WAS A PERFECT MARRIAGE.
YOU TAKE THIS SYMBOL OF WHITE EXCLUSIVITY,
WHITE PRIVILEGE, WHITE PRIVATE COUNTRY CLUBS.
TAKE THAT AND RIP IT APART.
RIP THE NOTION APART, RIP THE SYMBOL APART.
REASSEMBLE IT, AND LET'S START THAT
CONVERSATION AGAIN.
WHEN I DID MY FIRST GOLF BAG, IT WAS THE LYNCH BAG.
I HAD A BLACK BAG IN THE CORNER OF
MY STUDIO, AND I THOUGHT, I'M GOING
TO DOWNLOAD SOME LYNCHING IIMAGERY,
AND I'M GOING TO GLUE IT TO THE BAG.
SO I DID THAT AND I MADE SOMETHING I
THOUGHT I WOULD NEVER MAKE, EVER.
THE RAFT OF THE KATRINA BAG IS THE
ONE BAG THAT IS PARTICULAR TO A
CERTAIN EVENT, ONLY BECAUSE THE
IMAGERY ON THAT BAG REMINDED ME OF
A FAVORITE PAINTING BY JERICHO,
WHICH IS THE RAFT OF THE MEDUSA.
WHEN YOU START TAKING THE BAGS
APART, THERE'S HARD PLASTIC,
HEAVY, YOU KNOW, NYLON STITCHING.
THERE'S BRASS. RIVETS.
THERE'S STEEL THROUGHOUT.
BUT YOU DON'T KNOW THAT UNTIL YOU
START TAKING THEM APART.
WHEN YOU START TAKING THEM APART
IS WHEN YOU SEE, THESE ARE REALLY RESISTANT TO CHANGE.
AND IF YOU PUT THAT IN A LARGER CONTEXT,
AND YOU LOOK AT, LET'S JUST SAY FOR EXAMPLE,
THE ELECTION OF BARACK OBAMA, AND YOU SEE
THAT SINCE THAT ELECTION, THERE HAS BEEN A LOT OF PUSHBACK.
A LOT OF RESISTANCE TO CHANGE. THESE ARE GOLF BAGS.
THEY'RE MEANT TO HOLD GOLF CLUBS
AND GOLF BALLS AND TEES AND SO ON.
FOR ME, THERE WAS AN INHERENT OTHER
POSSIBILITY FOR THESE THINGS.
WHEN I WAS IN THE GOLF STORE,
SELLING GOLF CLUBS, WE WOULD
PUT ALL THE GOLF CLUBS IN THE BAG,
PUT THE HOOD ON TOP OF THE BAG,
AND SET IT OFF TO THE SIDE.
I WOULD LOOK AT IT AND THINK AM I THE
ONLY ONE WHO SEES THIS IS LIKE A
LITTLE *** HEAD PERSON HERE?
AM I THE ONLY ONE WHO SEES THAT?
THESE NEWER ABSTRACT PIECES
COMING AFTER THESE HOODED PIECES,
THAT IS A TRANSCENDENCE OF
SOME SORT OF THAT PRIOR KIND OF
POLITICAL/RACIAL ELEMENT THAT WAS
VERY MUCH A PART OF HOW THE WORK
WAS MADE AND HOW THE WORK WAS CONCEIVED.
AS I APPROACHED THESE FOUND
OBJECTS AND STARTED MAKING ART WITH THEM,
I COULDN'T NOT MAKE THEM WITH THE MIND SET
OF A PAINTER OR A MIND SET OF A DRAFTSMAN,
REALLY, SO THIS CURRENT WORK IS WHAT I
LIKE TO CALL PAINTING INFORMED
ASSEMBLAGE, OR PAINTED INFORMED SCULPTURE.
IT'S INFORMED BY THE PROCESS I USE WHEN I PAINT.
SO IF YOU SAW, FOR EXAMPLE,
THE LAYERS OF COLOR, TEXTURE, YOU WOULD
SEE WHAT I AM TALKING ABOUT IN
TERMS OF THE PAINTING PROCESS.
ESPECIALLY THIS PIECE HERE. IN BACK OF ME. DILEMMA.
THE FACT THAT I'M MAKING THESE
TARGETS AND THERE'S THIS RASH
OF KILLINGS BY POLICE OF YOUNG
BLACK MEN, I'M NOT SAYING, OH, WOW,
THERE'S SO MANY RASH OF KILLINGS
BY POLICE OF YOUNG BLACK MEN, I HAVE
TO MAKE SOMETHING THAT SPEAKS TO
THAT AND I'LL MAKE A TARGET BECAUSE
IT LOOKS LIKE THERE'S A TARGET ON YOUNG BLACK MEN'S BACKS.
THAT'S NOT THE PROCESS. THE PROCESS IS, OH,
THIS KIND OF WORKS IN THIS CLIMATE.
THE WORK REALLY, IN MY OPINION,
CAME AS A PRECURSOR TO ALL THIS.
IF WE JUST WANT TO TALK AESTHETICS,
THAT'S FINE, TOO.
SOMEONE TOLD ME THIS THE OTHER DAY.
THEY WERE LIKE, YOU OWN THE GOLF BAG,
WHICH I THOUGHT, YOU KNOW, PRETTY GOOD.
LIKE JOHN CHAMBERLAIN OWNS DISCARDED CAR METAL.
I'M NOT SAYING I'M ANDY WARHOL,
BUT HE OWNS THE CAMPBELL'S SOUP CAN.
THAT WAS KIND OF A NEAT THING TO
HEAR, OH, YOU OWN THE GOLF BAG.
THAT WAS A NEAT THING TO HEAR.
TEACHING AT BMCC IS, FOR ME, I GET
TO REVISIT MY POST HIGH SCHOOL YEARS.
I LOVE WATCHING THAT PROCESS.
I LOVE SEEING STUDENTS WHEN I GO
OVER TO THEM, MOST OF MY STUDENTS ARE
LOOKING FOR LOOK THIS LITTLE SHOVE
ON THE SHOULDER WHEN I WALK BY THEM.
THEY TURN AND LOOK AT ME AND I GO, THERE YOU GO.
AND THE SMILE THAT THEY GET BECAUSE
THEY DIDN'T THINK THEY WOULD GET THERE,
BUT THE FACT I GET TO INFLUENCE STUDENTS THE WAY
I WAS INFLUENCED EARLY ON, THE WAY I GET
TO HAVE THE OPPORTUNITY TO
POSSIBLY CHANGE THE DIRECTION OF
THE WAY THEY THINK AND CHANGE THE
DIRECTION OF WHERE THEIR LIVES ARE
GOING, JUST BASED ON THE FACT THAT
SOMEBODY SAID, YOU HAVE IT.
YOU KNOW, I LOVE THE TEACHING.
I LOVE MAKING THE ART.
IT'S NEVER BEEN ABOUT WHETHER I'M
GOING TO BE ABLE TO SELL IT OR NOT.
IT'S THE URGENCY OF MAKING THE WORK THAT MATTERS MOST.
>>> BET YOU DIDN'T KNOW THAT LaGUARDIA COMMUNITY COLLEGE
IS HELPING LOCAL AND INTERNATIONAL ENTREPRENEURS
GROW THEIR BUSINESS. LET'S HAVE A LOOK.
>> AT LaGUARDUA COMMUNITY COLLEGE NY DESIGN OFFERS A
SPACE FOR NEW ENTREPRENEURS BOTH LOCAL AND
FOREIGN TO GROW THEIR SMALL
BUSINESS RIGHT HERE IN NEW YORK CITY.
>> IT'S ALREADY A MAJOR CHALLENGE TO START A COMPANY.
AND THE FAILURE RATE IS 9 OUT OF 10.
>> TRISTAN BEL IS THE DIRECTOR OF NEW YORK DESIGNS,
A SMALL BUSINESS INCUBATOR, A ONE STOP SHOP
FOR HELPING YOUNG COMPANIES GET OFF
THE GROUND.
>> THIS PROGRAM OF LAGUARDIA COMMUNITY COLLEGE IS
MEANT TO HELP ENTREPRENEURS WITH HARDWARE,
TECHNOLOGY, AND DESIGN INDUSTRY.
SO WE ARE -- WE HELP VERY EARLY
STAGE COMPANIES GET STARTED AND
GROW WITH OUR SERVICES AND OUR FABRICATION LABS.
WE LIKE TO THINK ABOUT IT AS A FABULOUS LAB.
IT'S SHORT FOR FABRICATION LAB,
AND IT'S REALLY DESIGNED FOR
PEOPLE TO BE ABLE TO CREATE THEIR PROTOTYPE.
>> OFFERING CHEAP OFFICE SPACE,
TECHNICAL SUPPORT, AND SOME SERIOUS
HIGH END POWER TOOLS IN THIS
HIGH-TECH FABRICATION LAB,
NEW YORK DESIGNS IS HOME TO SOME OF
THE FRESHEST INNOVATORS IN THE
CITY SHARING THE SAME COMPLEX FROM
SHARK TANK WINNERS TO NEW YORK CITY'S NEXT TOP MAKERS.
>> WE'RE ONE OF THE RESIDENT
COMPANIES AT NY DESIGNS AT CUNY LaGUARDIA.
WE SHARE A SPACE WITH ABOUT 12 DIFFERENT
COMPANIES ALSO IN THE START-UP PHASE AND DO
BUSINESS IN NEW YORK CITY AND AROUND THE WORLD.
>> IT'S A START-UP IN NEW YORK CITY
AND WE MAKE DESKTOP ELECTRONIC 3-D PRINTERS.
OUR MACHINES CAN PRINT PRINTED
CIRCUITBOARDS, THE KIND OF THINGS YOU
SEE IN ANY ELECTRONIC DEVICE
RIGHT IN FRONT OF YOU IN LES THAN AN HOUR.
>> WHERE MOST CAN ONLY PRINT PLASTIC,
THESE FACTORY PRINTERS ARE ABLE TO PRINT THE
SILVER WIRINGS THAT MAKE UP CIRCUITRY,
BUT UNFORTUNATELY, PEOPLE LIKE JEFF
OFTEN DON'T GET TO BE PART OF THE INNOVATIONS.
HE'S NOT AN AMERICAN CITIZEN. HE'S FROM CANADA.
WHAT'S THE HARDEST PART OF COMING TO
WORK IN AMERICA?
>> THE MOST DIFFICULT PART IF
YOU'RE A FOREIGNER IS GETTING THE VISA.
GETTING THAT VISA VIA WORKING
AS A STUDENT IS AN EASIEST WAY, BUT
THE PROCESS IS VERY TIME CONSUMING.
>> THAT'S A BURDEN THE CITY IS TRYING
TO ALLEVIATE WITH A NEW UPCOMING
PROGRAM CALLED THE INTERNATIONAL
INNOVATORS INITIATIVE INTO NYC.
>> THAT PROGRAM SOLVES A PROBLEM
FOR NATIONAL ENTREPRENEURS
WHICH IS BEING ALLOWED TO WORK IN THE U.S.
IT'S A PROGRAM SPONSORED BY THE NYC,
AND THE GOAL IS TO CREATE PATHWAYS FOR INTERNATIONAL
ENTREPRENEURS TO COME AND BUILD
THEIR COMPANIES IN NEW YORK CITY.
>> IF THIS SOUNDS LIKE THE HOT
BUTTON POLITICAL REFRAIN OF GIVING
UP AMERICAN JOBS, IT'S QUITE LITERALLY THE OPPOSITE.
RATHER THAN SHIPPING JOBS OVERSEAS,
INTO NYC IS BRINGING INDUSTRY INNOVATORS INTO
AMERICA FROM OVERSEAS WHO OTHERWISE MAY HAVE SET
UP SHOP ABROAD, AND WITH THEM COME NEW
COMPANIES AND NEW JOBS RIGHT HERE.
>> IT BRINGS INNOVATION HERE.
IT BRINGS JOB CREATION.
BECAUSE FOR THOSE WHO SUCCEED,
THERE'S USUALLY A BIG JOB GROWTH.
>> THERE'S REALLY BEEN A TANGIBLE
BENEFIT TO THE COMMUNITY BY VIRTUE OF THIS PROGRAM HERE.
>> AS MUCH AS POSSIBLE, WHEN A
RESIDENT GRADUATES FROM NEW YORK
DESIGNS, WE LIKE THEM TO STAY AS
CLOSE AS POSSIBLE, IDEALLY IN LONG ISLAND CITY.
>> SEVEN CUNY SCHOOLS ARE PART
OF THE PROGRAM TO PROVIDE VISAS TO
FOREIGN ENTREPRENEURS.
IT'S MADE LaGUARDIA THE ONLY COMMUNITY COLLEGE IN
THE PROGRAM, AND LaGUARDIA'S INVOLVEMENT GOES
TO SUPPORT THE COMMUNITY AS MUCH AS THE COLLEGE.
WITH THE SUCCESSFUL
START-UPS PUTTING DOWN ROOTS IN THE CITY,
THEY BRING THE JOB GROWTH TO
THE NEW YORK POPULATION, AND NOW
THE ATTRACTION FOR ECONOMIC GROWTH IS GREATER.
>> WITH A PROGRAM LIKE THIS, YOU DEFINITELY WILL
SEE A LOT OF POPULARITY.
EVERYONE I TALK TO WHO IS FROM OUTSIDE
THE UNITED STATES WORKING IN NEW YORK OR AS A
STUDENT ARE ALWAYS ASKING ME, HOW DID YOU GET HERE?
THAT'S THE QUESTION I HEAR
THE MOST FROM EVERY SORT OF
POTENTIAL ENTREPRENEUR OR
YOU KNOW, NEW ENTREPRENEUR.
AND I'M ALWAYS DOLING OUT ADVICE
AND CUNY IS ONE MORE PROGRAM TO TELL PEOPLE ABOUT.
>> IF YOU HAVE A PHYSICAL PRODUCT
AND YOU'RE STARTING A COMPANY,
WE WANT TO HELP YOU.
>> NY DESIGN HAS ALWAYS BEEN A GREAT PLACE FOR
TALENTED PEOPLE TO GROW THEIR BUSINESS,
AND NOW, WITH THE VISA PROCESS SIMPLIFIED,
THE TALENT POOL FOR CREATING BUSINESS AND JOBS IN
NEW YORK CITY IS GREATER THAN EVER.
FOR "STUDY WITH THE BEST," I'M ARI GOLDBERG.
>> HAVE YOU EVER WONDERED WHAT IT TAKES TO BECOME AN ARTIST?
A SPECIAL TALENT?
A CREATIVE MIND?
LET'S CHECK OUT THE COMMUNITY ART
PROGRAM AND SEE HOW THEY HELP
THEIR STUDENTS BECOME REAL ARTISTS.
>> ARTISTS ARE SUPPOSED TO BE OPEN MINDED AND IMAGINATIVE.
WITH HAVING THAT WAY OF PERCEIVING THINGS,
YOU SHOULD ALSO BE OPEN TO TRY ALL KINDS OF
FORMATIONS OF ART.
>> WE GUIDE OUR STUDENTS, YOU KNOW,
THROUGH THEIR DISCIPLINES. WE TRY TO HAVE A
VERY REAL GENERALIST APPROACH TO TEACHING ART.
>> AT THE MOMENT, I'M ACTUALLY WORKING ON A SCULPTURE.
THE OBJECT I'M CURRENTLY WORKING
ON IS I'M MAKING A BIRD'S NEST.
IT'S A VERY METICULOUS TASK TO
FORM AND MAKE EACH TWIG THAT'S GOING TO BE THE NEST.
AND FROM THERE, I'M GOING TO HAVE
TWO HANDS COMING OUT OF IT.
AND KIND OF LIKE INTERTWINING WITH EACH OTHER.
>> I MAKE A SERIES OF SKIN DRAWINGS
THAT ARE DRAWINGS ON GLASS MADE FROM
ACTUAL HUMAN SKIN THAT'S SOURCED
FROM THE INSIDE OF MY MOUTH,
COLLECTED IN SMALL AMOUNTS OVER LONG PERIOD OF TIME.
AND THEN THE SKIN IS PIGMENTED WITH
TATTOO INKS AND DRIED TO THE
SURFACE OF THE GLASS TO FORM IMAGES.
>> THE CONCEPT BEHIND THE SKIN
WORK IS BOTH A MATERIAL EXPLORATION AS
WELL AS A WAY OF TRANSLATING THIS CHEEK BITING HABIT
INTO A MORE CONSTRUCTIVE OUTLET.
TRYING TO CHANNEL THE ANXIETY
RESPONSE THAT SIGNIFIES THE
CHEEK BITING INTO A VISUAL FORM.
I HAVE BEEN AT LaGUARDIA SINCE 2009.
I TEACH MOSTLY THE TWO-DEMENTIONAL
STUDIO ART DISCIPLINE,
INCLUDING DRAWING, PAINTING, DESIGN.
AS WELL AS THE CAPSTONE ART AND
DESIGN SEMINAR CLASS.
>> WHEN I FIRST STARTED HERE, I TOOK A SCULPTURE CLASS
ON THE SIDE FOR FUN.
WHEN I TOOK IT, I WAS FASCINATED BY IT.
I MADE THINGS THAT I NEVER THOUGHT I
WOULD MAKE IN MY LIFE.
I REALIZED I WAS ABLE TO USE MY
MIND AND MY HANDS IN A CREATIVE WAY.
>> WHAT WE COVER IN THIS CLASS IS PORTFOLIO
CREATION IS ONE OF THE BIGGEST TAKEAWAYS.
HOW DO STUDENTS CREATE AND MANAGE
A BODY OF WORK THAT SPEAKS TO
THEIR ABILITIES AND THEIR
INTERESTS AND WHERE THEY WANT TO BE AS AN ARTIST.
>> WELL, WE'RE CURRENTLY SUPPOSED
TO RE-INVENT THE SELF-PORTRAIT.
WHEN YOU THINK OF A SELF-PORTRAIT,
YOU USUALLY THINK OF JUST YOUR FACE,
BUT IT ISN'T NECESSARILY HAVE TO BE THAT.
IT CAN BE A DIFFERENT FORM,
LIKE A PERSONAL OBJECT THAT DEFINES WHO YOU ARE.
AND THAT'S WHEN YOU START TO
REALLY THINK OF WHO YOU ARE AS AN
ARTIST, ASIDE FROM WHO YOU ARE AS A PERSON.
>> I TRY TO LET THEM GUIDE
THEMSELVES TO THEIR OWN INTERESTS.
MAKE THEM THINK ABOUT WHO AM I.
WHERE DO I COME FROM, WHAT IS MY
PARTICULAR CULTURE AND HERITAGE.
WHAT ARE MY INTERESTS OUTSIDE
OF THE REALM OF ART SO THEY CAN
KNOW THERE ARE SO MANY POSSIBILITIES
IN THE WORLD AND ART CAN HAPPEN IN ALL OF THEM.
>> MY FAVORITE, FAVORITE WORK I HAVE IS A NON
REPRESENTATIONAL PAINTING.
IT HAS A LOT OF PAINTING.
I DID IT WITHIN ONE HOUR.
I BROUGHT IT TO AN ART EXHIBITION AND
EVERYBODY WAS CRAZY ABOUT IT.
THAT WAS THE FIRST TIME I EVER SHOWED
MY WORK, DISPLAYED MY WORK.
IT ENCOURAGED ME TO CONTINUE DOING MY ART.
>> WE WANT TO ENCOURAGE STUDENTS
TO GET THEIR WORK OUT IN THE WORLD,
HAVE IT SEEN BY PEOPLE OUTSIDE THEIR CLASSROOM COMMUNITY
OR A COLLEGE COMMUNITY AT LaGUARDIA.
>> WE HAD THIS WONDERFUL EXHIBITION OPPORTUNITY FOR
THE STUDENTS THAT HAPPENED THIS PAST
WINTER AT THE FALCHI BUILDING.
THEY APPROACHED US BECAUSE THEY WANTED
TO PUT TOGETHER A HOLIDAY WINTER THEMED EXHIBITION.
IT WAS HIGHLY COLLABORATIVE.
THERE WAS THESE GIANT HANGING
PAPER SPHERES THAT THE STUDENTS
PAINTED ON AND ADORNED WITH OTHER COLLAGE ELEMENTS.
THEY WORKED COLLABORATIVELY TO
PUT THESE TOGETHER.
WE WERE VERY PROUD OF WHAT THEY DID,
AND I THINK THEY WERE ALSO VERY
PROUD OF THE EXHIBITION.
THE EXHIBITION ADD THE GRADUATE
CENTER IS PART OF AN ACADEMIC
CONFERENCE CALLED THE WEIGHT OF ALL FLESH.
SO MY WORK IN THE CONFERENCE WILL BE
AN EXHIBITION OF A VERY LARGE SKIN ON
GLASS WORK AS WELL AS A SCULPTURAL DIORAMA.
I'LL BE WORKING WITH SOME OF MY STUDENTS FROM LaGUARDIA.
I'LL HAVE THEM ASSISTING ME WITH MANY OF THE TASKS
ASSOCIATED WITH PUTTING ON A SHOW, ART HANDLING,
INSTALLING WORK, GUARDING THE WORK, AS WELL AS ANSWERING
QUESTIONS PEOPLE MAY HAVE, LIKE A
GALLERY ATTENDANT WOULD DO.
WE HAVE BEEN WORKING A LOT ON A NUMBER OF INTERNSHIP
PROGRAMS IN THE RECENT SEMESTERS
WHERE WE'RE SENDING OUR STUDENTS TO THE AMERICAN
FOLK ART MUSEUM, THE QUEENS MUSEUM, AS WELL AS
SOME OTHER PLACES LOCALLY, AND THE
STUDENTS ARE GETTING THIS KIND OF REAL-WORLD EXPERIENCE.
THESE INTERNSHIPS THAT MAKE THEM
HIGHLY COMPETITIVE WHEN THEY GO TO
TRANSFER TO OTHER ART PROGRAMS, FOR
THEIR BACHELORS.
>> I RECENTLY GOT ACCEPTED TO HUNTER
COLLEGE, WHICH IS LIKE THE SCHOOL I
HAVE ALWAYS WANTED TO GO TO.
I'LL BE TAKING ART CLASSES THERE. I'LL BE MAJORING IN
POLITICAL SCIENCE. I CAN'T TURN AWAY FROM ART.
THAT'S A PART OF MY LIFE.
>> THAT'S OUR SHOW FOR TODAY.
FOR MORE INFORMATION ON ANY OF OUR STORIES,
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SEE YOU NEXT TIME. BYE.
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