NYU attracts students from all over the place. Some of my students are Zooming in from Italy and Switzerland and East Asia. So they’re a very global bunch of students, and they’re very excited to have this global perspective. The book and my teaching in general are trying to highlight the contributions of women and artists of color, and this is a generation that gets that; they don’t want to hear about a bunch of dead, white men exclusively. They want to bring different people into the narrative. I had a student a few years back in a seminar, and when I got to art from Hong Kong, he said out loud—he was from Hong Kong— “This is so great. I didn’t think when I came to NYU, I would be sitting in a class learning about art from Hong Kong.” In the end, I’m doing it because I think it’s really interesting, but it also seems to be giving the students what they want.
This interview has been edited and condensed. Sophia Narrett’s are not your typical tapestries. First of all, they’re not tapestries; the textile artist does not weave, but embroider, layering thread upon stitch to create shapes and shades that coalesce into a dazzling narrative. Secondly, there’s the subject matter—highly erotic vignettes that would make artisans of the historic Parisian tapestry house Gobelins clutch their pearls.
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