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.
How has your approach to teaching art changed over the years? And what areas are your students especially responsive to? It’s really a bitch trying to teach this—sorry for the language—because you need an organizing framework, not just for abstraction but for modern art in general. As with the book, I’m caught between the way I learned it from William Rubin—the old school—and all this new stuff I’ve learned that I’m incredibly eager to tell my students about. It is hard to come up with a new narrative. Right now, I’m teaching a course called “Abstract Expressionism to Pop Art,” but at least half the material wasn’t in it when I started teaching this course 15 or 20 years ago.
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