Collaborations with Institutions of Higher Education


2018 Art & Law Program attendees, at Denniston Hill. Photo courtesy of the Art & Law Program.


Denniston Hill has long partnered with institutions of higher education to explore new approaches to pedagogy and creative scholarship.






Art & Law Program

The Art & Law Program is an ongoing semester-long seminar series that began in 2010 with a theoretical and philosophical focus on the effects of law and jurisprudence on cultural production and reception. The Program was founded and is directed by Sergio Muñoz-Sarmiento. It concludes with a weekend-long retreat at Denniston Hill.

Artist as Curator

This course, taught by Jodie Jacobson in the Department of Visual Studies at the School of Visual Arts in 2013, examined contemporary curating as a form of cultural production, a practice that increasingly exhibits an ability, and furthermore a desire, to expand into more experimental and collaborative models. The lab took place at three sites: Denniston Hill, working contemporary artist’s studios in New York City, and in the classroom using virtual or physical models, or a specific site determined by the class. The course culminated in an artist-directed curatorial project with specificities to be determined by the class — an avant-garde action reflecting the ideas posited during class discourse. 

Communities of Sense

This year-long graduate course offered at the Department of Art and Art Professions at New York University in 2011 connected a series of conversations in different disciplines, and examined the relevance of space, place, and site in a digital-world. Taught by Lawrence Chua, it used history and theory to trace the development of “Land Art” or “Earthworks” that were created by a group of largely male artists in the 1960s like Robert Smithson, Gordon Matta-Clark, Walter deMaria, Dennis Oppenheim, and Michael Heiser. The course considered the ways these artists both challenged and re-inscribed the legacies of early 20th century modernist architecture, urban planning, and landscape painting. This course examined the important ways in which the work of these artists opened up a dialog about a fuller sensory experience of art and architecture alongside a critique of institutions and markets. Students considered the many ways in which “site” has since been redefined by artists, architects, and other cultural practitioners. Is the local engaged in a war against globalizing tendencies of the market place? Has “place” become an ephemeral image? What new ideas of community can be imagined by artists working with space today? The course met at Denniston Hill and concluded with a group show of work that was sited on the grounds, and engaged with the themes of the course.