Macro friendly food near hunter college11/9/2023 ![]() ![]() ![]() By nature, I'm just somebody who likes to be out in the field doing direct service. Jenny Mincin: I think that I always was interested in vulnerable populations in particular, and I always wanted to think about how we look at things from a systems perspective and also service delivery. How did you get involved in working with in studying human rights issues? Fighting for our freedoms and for access and for basic human rights, in my opinion, there's no greater purpose than that. So, human rights are one of the most fundamental aspects of our being, in a way. So, for example, if we can't access certain things, and that includes everything from education to health care to clean water to food and safety, it becomes really hard to be able to function in your community. But the reality is our basic human rights are something that are critical for each of us in terms of being able to live and thrive the way that we want to. Jenny Mincin: I think that when people hear the term human rights or think about human rights, they're looking at it from maybe a legal perspective or a really narrow focus. The interview below has been edited for clarity and brevity. For over 20 years she has worked with government and non-profit organizations on issues ranging from emergency management, mental health access, and refugee resettlement. in social welfare from the Hunter College School of Social Work, City University of New York. We spoke with Jenny Mincin, Assistant Professor in the School of Health and Human Services, about her scholarship, her teaching, and her work with Human Rights and crisis organizations. I’m just like: Dude, do it while you can.DecemFaculty Spotlight: Jennifer Mincin and Human Rights Monthīy Carl Burkart, Director of Student Success and Development “At one point before the diagnosis I thought, I’m not going to be such a tight painter, I want to get a little more loose. His art involves “a lot of demand on dexterity,” he said, and knowing that his motor function will decrease has made him double down on the technical parts. “That was my anxiety coming into the work.” “You live forward but you understand backward,” he said. But in hindsight there was a subconscious layer. The artistic logic, he said, was for the hands to hold the sculpted peaches. Payano began casting his hands while still dismissing his symptoms - tremors, back pain, a diminished sense of smell - assuming they might have been caused by working with chemicals. (“That’s one of the nice things about working in China - you find some weird stuff,” he said.) Still, it was hard not to focus on the plaster-cast arms and hands, some mounted into the works in progress. Materials for his semi-sculptural pieces lay in piles in the studio: curtain trimmings, synthetic cotton, an actual snake skin. His flat paintings have a similar fantastical bent, with stylized swirling seascapes or cloud formations in which disembodied legs appear in various skin tones, and trees in which birds perch along with grinning peaches that seem to chatter, even smoke cigarettes. His art is breaking ground: He has perfected what he calls “heavy collages,” three-dimensional paintings that jut out from the wall with sculptural components like plaster-cast hands and cast peaches that have mouths and lips,, to form fanciful portraits of imagined characters. “His practice articulates that there’s a deep-seated relationship between these places.” “His time in China maybe confused some people, but in fact he’s at this interesting cultural intersection of Afro-Caribbean, Latinx, Asian perspectives,” Ossei-Mensah said. He spoke fluent Mandarin, with a Beijing accent.įor the independent curator Larry Ossei-Mensah, who included Payano’s work in exhibitions at Ben Brown Fine Arts in Hong Kong and London, the artist is far from an outlier, but part of a history of global exchange that the New York-centric art world often ignores. Payano moved to China right after college and lived in Beijing continuously for 15 years. ![]() Most of all, there was the journey that shaped him. His visual language mixed figuration and grand landscapes with recurring surrealistic motifs. ![]() A painter and sculptor interested in hybrids of the two forms, Payano arrived at Hunter with a talent for fine-detailed realism in a recognizably Chinese tradition. But in the graduate art program at Hunter College, where Payano showed up on his return from China - older than most classmates, with a prior M.F.A., exhibition history and collectors - he stood out. His family had long known he was a wanderer, ever since he went to boarding school at his own insistence at age 11. when, like some kind of prodigal son, he came back to New York in 2016, after making a life in Beijing. People weren’t quite sure what to make of Miguel Ángel Payano Jr. ![]()
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