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PRATT INSTITUTE
Undergraduate Bulletin
2015-2016
Visit Pratt
All prospective students
are encouraged to visit Pratt.
Here’s how:
Guided Campus Tours
Office of Admissions
Guided campus tours are scheduled
The Office of Admissions is open
Mondays and Fridays at 10 AM,
weekdays from 9 AM to 5 PM from
12 PM, and 2 PM; and Tuesdays through
September through May and from
Thursdays at 10 AM and 2 PM.
9 AM to 4 PM during June, July,
and August.
Campus tours can be scheduled online
at www.pratt.edu/visit.
Pratt Institute
Office of Admissions
Call the Office of Admissions at
200 Willoughby Avenue
718.636.3779 or 800.331.0834
Myrtle Hall, 2nd Floor
to arrange a portfolio review or email
Brooklyn, NY 11205
us at [email protected].
tel: 718.636.3514 or 800.331.0834
Web
fax: 718.636.3670
Visit Pratt through our homepage on
the Web. Our address is www.pratt.edu.
Produced by the Pratt Institute Office
of Communications.
Unless otherwise indicated, all images of art,
design, and architecture are of work created by
students while studying at Pratt.
© 2015 Pratt Institute.
Campus photography: © William Abranowicz;
additional photography by Josh Gerritsen, Peter
Tannenbaum, Paul Mpagi Sepuya, Martin Boothe or
provided by the departments and individual artists.
This publication has been edited for accuracy
at the time of publication. Information contained
herein is subject to change.
Printed by Conceptual Litho Reproductions.
Opening Page: Students sketch in the
Sculpture Park
Previous Spread: Students walk through
Pratt’s Brooklyn campus
Contents
13
About Pratt Institute
151 School of Liberal Arts
25
The History of Pratt
27
Pratt Students
155 Critical and Visual Studies
36
How a Pratt Education Works
159 History of Art and Design
and Sciences
163 The Writing Program
41
School of Architecture
47
Architecture
55
Construction Management
59
School of Art
165 Classes in the Liberal Arts
171 Academic Degrees Overview
172 Curricula
199 Faculty
63Foundation
261 Undergraduate Admissions
69 Art and Design Education
275 Financial Aid
73
Associate Degree Programs
299 Tuition and Fees
81
Digital Arts
307 Registration and Academic 87
Film/Video
Policies
93
Fine Arts
327 Student Affairs
101 Photography
341 Libraries
343 Libraries Faculty
111 School of Design
345 Board of Trustees
115 Foundation
347 Administration
119 Communications Design
349 Academic Calendar
127 Fashion Design
357 How to Get to Pratt
135 Industrial Design
359 Index
143 Interior Design
1
We’re standing at the
convergence of five paths
at the grassy west end of
the Brooklyn campus. Every
morning between 8 and 10,
there’s a parade of people
hurrying to class with sixfoot canvases, architectural
models, and bulging black
portfolio cases. Some have
worked through the night to
make the morning deadline.
Opposite: Students walking to class on
Brooklyn campus
3
The variety and ingenuity
of work in this gallery with
moving walls is extraordinary.
One student hauls a chair
with tusk-like arms covered
with protective plastic.
An upside-down self portrait
goes by clutched by its rightside-up creator. A large glazed
ceramic piece streaked with
glinting metal inches toward
its destination, carried by two
breathless students. A small
skyscraper rolls by on a dolly
pushed by a student whose
nose is buried in Tolstoy’s
shorter works. We’re tempted
to pause and enjoy the show,
but we’re late for Interior
Design class.
Opposite: Student walking to class on
Brooklyn campus
4
The class is a “pin-up”
critique, and when you walk
into the high-ceilinged,
light-flooded studio, you
immediately discover where
the term came from.
Every square inch of the
white homasote walls appears
to be punctuated with tiny
pinholes—that is, every square
inch that is not currently
covered by student plans,
designs, carpet samples, and
paint chips push-pinned to the
walls, awaiting scrutiny. Many
rooms on campus are like this:
pocked with reminders of the
hundreds of critiques where
students put up their best
work, and other students and
teachers try to find in the
work as many flaws as the wall
has holes.
No one notices as we take
a seat at the back of the class.
The first pin-up has been under
way for five minutes, and all
eyes are riveted on the work.
“That door,” says one student
in the class, leaning out of his
seat to point more precisely
at the design, “it looks like it’s
on the second floor, but what
you just said would put it on
the first.”
“Look at the detail,”
responds the door’s creator,
“it’s actually on a mezzanine.”
The professor chimes
in, “Isn’t a mezzanine going
to cause a problem with
traffic flow?”
“What’s the peak flow
through that door?” calls out
another student.
“I’m not sure, maybe 40 to
50 people per minute,” says
the original designer.
Opposite: Pin-up critique
Pages 6-7: Brooklyn campus
“That’s not just a traffic flow
problem, that’s a bottleneck!”
says the original questioner.
“That’s not just a
bottleneck,” says the
professor, “that’s a death trap!”
Everyone laughs. But soon
the door detail is pulled off
the wall by its creator with a
self-deprecating, “Hey, don’t
worry, it’s biodegradable.” She
replaces it with a sketch for
a new, more accommodating
doorway, improvised on the
spot with a little help from
her friends.
8
Later, strolling down the
High Line in Chelsea, the city’s
downtown gallery district, we
note the works of three Pratt
faculty members on exhibition.
“I’m down here all the time
to see what my professors are
up to,” says a Pratt sophomore
who accompanies us. “This
is where I want to be. When
I graduate, this is the world I
want to work and live in. If you
want to feast, New York City is
the ultimate buffet.”
We stop at an outdoor
café. “Now look at this scene
developing across the street.”
On the sidewalk between a
gallery of tribal art and one of
modern art, an artist is laying
out his own six-square-foot
abstractions. “I just take it
all in, and when I get inspired
again, I retreat to my beautiful
and peaceful oasis in Brooklyn
and paint.”
“The sidewalk artist erects
a small sign: “This is art, direct
to the public. No middleman.”
“This is art,” says our
companion. “This is New
York City.”
Opposite: Platters, designed by School of
Architecture Professor Haresh Lalvani and
manufactured by Milgo-Bufkin
11
Why do so many prestigious
artists, designers, and writers
choose to teach at Pratt?
For some, it’s the passion
for teaching itself. For others,
it’s the ability to use Pratt as a
laboratory to test their latest
theories. And for others, it’s
to water the soil that helped
them grow into leaders in their
fields. After all, many are Pratt
graduates themselves.
The first art teacher at
Pratt was a pupil of Cézanne,
the second was a student
of Matisse. More than 100
years later, the legacy of
masters working with students
not only persists at Pratt but
grows stronger.
In addition to teaching
at Pratt, many of the current
faculty members are working
professionals—leaders in
their fields who design the
automobiles we drive, the
clothing we wear, and the
buildings in which we live—
and who pass on knowledge
and expertise to the generation
that will shape the world
of tomorrow.
Opposite: Students in a sculpture studio
13
The most innovative part
of the most interesting part
of the most important city in
the world.
Founded in 1887, Pratt Institute
work becomes richer, more complex,
prepares its 3,100 undergraduate and
more interesting. Pratt’s programs are
1,400 graduate students for rewarding
consistently ranked among the best in
and successful careers in art, design,
the country. Pratt’s faculty and alumni
architecture, information and library
include the most renowned artists,
Brooklyn, New York—home
to more artists than any
other city in the world and
home to one of the best art,
architecture, and design
schools in the world.
science, and liberal arts and sciences.
designers, and scholars in their fields.
With a campus in Brooklyn, a
Its programs encourage collaboration
borough of New York City in the midst
and the development of creative
of a renaissance, and a campus in
strategies for design thinking.
Manhattan, the art and literary capital of
As one of the world’s multicultural
the world, Pratt offers students access
epicenters for arts, culture, design,
to the resources of both—museums,
technological innovation, and business,
galleries, restaurants, vintage shops,
New York City provides Pratt students
and more. Its state-of-the-art facilities
with an exceptional learning environment
ensure that students have the best
that extends beyond the Pratt campuses.
possible equipment, materials, software,
From design firms and art galleries where
and space for their work.
students may intern to museums and
The Institute’s landscaped campus
concert halls where they enjoy all of the
in the historic Clinton Hill neighborhood
city’s cultural offerings, Pratt’s New York
of Brooklyn is home to all of the
City location is unparalleled.
four- and five-year programs except
Students may also work towards a
Construction Management, which is
Pratt bachelor of fine arts at PrattMWP,
located on the Manhattan campus,
the Institute’s extension campus in
where all of the associate’s degree
Utica, New York. After two years there,
programs are also located.
students may transfer to the Brooklyn
A wide variety of majors and
campus to complete their four-year
concentrations—from traditional arts
degree. PrattMWP offers art and design
to the most contemporary digital arts
education (teaching art), fine art,
and design—enables students to explore
communications design, photography,
all their interests with electives in
and an undecided option.
different departments. As a result, their
Opposite: Students in front of
the School of Architecture
Opposite:
As a young artist, designer, or
writer, you are looking for a school that
15
How does Pratt do that?
• A choice of 27 majors and
recognizes your talent and potential
concentrations in four schools:
and challenges you to grow as a
Architecture, Art, Design, and Liberal
creative individual. You are seeking an
Arts and Sciences.
environment that is both challenging
• A world-class faculty of successful
and inspiring, where education is tied
working professionals connects
to real-world experience—access to
students with internships and jobs.
all the culture that New York City has
• A beautifully landscaped 25-acre
to offer, internships in award-winning
Brooklyn campus just minutes
firms and cutting-edge galleries, and the
from Manhattan with historic
opportunity to study abroad. You want
buildings, tree-lined green spaces,
to know that, upon graduation, you will
a contemporary sculpture park, and
benefit from an extensive network that
will connect you with jobs throughout
your career, so that you can lead a
fulfilling and productive life earning a
living doing something you love.
outstanding facilities.
• A Manhattan campus in the heart of
Chelsea’s arts district.
• An upstate New York extension
campus, Pratt MWP.
• Campus housing where 94 percent
of freshmen and 51 percent of
upperclassmen choose to live.
Opposite: Students relaxing on
Brooklyn campus
17
Why is Pratt the first choice
of so many students?
#1Fine Art and Studio
Programs
(USA Today, 2015)
Consistently High Rankings
Where creative minds are inspired.
Ranked among the top design schools
Brooklyn Campus
#3Fashion Design
(Fashionista)
by Bloomberg Businessweek, Pratt’s
undergraduate and graduate programs
are consistently ranked among the top 10
or 20 in the country and the world.
Payscale ranked Pratt first among
the best art and design schools for the
#8Industrial Design
(DesignIntelligence,
2014)
mid-career salaries of graduates.
In 2014, DesignIntelligence ranked
Pratt’s undergraduate Interior Design
program #2 in the nation. Pratt’s
Industrial Design undergraduate program
#2 Interior Design
2014)
#2Digital Arts
(Animation Career
Review, 2014,
East Coast)
#9Architecture
2014)
ranked #8. Pratt’s undergraduate
Architecture program ranked #11
nationally and #4 on the East Coast.
The Institute was ranked #20 in U.S.
News and World Report’s 2013 Guide to
America’s Best Colleges in the Regional
Universities North category. For 2014,
Pratt was ranked #1 in the country in
Global Language Monitor in the Art,
Design, and Music School category.
Pratt was also recognized as one
of the country’s most environmentally
responsible colleges in The Princeton
Review’s 2013 Guide to 322 Green
Colleges.
Opposite: Students in drawing class
Located just 25 minutes from midtown
Manhattan, Pratt’s main Brooklyn location
is the only New York City art and design
school with a traditional campus. A 25acre landscaped oasis, Pratt provides a
visual respite in a busy city. Ryerson Walk
draws a path through green lawns and
mature trees surrounded by 125 years of
architectural history.
Many of the Institute’s 19thcentury buildings have been designated
national landmarks, including the 1897
Renaissance Revival-style Caroline Ladd
Pratt House, which serves as the official
house of the Pratt president and several
students. The Pratt Library, which was
built in 1896 in a similar style, boasts an
interior designed by the Tiffany Glass &
Decorating Co.
Beyond this rich heritage, Pratt also
has several distinctly modern buildings
that have been constructed in the
past decade. The 26,000-square-foot
Higgins Hall Center Section, designed by
Steven Holl Architects and Rogers Marvel
Architects for the School of Architecture,
Why Pratt?
18
opened in 2006. In 2007, the
Clinton Hill is one of New York’s
Ways to Get to Know Pratt
160,000-square-foot Juliana Curran
premier Victorian-era neighborhoods
Request information at www.pratt.edu/
Terian Design Center opened—designed
and is listed on the National Register
request, and we’ll send you information
by Hanrahan Meyers Architects, the firm
of Historic Places. In part because
about events, deadlines, and programs
led by Thomas Hanrahan, dean of the
of Pratt, it boasts an extraordinary
based on your interests.
School of Architecture.
number of creative artists, architects,
Myrtle Hall, a LEED Gold-certified
building designed by the firm WASA/
designers, illustrators, and sculptors
Visit: www.pratt.edu/visit
among its residents.
Email: [email protected]
Call: 718.636.3514 or 800.331.0834
Studio A, was completed in 2010 and
is home to the digital arts programs.
Manhattan Campus
Twitter: @prattadmissions
The 120,000-square-foot building is
Pratt’s Manhattan campus is located at
Facebook: Pratt Institute Admissions
a testament to Pratt’s commitment to
144 West 14th Street, walking distance
sustainability.
to Union Square, Chelsea’s art district,
Visit us, ask questions, show us your
The entire 25-acre campus
and many other leading educational
work, and find out why Pratt is the first
also comprises the celebrated Pratt
and cultural institutions. The seven-
choice for so many students. Schedule
Sculpture Park, the largest in New York
story, 80,000-square-foot property
your appointment online at www.pratt.
City, with sculptures by artists including
offers state-of-the-art facilities within
edu/visit.
internationally renowned Richard Serra
a distinctive, turn-of-the-century
and Mark di Suvero. According to Public
Romanesque Revival building. Pratt’s
Pratt Institute
Art Review it is one of the 10 best campus
Manhattan-based programs benefit
Office of Admissions
art collections in the United States.
from the new campus’s cutting-edge
technology and its prime location.
Pratt’s tree-lined neighborhood,
Clinton Hill, has a history that is intimately
The Manhattan campus houses
interwined with the Institute. A century
the School of Information and Library
ago, it was home to the elite of Brooklyn.
Science, the Center for Continuing and
The expansive mansions lining Clinton
Professional Studies, the Associate
Avenue belonged to the shipping
Degree programs, the B.P.S. in
magnates and mercantile princes of the
Professional Services Managment,
Gilded Age. Charles Pratt, whose fortune
the graduate programs in Design
derived from his partnership with John
Management, Arts and Cultural
D. Rockefeller in Standard Oil, started his
Management, and Communications
Institute on family land just a few blocks
Design, and the School of Architecture’s
from the family mansion.
undergraduate Construction
Management program and graduate
program in Facilities Management. The
library, exhibition space, and stateof-the-art computer labs support the
academic programs.
Opposite: Brooklyn campus
Brooklyn, NY 11205
20
Why Pratt?
Where faculty and students
are at the center of creative
exploration and innovation.
Professional Faculty
academic initiatives where faculty and
Pratt’s nearly 1,000 faculty members are
students collaborate:
award-winning scholars who mentor their
At the Center for Sustainable Design
talented students to achieve comparable
Studies (CSDS), green design principles
success. They are also working
are integrated into the curricula. The
professionals in the city’s creative
Design Incubator for Sustainable
sector, who bring to the classroom their
Innovation, a project of CSDS, supports
experience designing buildings, creating
several graduating students each year
ad campaigns, and building furniture.
as they develop design ideas into
The faculty represents leaders in the art,
marketable products.
design, architectural, technology, and
business communities.
In Corporate-Sponsored Studios
and Projects, faculty members explore
These faculty members impart to
new approaches to a design or business
students the same high standards upheld
problem while students gain real-world
in their professional work. With different
experience. Partners have included
views, methods, and perspectives, they
Barnes & Noble, Colgate-Palmolive,
all share a common desire to develop
General Mills, and West Elm.
each student’s potential and creativity to
At the Pratt Center for Community
the fullest—to turn out competent and
Development, faculty, staff, and fellows
creative professionals who will shape the
work for a more just, equitable, and
world to come. Faculty serve as critical
sustainable city for all New Yorkers by
connections when students are ready for
empowering communities to plan for and
employment or internships.
realize their futures.
Academic Initiatives
Students and faculty move effortlessly
between traditional age-old techniques
and more contemporary digital software,
taking advantage of Pratt’s extensive
range of facilities from shops in metals,
wood, ceramics, and jewelry to labs for
animation, motion arts, and interactive
arts. From state-of-the-art facilities
to research initiatives, the Institute is
committed to providing students with
the best education possible. A Faculty
Innovation Fund allows faculty to initiate
new areas of investigation. A few
Opposite: Student at work in the metal shop
Why Pratt?
23
State-of-the-Art Technology
Libraries
Pratt’s computer labs and digital
The Pratt Library on the Brooklyn
The Center for Career and Professional
output centers have the most current
campus is located in an 1896 landmark
Development inspires, supports, and
equipment available. Computer labs offer
building with interiors by the Tiffany
educates students and alumni. The
computer workstations, color scanners,
Glass & Decorating Co. Collections and
Center offers career and internship
color and black-and-white printers
services are focused on the visual arts,
counseling, resume and portfolio
and plotters, digital and analog output
architecture, design, creative writing, and
assistance, industry mentoring,
centers, digital photography, video and
allied fields. Additional materials support
professional development, workshops,
sound bays, multimedia video projection,
the general education curriculum. The
entrepreneurial support, and a lifelong
and multiple servers. From film editing
library houses more than 200,000
job search support system.
and digital animation to two- and three-
volumes of print materials, including
dimensional rendering, all workstations
more than 600 periodicals, rare books,
provides a distinct advantage for students
feature the latest software for the
and the college archives. The library also
looking for internships or job experience.
departments using them. Those working
includes a multimedia center housing
Qualified students are offered challenging
in the three-dimensional realm have
nearly 3,000 film and video titles as
on-the-job experiences in top art
access to 3-D printers, laser cutters, and
well as the Visual Resources Center,
galleries, publishers, architecture, and
CNC milling machines. Pratt continually
a collection of more than 120,000
design firms in both Manhattan and
upgrades lab equipment as industry
circulating architecture, art, and design
Brooklyn, giving them firsthand work
standards change.
digital images.
Exhibitions
supports the Pratt community as well
Tools for Tomorrow
Internship and Career Support
Pratt’s New York City location
The Pratt Manhattan Center Library
experience as well as credit toward their
professional degree.
Six months after graduation,
89 percent of Pratt’s graduates are
employed and 84 percent of those are
employed in their field. Preparing for
a fulfilling, meaningful, and productive
career and understanding emerging
trends and the global job market are
essential activities for Pratt students.
Gallery space, both on the Brooklyn
campus and at Pratt Manhattan, is
extensive, showing the work of students,
alumni, faculty, staff, and other wellknown artists, architects, and designers
throughout the academic year. Pratt
Manhattan Gallery is a public art gallery
that strives to present significant work
from around the world in the fields of
art, architecture, fashion, and design.
The Rubelle and Norman Schafler
Gallery on the Brooklyn campus mounts
faculty and student exhibitions as well
as thematic shows featuring the work of
unaffiliated artists. In addition, Pratt has
more than 15 other galleries located on
its Brooklyn and Manhattan campuses.
Opposite: Students at work
as visiting researchers. The library has
a growing collection of monographs,
serials, and multimedia, as well as stock
photography. It offers a wide range of
electronic resources, including general
and subject-specific databases, all of
which are available off-site.
25
The History of Pratt
On October 17, 1887,
12 young people climbed
the stairs of the new
“Main” building and began
to fulfill the dream of Charles
Pratt as the first students
at Pratt Institute.
Charles Pratt, one of 11 children, was born
The Institute’s success is based
the son of a Massachusetts carpenter in
largely on Charles Pratt’s philosophy of
1830. In Boston, he joined a company
education, which revolutionized teaching
specializing in paints and whale oil
by challenging the traditional concept of
products. When he came to New York,
academia as a purely intellectual exercise.
he founded a petroleum business
He created a school where applied
which would become Charles Pratt and
knowledge was emphasized and specific
Company. The concern eventually merged
skills were taught to meet the needs of
with Standard Oil, the company that
a growing industrial economy. Pratt has
made John D. Rockefeller his millions.
been a pioneer in education since its
Pratt’s fortunes increased and he
inception. Today, Pratt offers students
became a leading figure in Brooklyn,
more than 27 undergraduate majors and
serving his community and his profession.
concentrations—more than most other
A philanthropist and visionary, he
art and design schools in the country—
supported many of Brooklyn’s major
and 26 master’s degree programs.
institutions. He always regretted,
The energy, foresight, and spirit
however, his own limited education and
Charles Pratt gave to his dream remains
dreamed of founding an institution where
even today. Inscribed on the seal of the
pupils could learn trades through the
Institute is his motto: Be True to Your
skillful use of their hands. This dream was
Work, and Your Work Will Be True to You.
realized when Pratt Institute opened its
doors more than 125 years ago. To this
day, members of the Pratt family are
leading supporters of the Institute.
Opposite: Charles Pratt, founder of the Institute
27
Pratt Students
Although Pratt students come from
Student Retention
Athletics and Recreation
all over the world, they share several
One of the best measures of student
Pratt’s athletic programs are based in the
characteristics. First, most have known
satisfaction is the percentage of
Activities Resource Center, which has
since childhood that they enjoy creating
freshmen who return the following fall.
a 200-meter indoor track, five indoor
things. Second, most enjoy inventive
Pratt’s retention rate is 87 percent,
tennis courts, basketball and volleyball
problem solving both in and out of the
among the highest in the country among
courts, a weight room, dance/exercise
classroom. Finally, most share a deep
private art schools. A recent survey of
rooms, and saunas. Pratt is a member of
desire to change the world and leave
Pratt students indicated that they were
the Hudson Valley Athletic Conference.
their imprint.
extremely satisfied with the quality of
Men’s and women’s varsity sports at Pratt
their education.
include outdoor and indoor track, cross-
Pratt receives more than 6,000
applications for its freshman class of
country, basketball, volleyball, and tennis.
620, enabling the admissions committee
Student Life
A complete intramural activities program
to select an international student body
Pratt students can choose from more
includes dodgeball, flag football, floor
with a wide variety of backgrounds.
than 60 student activities, including
hockey, soccer, and table tennis.
Twenty-five percent of the freshman
honor societies, clubs, sports, or the
class come from other countries,
student-run school newspaper,
Living on Campus
including China, Canada, Singapore,
publications, and radio station. Students
Pratt is one of the few colleges in New
Thailand, Turkey, and Korea. Seventy-
regularly attend films, plays, lectures,
York City that offer on-campus housing.
seven percent of the undergraduate
art openings, and concerts—both on
94 percent of our freshmen and more
enrollment comes from states other than
campus and around New York City.
than half of all students live on our main
New York, giving Pratt a truly national and
These cultural outings play an essential
Brooklyn campus in one of our five
international student body.
role in the Pratt experience.
residence halls. Students can choose to
Although it is possible to attend
In addition to the residence halls and
live in a single room, a four-person suite,
Pratt part time, 100 percent of the
cafeteria and cafes where students meet
or a full apartment with one, two, or three
freshman class chooses to study full time,
for meals, campus life is also centered
bedrooms. Seniors can apply to live in
reflecting a high degree of commitment.
around the Student Union, the Library,
one of the campus’s recently renovated
The student body is composed of
the Schafler Gallery, and the Activities
historic townhouses. Various meal plans
4,688 undergraduate and graduate
Resource Center, where most sports
are available for residential students.
students—33 percent men and 67
and wellness activities take place. In
percent women.
warm weather, students often meet and
sit on the lawns amid the contemporary
sculptures that dot the campus.
Opposite: Students relaxing
on Brooklyn campus
29
Notable Alumni
What do the Chrysler
Building and Scrabble have in
common? Both were designed
by Pratt alumni. Pratt has
approximately 26,000 active
alumni, whose achievements
are a testament to the
soundness of the Institute’s
educational philosophy. Pratt
alumni have designed wellknown and award-winning
furniture, clothing, buildings,
and commercials, as well as
artworks that are regularly
exhibited in major museums
and galleries.
William Boyer, designer of the classic
Beverly Pepper, sculptor
Thunderbird
Charles Pollock, furniture designer
Shawn Christensen, Academy Award
Paul Rand, graphic designer, created
winner
IBM logo
Tomie dePaola, children’s book author
Robert Redford, actor and director
and illustrator
Robert Sabuda, illustrator
Jules Feiffer, cartoonist and playwright
Stefan Sagmeister, graphic designer
Harvey Fierstein, playwright and actor,
David Sarnoff, president, RCA
Torch Song Trilogy
Corporation
Steve Frankfurt, advertising innovator
Tony Schwartz, creator, Alka-Seltzer
Bob Giraldi, film director
commercial
Felix Gonzalez-Torres, installation artist
Annabelle Selldorf, gallery and museum
Michael Gross, executive producer,
architect
Ghostbusters
Robert Siegel, architect, Gwathmey
Bruce Hannah, furniture designer
Siegel Kaufman
for Knoll, named Designer of the
Pat Steir, contemporary painter and
Decade in 1990
printmaker
Eva Hesse, sculptor and painter
William Van Alen, architect, Chrysler
Betsey Johnson, fashion designer
Building
Ellsworth Kelly, minimalist painter
Tucker Viemeister, product designer, Oxo
Edward Koren, cartoonist,
Good Grips
The New Yorker
Max Weber, modernist painter
Naomi Leff, interior designer
Robert Wilson, avant-garde stage
George Lois, advertising designer
director and playwright
Robert Mapplethorpe, photographer
Carlos Zapata, residential and
Peter Max, pop artist
commercial architect
Norman Norell, fashion designer
Peter Zumthor, Pritzker Prize-winning
Roxy Paine, conceptual artist
architect
Sylvia Plachy, photographer
Opposite: Chrysler Building
by William Van Alen
30
Cultural Partnerships in New York City
The Brooklyn Academy of Music,
second year, they begin to specialize in
The Institute has created partnerships
popularly known as BAM, is at the
Fine Arts, Photography, Art and Design
with a number of major cultural
vanguard of theater offerings. You
Education, or Communications Design,
institutions so students may take
can see productions ranging from
so that in the junior year at Pratt they
advantage of the vast opportunities
performance art and independent films
may specialize further with a major in
in Brooklyn and Manhattan. Students
to stylized Shakespearean productions.
one of these areas.
participate in collaborative work as part
Pratt students can attend BAM events at
of their curriculum or simply have class
discounted rates.
visits. On their own, Pratt students may
visit free of charge.
In Manhattan, Pratt students also
Students have the option to relocate
for the junior year with no application
process for a virtually seamless
enjoy visiting these institutions where
transition, or they may apply to transfer
admission fees are waived: The Cooper
elsewhere. Financial aid is awarded on
the Brooklyn Museum has an impressive
Hewitt National Design Museum, The
the basis of both financial need and
permanent collection. The Egyptian art
Frick Collection, Museum of Arts and
merit. For more information, go to www.
collection is one of the world’s finest.
Design, the Museum of Modern Art, and
mwpai.edu or contact the Office of
The museum’s Asian art collection,
the Whitney Museum of American Art.
Admissions at 315.797.0000 ext. 2248
Close to Pratt’s Brooklyn campus,
or 800.755.8920 ext. 2248, or email
though modest in size, is one of the
more diverse and comprehensive
in the New York metropolitan
area. The museum puts on several
Affiliated Programs
PrattMWP
contemporary—and often local—art
Pratt’s upstate extension campus in Utica,
exhibitions each year. The “First
New York, is the result of an affiliation
Saturday” of each month is a day of
with the renowned Munson-Williams-
special events when the museum is free
Proctor Arts Institute. Students take the
to the community.
first two years of Pratt’s bachelor of fine
Open year-round, the adjacent
arts in Fine Art, Photography, Art and
Brooklyn Botanic Garden features one of
Design Education, and Communications
the most impressive Japanese gardens
Design on Munson’s beautiful central New
outside Japan. It captures nature in
York State campus and finish the last two
miniature: trees and shrubs, carefully
years at Pratt in Brooklyn. With state-of-
dwarfed and shaped by cloud pruning,
the-art facilities, a world-class museum,
are surrounded by hills and a pond. The
and spacious new student apartments in
Cranford Rose Garden features 5,000
a historic Victorian-era neighborhood,
bushes of 1,200 varieties of roses.
PrattMWP is a wonderful opportunity
for students looking for a first-rate art
education in a small-town setting.
First-year students take a set of
core courses, based on the first year
curriculum at Pratt’s main campus, along
with required liberal arts courses. In the
[email protected].
Delaware College of Art and Design
The Delaware College of Art and Design
(DCAD) in Wilmington, Delaware, was a
creative partnership of Pratt Institute
and the Corcoran College of Art and
Design, and is now an independent twoyear school of art and design. Established
in 1998 through the generosity of
the Wilmington business community,
DCAD’s two-year associate of fine arts
(A.F.A.) program thoroughly prepares
students for the option of applying for
transfer into bachelor of fine arts degree
programs at Pratt as juniors.
For more information, go to
www.dcad.edu or contact the Office
of Admissions at 302.622.8000.
31
Minors and Combined Degrees
Study Abroad Programs
Architecture Summer Design
As Pratt is one of the largest art and
Pratt’s study abroad programs combine
Workshop in Berlin
design schools in the United States,
the Institute’s academic excellence with
students interested in taking electives
firsthand exposure to some of the most
in departments outside their majors
vibrant international centers of art,
have a wealth of options. Additionally,
design, and architecture.
Pratt offers minors in Architectural
Theory and Technology, Art and Design
Education, Art History, Construction
Management, and Interior Design.
Freshman and transfer applicants may
apply to the combined undergraduate/
graduate degree (B.F.A./M.S.) in Art and
Design Education.
Pre-College Summer Program
Each summer, Pratt offers a collegelevel program for talented high school
students. Students are awarded college
credit and have an opportunity to build
their skills in intensive classes taught by
Pratt faculty. These programs provide
students with an ideal opportunity to
develop their portfolios in preparation
for application to college. Full and partial
scholarships are available.
Architecture in Rome Semester Abroad
The program, open to fourth-year
architecture students, is split between
Brooklyn and Berlin in partnership with
the Aedes Network Campus at their
studios in Berlin. It offers eight credits.
This program consists of a design studio
This program gives fourth-year,
and seminar, which frames the studio
undergraduate architecture students the
problem. The design studio investigates
opportunity to live and study in Rome
21st-century placemaking and scales of
during the spring semester. The 18-credit
intervention that differ radically from the
curricular structure consists of seven
institution-driven urban design of
core credits in Architectural Design
the past.
and Urban Studies. The studios focus
on the city’s ancient and contemporary
levels, public spatial itineraries, and the
larger issues of contextual integration.
Emphasis is placed on drawing as a
critical tool for analytical consideration
of an urban area.
Architecture Summer Design
Workshop in Beijing
This program, open to fourth-year
architecture students, is split between
Brooklyn and Beijing in partnership
with the Central Academy of Fine Art in
China. It provides a unique opportunity
for students to engage with the complex
challenges of mass globalization. The fivecredit design studio is intended to expand
the awareness of students in balancing a
historic environment with new, emerging
technologies and the three-credit
seminar is to support the research.
Pratt Summer in Paris
The Pratt Summer in Paris program
gives students the opportunity to earn
six elective credits studying literature
and writing. The program is housed at the
Cité International Universitaire de Paris.
Courses include The American Writer
in Paris and Surroundings, a writing
seminar focused on encounters with
provocative settings.
Fashion in Europe Summer Program
33
Design and Liberal Arts in Copenhagen
Exchange Programs
Semester Abroad
Pratt maintains school exchange
teams up with prominent art and design
Undergraduate, third-year students
programs with some of the best schools
universities for a two-week program
in the departments of Interior Design
of art, design, and architecture in the
in fashion, product, textiles and/
and Critical and Visual Studies have
world. Pratt currently exchanges with
or accessories. Open to all students,
an opportunity to spend the spring
14 partner schools in 10 countries.
this program takes students on a
semester in Copenhagen studying at the
The Institute’s emphasis on diversity
collaborative learning journey with peer
Danish Institute for Study Abroad.
and the global exchange of knowledge
Every summer, the fashion department
is reflected in the selection of
institutions from around the globe. It
enriches students’ understanding of the
fashion world by exposing them to fellow
students and faculty abroad and the
fashion industry outside New York.
Architecture and Design in Copenhagen
Summer Program
Pratt in Venice Summer Program
In Venice, students may register for six to
eight credits, selecting from courses in:
Printmaking/Drawing, Painting, Art History
of Venice, and Materials and Techniques of
Venetian Art. The program takes place in
June and July. It is open to graduate and
The Architecture and Design in
undergraduate students. Pratt’s program
Copenhagen program gives Architecture,
is conducted in collaboration with the
Communications Design, Fine Arts,
Università Internazionale dell’Arte at the
Industrial Design, and Interior Design
Villa Heriott and the Scuola Internazionale
undergraduate and graduate students
di Grafica. Art history classes are held at
the opportunity to earn seven credits
various sites and alternate with lectures
studying cutting-edge Scandinavian
that provide a historical context for the
design. The program lasts seven weeks,
visits. In the graduate course in Materials
running between mid-June and early
and Techniques students visit conservation
August. Teachers include masters in the
laboratories to learn from local experts
fields of architecture, furniture design,
and research specific aspects of materials
graphic design, interior architecture,
and process.
and urban design. Students also travel to
For more information on individual
Sweden, Finland, Norway, and western
programs, contact Dr. Marianthi
Denmark for field trips.
Zikopoulos, Interim Director of Study
Abroad and International Partnerships, at
[email protected] or go to www.pratt.
edu/academics/academic-resources/
study-abroad.
Opposite: Students take advantage of the
Institute’s many study abroad programs,
including Architecture in Rome.
distinguished schools in the Netherlands,
Germany, England, Israel, Italy, Australia,
Japan, Korea, Scotland, and Sweden.
They include Central Saint Martins,
University of the Arts Berlin, Gerrit
Rietveld Academy, Bauhaus University,
and Musashino Art University. Pratt
students spend a semester at the
partner institution taking a program
of classes in fine arts and design or
architecture uniquely tied to the history
and traditions of the country. These
exchanges are arranged on a semester
basis for qualified students. For more
information, go to www.pratt.edu/oia.
If you are a Pratt student and
you are interested in an Exchange
Program, please contact Dr. Marianthi
Zikopoulos, Interim Director of Study
Abroad and International Partnerships,
at [email protected].
Commitment to Sustainability
Regardless of discipline, our
Higher education has a unique role in
graduates must be able to integrate
America. No other institution in society
best sustainable practices into
has the influence, the critical mass,
their professional lives. Within each
and the diversity of skills needed to
program, Pratt students are offered an
successfully reverse global warming. Pratt
opportunity to learn to think in new ways
Institute is taking a leadership role in
about the relationship of designer to
sustainability for schools of art, design,
product, architect to built environment,
and architecture nationwide. At this
and artist to creative expression. The
critical moment, when our environment
Institute is continuously working to
and ways of life are at risk, we have a
reduce our carbon footprint, “greening”
responsibility to ensure that each of our
our dorms, facilities, and classrooms and
graduates has a deep awareness
creating an ongoing, living laboratory
of ecology, environmental issues, and
from which our students can observe,
social justice.
participate, and experiment.
In The Princeton Review’s 2013
The Institute’s Center for Sustainable
Guide to 322 Green Colleges, Pratt was
Design Studies (CSDS) is an active and
recognized as one of the country’s most
collaborative resource for sustainable
environmentally responsible colleges.
design at Pratt’s Brooklyn campus. Under
As active participants in the American
the umbrella of CSDS, the Pratt Design
College and University Presidents’ Climate
Incubator for Sustainable Innovation
Commitment (ACUPCC), Pratt seeks to
provides ambitious students and Pratt
be a carbon-neutral campus. In 2010,
alumni with a stimulating place to launch
Myrtle Hall, a LEED Gold-certified building
sustainability-minded businesses,
designed by the firm WASA/Studio A,
providing office space, planning support,
was completed. The 120,000-square-
and access to shop facilities. For more
foot building is a testament to Pratt’s
information, go to csds.pratt.edu/.
commitment to sustainability.
35
Accreditation Statement
Pratt Institute is a coeducational undergraduate
and graduate institution chartered and
empowered to confer academic degrees by the
State of New York. The certificates and degrees
conferred are registered by the New York State
Department of Education. Pratt is accredited
by the Commission on Higher Education of
the Middle States Association of Colleges and
Schools, 3624 Market Street, Philadelphia,
PA 19104, 215.662.5606. The Commission on
Higher Education is an institutional accrediting
agency recognized by the U.S. Secretary of
Education and the Commission on Recognition of
Postsecondary Accreditation.
Programs in art and design are accredited by
the National Association of Schools of Art and
Design (NASAD). Pratt is a charter member of and
accredited by the National Association of Schools
of Art and Design.
The School of Architecture’s Bachelor of
Architecture program is accredited by the
National Architectural Accrediting Board. (For
more information on NAAB accreditation, refer to
the School of Architecture section, page 25.)
The Master in Library and Information Science
program is accredited by the Committee on
Accreditation of the American Library Association.
The Master in Art Therapy is approved by the
Education Approval Board of the American Art
Therapy Association, Inc., and as such meets
the education standards of the art therapy
profession. The Graduate Dance/Movement
Therapy program has been approved by the
American Dance Therapy Association.
Programs offered by Art and Design Education
and the M.S. for Library Media Specialists (LMS)
offered by the School of Information and Library
Science are accredited by RATE.
The B.F.A. offered by the Interior Design
department is accredited by the Council for
Interior Design Accreditation (formerly FIDER).
Opposite: Myrtle Hall, the Institute’s sustainably
designed, LEED-certified administrative and
academic building
36
Department
Programs and Emphasis
Architecture
Five-year B.Arch.
Art and Design Education
Major (B.F.A.)
Combined B.F.A./M.S.
Minor (without certificate)
Post-baccalaureate certificate (pending approval)
Communications
Design
Communications Design (B.F.A.)
Graphic Design
Illustration
Advertising Art Direction
Construction Management*
Four-year B.P.S.
Four-year B.S.
Two-year A.A.S.
Minor
Critical and Visual Studies
Four-year B.A.
Digital Arts
igital Arts (B.F.A.)
D
3-D Animation and Motion Arts
Interactive Arts
2-D Animation
Fashion
Fashion Design (B.F.A.)
Film/Video
Film (B.F.A.)
Fine Arts
Fine Arts (B.F.A.)
Painting
Sculpture
Jewelry
Ceramics
Drawing
Printmaking
History of Art
and Design
Major (B.A. and B.F.A.)
Minor
Combined B.F.A./M.S.
Industrial Design
Major (B.I.D.)
Interior Design
Major (B.F.A.)
Minor
Photography
Photography (B.F.A.)
The Writing Program
Four-year B.F.A.
Two-Year A.O.S.
Graphic Design
Illustration
Digital Design and Interactive Media
Two-Year A.A.S
Graphic Design/Illustration
Painting/Drawing
37
Internships
Study Abroad
Senior Project/Thesis
Available at firms throughout New York
rchitecture and Design in Copenhagen,
A
Architecture in Rome, Summer Design Workshop
in Beijing, Summer Design Workshop in Berlin,
Senior project required
Thesis optional
vailable in teaching, arts administration,
A
educational media and design, museums, special
education, and Pratt’s Saturday Art School
Thesis required
(combined degree only)
vailable at advertising agencies and
A
design firms throughout New York
rchitecture and Design in Copenhagen, Pratt
A
Summer in Paris
Senior Project required
vailable at construction firms throughout New
A
York/tri-state area
Available in a wide variety of cultural agencies
Design and Liberal Arts in Copenhagen, Pratt
Summer in Paris
vailable at design firms and production
A
companies throughout the tristate area
Summer internships available out of state
Required at a fashion design firm
Fashion in Europe, Pratt Summer in Paris
vailable at commercial photo studios, production
A
companies, and other major networks throughout
New York and other major cities
Thesis optional
Available in a variety of areas
Pratt in Venice, Architecture and Design in
Copenhagen, Pratt Summer in Paris
vailable at museums and galleries
A
throughout New York
Pratt in Venice, Pratt Summer in Paris
Thesis required
vailable at industrial design firms
A
throughout New York
A
Summer in Paris
Available at interior design firms
throughout New York
A
Summer in Paris
vailable at commercial photo studios, production
A
companies, and major networks throughout New
York and other major cities
vailable at publishing houses, TV studios,
A
newspapers, magazines, off-Broadway theaters,
agents’ offices, advertising agencies, and other
arts and cultural institutions
Available at design firms in New York
Available in a variety of areas
38
New Student Orientation
Liberal Arts
A series of orientation activities is held
At least 25 percent of the credit
the week prior to the beginning of classes
requirements for all baccalaureate
for new freshmen and transfer students.
degrees is in the liberal arts and
During this week, new students become
sciences.
acquainted with Pratt, the surrounding
community and city, and fellow students.
English
6 credits
Foundation
All freshmen take a first-year program
Cultural History
that is intended to be an introduction
6 credits
and a time to explore their interests.
Architecture, Fashion Design, Critical
Social Sciences
and Visual Studies, Construction
or Philosophy
Management, and Writing all have their
6 credits
own first-year programs. All other Art
and Design freshmen take the same
Science
general foundation program. See each
6 credits
major for a description of the firstyear curriculum. Students in Associate
Elective
Degree programs take some Foundation
10 credits*
courses, as well.
*or more depending on the major
Opposite: Students in drawing class
41
Architecture
As you look out over your
hometown skyline, it would
probably be easier to make a
list of buildings that haven’t
involved Pratt graduates than
a list of those that have. No
matter where you live, you’ve
probably gazed upon or been
in a structure designed by a
Pratt alumnus.
Winston Churchill said, “We shape our
Architecture is dedicated to maintaining
buildings; thereafter they shape us.”
the connection between design theory
With this in mind, architecture becomes
and practice and to contributing to the
the medium through which we account
knowledge necessary to fully understand
for ourselves as a society and, at the
the built environment.
same time, attempt to leave an imprint
on civilization.
The range of programs within the
school and the accessibility of other
This brings up fundamental
programs within the Institute enable
|questions regarding the role of the
students to pursue a wide variety of
architect in contemporary life. Should
interests within the field. Architecture
architects be poets or pragmatists? At
students may take electives in fine arts,
Pratt, the short answer is “both.” The
illustration, computer graphics, industrial
architect is given the ability to design
design, furniture design, interior design,
structures that materially contain and
and photography, as well as electives in
protect us while they address our
advanced architectural theory, design,
intellectual, aesthetic, and human needs.
technology, and management.
The balance between theory and
The opportunity to learn from
practice is critical and is gained only
peers also is an invaluable part of the
through rigorous exposure to these
educational experience. The student
diverse elements. The beauty of Pratt
body includes many foreign students,
is that it has, in the words of one
each of whom brings a different
graduate, “reached critical, cultural
perspective to the study of architecture.
mass,” where the diversity and liveliness
The school encourages transfer students
of discussions about the how, what,
to apply and will evaluate credits from
and why of the profession are always
other colleges, universities, or community
vigorous and interesting. The School of
colleges.
Dean
Assistant to the Dean
Office
Thomas Hanrahan
Pamela Gill
Higgins Hall North, 1st Floor
Director of Production Technologies
[email protected]
Kurt Everhart
Mark Parsons
www.pratt.edu/architecture
Tel: 718.399.4304 | Fax: 718.399.4315
The Pratt student graduates from
43
Is there another city where mere
the program knowing architecture as
blocks separate “works in progress”
a discipline that gathers from the arts,
from a 17th-century Dutch church
sciences, and liberal arts to produce
house, or the most contemporary of
works of value that are sensitive to the
modern architecture from some of the
realities of life in cultures around the
finest historic buildings in America? The
world. The Pratt graduate is imbued
School of Architecture demonstrates
with strong ethical values and an
daily that learning does not occur solely
understanding of the architect’s ability
in the classroom. This is reflected in
to improve the quality of life. As a result,
the annual undergraduate and graduate
Pratt students know how to build, what
lecture series that bring some of the
to build, for whom, and how to enhance
most influential architects in the world
the surrounding environment, in the city
to campus; the Center for Experimental
or country, in a public works project or a
Structures; exhibitions by students and
private home.
faculty that fill three galleries on a regular
The Pratt faculty includes
basis; and the study abroad programs in
theoreticians, scholars, and practicing
Italy and France. The school publication
professionals who bring to the classroom
InProcess documents the work of students
professional expertise, a strong
throughout the year.
theoretical base, and the high standards
Pratt’s Center for Community
to which they adhere in their client
Development, formerly PICCED, one
work. Students are further exposed to
of the oldest community advocacy and
the professional world through optional
technical assistance organizations in the
internship programs that place them
United States, gives students additional
in outstanding New York architectural
opportunities to work on real-life projects.
firms, public agencies, and nonprofit
design institutions, giving them firsthand
Admission Requirements
work experience as well as credit
Please refer to the section on
toward their professional degrees. The
Admissions, starting on page 261.
program makes rich use of the extended
resources of the metropolitan New York
Student Work
community.
The School of Architecture reserves
For its faculty, the school draws
the right to temporarily retain during
upon the world’s largest pool of
the academic year, for exhibition and
practicing architects, critics, and
classroom purposes, representative work
historians. For its “laboratory,” students
of any student enrolled in its programs.
have the city itself.
Page 40: Work by Martin Galindez (B.Arch. ’13),
Johana Monroy (B.Arch. ’13) and Jennifer Villamar
(B. Arch. ’13)
Opposite: Work by Melissa Balcazar (B.Arch. ’13)
and Amir Karimpour (B.Arch. ’13)
At Pratt, we w
taught no
at the problem
solved, bu
the bigger pic
the wor
were
ot only to look
m to be
ut to consider
cture in
rld around us.
—Jeff Kinzler, B. Arch. ’78,
Architect, attorney, and founder of
Lawbuilder Consultants
47
Architecture
Undergraduate architecture
is a five-year Bachelor of
Architecture program that
prepares students with an
early interest in architecture
to become leading professional
practitioners. Students at
Pratt learn that architecture
is a meaningful cultural
contribution, requiring
both imagination and
material realization within
a larger social and ethical
context. The five-year design
sequence offers a thorough
foundation in architecture,
integrating critical thinking,
design, technology, building,
representation, and social
responsibility.
Students strive for creative and
when earned sequentially, constitute an
intellectual independence and inspired
accredited professional education.
architectural research. Firmly committed
The pre-professional degree is not,
to contemporary material practices,
by itself, recognized as an accredited
the program is currently developing
degree, however. The NAAB grants
initiatives to integrate new technologies
candidacy status to new programs
into the curriculum.
that have developed viable plans for
In the United States, most state
achieving initial accreditation. Candidacy
registration boards require a degree
status indicates that a program
from an accredited professional degree
should be accredited within six years
program as a prerequisite for licensure.
of achieving candidacy, if its plan is
The National Architectural Accrediting
properly implemented.
Board (NAAB), which is the sole agency
The Bachelor of Architecture
authorized to accredit U.S. professional
program is a fully accredited five-
degree programs in architecture,
year professional program. Ranked
recognizes two types of degrees: the
ninth in the U.S. by DesignIntelligence,
Bachelor of Architecture and the Master
the program received a six-year
of Architecture. A program may be
reaccreditation in fall 2010. The Master
granted a five-year, three-year, or two-
of Architecture program is a three-year
year term of accreditation, depending
professional program. The program
on its degree of conformance with
received full accreditation in fall 2004
established educational standards.
and was reaccredited in 2010.
Master’s degree programs
may consist of a pre-professional
undergraduate degree and a postprofessional graduate degree, which,
Chair
Assistant Directors of
Technician
Erika Hinrichs
Student Advisement
Rodrigo Guajardo
Juliet Medel
Assistant Chair
Terilyn Stewart
Assistant to the Chair
Adam Kacperski
Office
Tel: 718.399.4305 | Fax: 718.399.4332
Jason Lee
Administrative Clerk
[email protected]
Latoya Johnson
www.pratt.edu/ug-dept-architecture
48
Architecture
The Program’s Structure
offered by any school in the Institute.
Bachelor of Architecture
By purposefully selecting courses within
The Bachelor of Architecture program is
a professional program accredited by the
National Architectural Accrediting Board
(NAAB) requiring a minimum of five years of
study. Most states require that individuals
intending to become architects hold an
accredited degree. These professional
degrees are structured to educate those
who aspire to registration and licensure to
practice as architects.
The 170 credits required for the
Bachelor of Architecture degree are
organized in three main categories: a core
of required courses in architectural study,
liberal arts courses, and electives. The core
of 95 credits is primarily taken in the first
three years and is designed to give basic
professional preparation in architectural
design, construction technology, graphic
communication, and the humanistic
aspects of design.
The liberal arts areas require 48
credits, of which 12 are taken within the
School of Architecture (ARCH 151, 152,
all elective areas during their last four
semesters, students can develop their
own unique architectural education
based on their own needs and goals.
This personalized fourth-year curriculum
is directed toward culmination in the
fifth-year degree project. Individual
curricula may be developed to place
more emphasis on such subject areas
as design, preservation, building
technology, history and theory, planning,
construction management, and urban
design in the final two years of study.
The degree-project year completes
the student’s academic architectural
experience with an in-depth design
study, preceded and accompanied by
research. The degree project is executed
with guidance from critics chosen by the
student.
Options combining the
undergraduate degrees with various
master’s degrees are also available in
planning and facilities management.
251, and 252), six credits in English, six
in cultural history, six in science, and
six in social science. The remaining 12
credits are taken as electives selected
from the liberal arts courses offered by
the School of Liberal Arts and Sciences.
The elective courses consist of 15 credits
of professional electives selected
from courses offered by the School
of Architecture’s undergraduate and
graduate programs, and 12 all-Institute
electives, selected from courses
Page 46: Work by Leila Jada (B.Arch. ’13)
and Lauren Touhey (B.Arch. ’13)
Opposite: Work by Nattaporn Pairuchvet
(B.Arch. ’14)
Architecture
Above from top: Work by Ashley
Hickman (B.Arch. ’17); Work by Robinson
Strong (B.Arch. ’16)
Opposite from top: Work by Suzy Lin
(Freshman); Work by Jeffrey Sean Gold
(B.Arch. ’13) and Kevin Hennessey (B.Arch. ’13)
Above from top: Work by Susan Lee (B.Arch. ’16)
and Artemis Theodorou; Work by Javier Marcano
(B.Arch. ’15) and Aime Vailes-Macarie (B.Arch. ’15)
Opposite from top: Work by Shirley Li
(B.Arch. ’14); Work by Zabie Mustafa (B.Arch. ’13)
Architecture
NEED HIGH-RES IMAGE
55
Construction management
is the planning, bidding and
coordination of a project
from construction drawings
to completion.
The construction manager’s raw materials
urban, suburban, or rural, there are no
are often a vacant piece of land, a set of
major projects built without this crucial
construction drawings in digital or hard
team in place.
copy, and a project manual the width of
Pratt’s School of Architecture has
an I-beam. The construction manager
the distinction of being one of the first,
is charged with the tasks of assembling
and one of the few, schools in the nation
a team for construction; contending
to offer this essential degree program.
with numerous local, state, and federal
The faculty consists of leading profes-
regulations; and coordinating skilled
sionals, including the project manager
and unskilled craftspeople, unions,
and the director of safety and site safety
contractors, subcontractors, architects,
management of the World Financial
engineers, planners, consultants, and
Center; former assistant commissioner
the owner/developer. The day-to-day
and director of design for NYC public
challenges of construction management
works; chief, Division of Material Assur-
make for some of the most demanding
ance, Safety and Landfill Remediation,
assignments in the world, whether a
NYC Department of Environmental
manager is overseeing the construction of
Protection; a member of the Industry
a towering skyscraper or a low-rise condo.
Advisory Committee, NYC Department of
Construction management is a
Buildings; the vice president and project
collaborative effort. The primary
executive for a leading construction
relationships among stakeholders can be
management firm managing major
represented by a triangle, with the owner
national and international multimil-
at one point, the architect/engineer at
lion-dollar projects; and a principal of
another, and the construction manager
the largest specifications consulting firm
at the third. Given the growing complex-
in the Northeast.
ity of design and construction, whether
Chair
Assistant To The Chair
Office
Regina Ford Cahill, M.S.
Philip Ramus
Tel: 212.647.7524 | Fax: 212.367.2497
[email protected]
[email protected]
www.pratt.edu/constructionmanagement
56
The Construction Management
Most classes are scheduled in the evening
program provides a professional
at the Pratt Manhattan Center so that
education emphasizing critical
students who wish to work part-time or
thinking that connects management
full-time and complete the requirements
with technology and a liberal arts
of their academic program may do
education suitable for a career in
so. Students can choose to take their
building construction.
liberal arts courses at either the Pratt
Graduates of the Construction
Manhattan Center in the evenings or
Management Program should:
the Brooklyn campus during the day.
• Understand the roles and
Students may vary the program through
responsibilities of the participants in a
their choice of electives that emphasize
construction project;
architectural, real estate, or other
• Be able to plan and organize the work
construction-related roles.
of a construction project;
• Be able to apply knowledge from
Bachelor of Professional Studies in
English, mathematics, science,
Construction Management (B.P.S.):
management, and communication
courses to construction-related
activities;
• Be capable of collaborating with
members of a team;
• Understand the importance of ethical
practice; and
• Possess a passion for lifelong learning.
Students who graduate from this program
are equipped to immediately enter the
work force in construction and/or
project management with success.
Bachelor of Science in Construction
Management (B.S.):
Construction Management Minor
The Department of Construction
Management offers an 18-credit minor to
Undergraduate Architecture and Interior
Design students. Students may apply to
the minor in Construction Management
program through their Adviser at any
point during their academic career,
beginning in the first semester of their
second year. The completion of the minor
will be noted on the student’s transcript
but will not be shown on the diploma.
Minor in Architectural Theory
and Technology
The Undergraduate Architecture
Department offers a 15-credit nonstudio-based minor to qualified
Construction Management students
pursuing a Bachelor of Professional
Studies degree. Students may apply to
the minor in Architectural Theory and
Technology through their Advisor at
This program was developed for transfer
any point during their academic career,
Students can apply for matriculation
students and students pursuing a second
beginning in the first semester of their
(acceptance into the degree-granting
bachelor’s degree. Those entering with
second year. The completion of the minor
program) upon admission, or they
acceptable transfer credits may complete
can be admitted with special, nonmatri
the program in less than four years.
Associate of Applied Science in
Admission Interviews
culating status.
Building and Construction (A.A.S.):
The Construction Management
Offered for students seeking a foundation
the chair of Construction Management
bachelor’s degree program requires the
in building science and for students who
before registration for courses. An
completion of 132 credits.
may not desire to complete the bachelor’s
appointment should be made in advance.
program. The Building and Construction
Contact: [email protected]
program requires the completion of
68 credits.
Admitted students may wish to talk with
Page 54: Pratt Manhattan
Above: Students in Construction
Surveying course
59
School of Art
Film/Video
Associate Degrees
Fine Arts
Digital Arts
Ceramics, Drawing, Jewelry,
Painting, Printmaking, Sculpture
2-D Animation, Digital (3-D) Animation
and Motion Arts, Interactive Arts
The mission of the School of
Art is to educate those who will
make and shape our built and
mediated environment, our
aesthetic surroundings, and
our collective future.
Pratt’s School of Art is a destination for
Photography
Two parallel objectives guide every
talented students with a strong desire
department in the School of Art. One
to explore the boundaries of art. Young
is the emphasis on students acquiring
artists from around the world come to
a high level of skills, techniques,
study at Pratt’s campus located in the
methodologies, and vocabulary required
heart of historic and contemporary
for success as creative professionals.
Brooklyn. Students join a community
The second objective—intertwined with
of working artists who make up Pratt’s
the first—is to balance that professional
outstanding faculty that encourages
proficiency with a highly developed
growth and experimentation.
critical judgment based on historical
The School of Art offers a diverse
perspective that allows them to become
range of programs in Digital Arts, Film/
effective and creative problem solvers
Video, Fine Arts, Photography and Art
for the world they will graduate into.
and Design Education. These programs
The School of Art’s diverse
are supported by studies in the liberal
collection of disciplines is dedicated
arts and sciences, creating a dynamic
to the primacy of studio practice and
context for stimulating intellectual and
the transformative power of creativity.
creative inquiry. The School of Art
We educate leaders in the creative
programs are also enriched by Pratt’s
professions to identify, understand,
distinguished professional programs
shape, and benefit from the challenges of
in the School of Design and the School
a rapidly changing world. Our programs
of Architecture—all within the cultural
are designed to develop critical thinking
campus of New York City.
skills, deepen understanding, enable
practice, and empower visionary action.
The School of Art is dedicated to
developing creative leadership in a world
that requires it.
Dean
Director of
Office
Gerry Snyder
Academic Advisement
Main Building, Fourth Floor
Michael Farnham
Katherine Morris
Director of Finance
and Administration
Assistant Dean
Dianne Bellino
Tel: 718.636.3619 | Fax: 718.636.3410
[email protected]
Daisy Rivera
www.pratt.edu/soa
61
Page 58: Work by Cynthia Horrigan (B.F.A. ’13)
Left: Work by Brennan Hinton (B.F.A. ’14)
63
Foundation
The foundation program at
Pratt Institute constitutes
the core of the first year for
students in both the School
of Art and the School of
Design. Students in all majors
but fashion design in these
two schools attend the
foundation program. Fashion
design has its own first year.
This first-year program, a
year of exploration and study
in the fundamentals of art
and design, develops skills in
drawing, three-dimensional
work, light, color, and design,
and time and space, so that all
students enter the sophomore
year in their majors with the
requisite skills to begin their
specialized disciplines.
In the early years of an artist’s career, it
rigorous way, introducing him or her
is important to master the basics in an
to professional standards of work. The
environment of positive, critical feedback
third teacher guides the student through
and encouragement. But it wasn’t always
the specific ethics, disciplines, and
that way. Pratt introduced the practice to
requirements of the chosen art or design
the United States in the 1940s, creating an
field, helping build bridges that enable
American tradition in many ways distinct
the student to cross successfully into the
from its European Bauhaus antecedents.
professional world.
Yet the premise remains: In the early
While there are often more than
years of an artist’s career, it is important
three teachers involved in an artist’s
to master the basics in an environment
education, individuals who can fulfill the
of positive, critical feedback and
second role are an essential part of the
encouragement.
Foundation experience at Pratt. Day-to-
Research shows that a foundation
day work involves mastery of materials and
course of study often provides the second
techniques, with the explicit purpose of
of three key “teachers” in the lives of
producing thinking artists and designers—
successful artists. The first teacher—often
people who can integrate the physical and
a parent or friend during high school—
sensory aspects of art and design with its
issues relatively uncritical encouragement,
fuller emotional and intellectual aspects.
allowing the student to discover the sheer
(For another view of how Foundation fits
pleasure and excitement of working as an
into your life as an artist or designer, see
artist. The second teacher, sometimes
“How a Pratt Education Works,” page 36.)
encountered in high school, but more
often in a first-year college foundation
program, begins eliciting the student’s
talents and abilities in a more formal,
Acting Chair
Administrative Assistant
Office
Kim Sloane
Julia Shinay
Tel: 718.636.3617 | Fax: 718.399.4589
Acting Assistant Chair
Technician
Natalie Moore
Sung Ha No
4-D Lab Manager
Sabrina Lovell
Matthew Bray
[email protected]
www.pratt.edu/foundation
Foundation
64
The first-year course of study consists
of Foundation Studio Core, Survey of Art
I and II (HA 115 and HA 116), and English
(HMS 101 and HMS 103). The fashion
department is an exception and has its
own first-year program.
The Foundation Studio Core helps
students evaluate their previous art
experience in the light of new ideas and
techniques. This grounding in underlying
concepts and principles of the visual arts
puts students’ professional goals in a
context of personal growth and selfreflection. Before specialization in the
sophomore year, the core curriculum
encourages flexibility, adaptability, and
the experience of design and art as wideranging enterprises. Transfer students will
be evaluated for advanced standing, with
proper documentation (transcript and
portfolio), by the Office of Admissions.
Students expand their thinking
by participating in a series of studio
experiences that deal with the analysis
of problems in perception, conception,
and imagination. The studio work
encompasses both 2- and 3-D forms in
their optical, technical, and symbolic
natures. In addition, students receive an
introduction to 4-D time arts through
the use of computers and other media.
At one point, students may deal with
specifically designed structural problems
and at another point may examine these
problems from expressive, social, and
historical perspectives. Through this
process, individual imagination, skill,
ambition, and preferences are examined.
Page 62: Work by Light, Color, Design
students (freshmen)
Above: Work by Drawing students (freshmen)
Opposite: Work by Light, Color, Design
students (freshmen)
Foundation
My freshman year
foundation
courses were
extraordinary,
especially
in the way they
South Korea
Film/Video ’86, CEO, CJ Entertainment,
— Katharine Jungah Kim, B.F.A.
enhanced my
ability to see
and feel things
differently.
69
In their junior year, students in
the Art and Design Education
Department teach their own
classes in art and design in the
Saturday Art School. For over
a century, this laboratory
school has provided New York
City children and adolescents
with a quality arts program.
A few years ago, an alumnus of our
brave enough to stand in front of 20 or
undergraduate program, Gary Bilezikian,
more eight-year-olds and teach a lesson
wrote about his experience in the
on Cubism using Play-Doh and plastic
Saturday Art School. “First, there were
dinosaurs. They were people who stayed
the kids—wonderful, creative kids from
up late preparing lesson plans, handouts,
all five boroughs of New York City, brave
materials, and even scripts for their
enough to drag their parents out of bed
morning’s classes.
each Saturday morning so that they could
“In the years since I graduated from
visit this funky college in Brooklyn to
Pratt, I have drawn upon many of the
take art lessons with people who were,
lessons learned and experiences gained
in some instances, not much older than
in the Saturday Art School, first as a
themselves.
teacher in the New York City public
“Second, there were our faculty
schools, then as an illustrator and designer
supervisors, who performed the delicate
of children’s books and videos, a designer
task of dealing with the feelings, ideas,
of children’s furniture, and, finally, back to
and fears of a bunch of young artists
teaching again.
trying to move gracefully from the role
of student to teacher.
“Finally, there were the student
“Woven through this haphazard
career path has been the thread of kids,
art, and education—the foundation of
teachers—people who may have had some
which was shaped, molded, and launched
prior teaching experience in summer
in the Art and Design Education Depart-
camps, at local YMCAs, or as babysitters to
ment at Pratt.”
nieces and nephews. They were people
Gary’s experience as an
who had the vision and drive to get into
undergraduate in our program highlights
and stick with a demanding program in a
the emphasis we place on connecting
respected art school. They were people
educational theory with practice in our
Director, Center for Art, Design,
Youth Programs Coordinator
and Community Engagement K-12
Lia Wilson
Tara Kopp
Aileen Wilson
[email protected]
[email protected]
[email protected]
718.636.3681
718.636.3654
Art and Design Education Office
Youth Programs Office
Acting Chair
Tel: 718.636.3637 | Fax: 718.230.6817
Tel: 718.636.3654 | Fax: 718.230.6876
Heather Lewis
[email protected]
www.pratt.edu/youth
[email protected]
www.pratt.edu/art-design-education
718.687.5602
718.636.3637
70
fieldwork and student teaching courses.
years. Students need to remain in good
At the same time, the concentration
B.F.A. or B.F.A./M.S. In Art and Design
academic standing to continue in the
on studio work results in our producing
Education (With New York State Initial
five-year program. When they get to
creative and innovative artist-educators.
Certification, Visual Arts Pre-K-12)
the graduate level, students will need
Overall, students get opportunities to
work collaboratively with their peers,
community members, and professionals
in the field, while they learn to develop
lessons and construct environments
that promote critical inquiry and
creative practice.
Students majoring in education can
leave Pratt certified to teach in New York
State and eligible to apply for a
teaching certificate through inter-state
reciprocity. They are prepared to work
effectively in diverse cultural contexts
and apply interdisciplinary perspectives
in a variety of educational settings. Like
Gary, they can fashion their own itinerary
in a host of alternative careers such as
arts administration, museum education,
educational media and design, and special
education. No matter what their ultimate
career path may be, these opportunities
provide future artists, designers, and
educators with greater empathy, skill, and
breadth of vision. They become part of
a community of engaged and passionate
practitioners in a department that is
progressive and dynamic and aims to
provide a stimulating, challenging, and
supportive environment for our students,
faculty, and staff.
In the Art and Design Education
Department, teaching is a creative
process modeled upon and nourished
by intensive artistic preparation.
Students engage in a variety of fieldwork
and student teaching experiences in
which personal connections between
studio, education theory, and classroom
practice are made. By learning how to
articulate and communicate visual and
aesthetic ideas to others, students gain
insight into their own work as making art
and teaching art become complementary
activities. Students graduate with
two areas of expertise and greater
opportunities for employment as they
combine the study of education with
studio coursework in art and design.
Both Programs I and II lead to New
York State Initial Certification in Teaching
to meet the requirements for graduate
students, including academic standing
requirements. Financial aid packages,
as well as bursar and other payment
situations, also convert to graduate
student levels.
Certification Requirements
In order to be recommended for NYSED
Initial/Professional Certification in Visual
Arts, Pre-K–12, candidates must have
completed the following:
Workshops
• Child Abuse Identification Workshop
• School Violence Prevention and
Intervention Workshop
• Training in Harassment, Bullying,
Cyberbullying, and Discrimination in
Schools: Prevention and Intervention
Visual Arts, Grades Pre-K–12.
These workshops must be taken with a
Program I: A major in Art and Design
provider approved by NYSED.
Education (B.F.A.), 134 credits.
Passing Scores on the Following Tests
Program II: Combined degree in Art
and Assessments:
and Design Education (B.F.A./M.S.), 159
• Educating All Students (EAS)
• Academic Literacy Skills Test (ALST)
• Content Specialty Test (CST)
• Education Teacher Performance
credits.
By completing both undergraduate and
graduate degrees in Art and Design
Education at Pratt, students can
reduce time and cost requirements.
This program can be completed in five
Assessment (EdTPA)
Page 68: Saturday Art School’s Sculpture Class, ages
9-12, with graduate student teacher Caitlin Reller.
Photo by Kevin Wick
Above: Pratt’s Saturday Art School classes
73
Pratt’s Associate Degree
Programs (A.O.S. and A.A.S.)
are concise, comprehensive,
and intensive two-year
undergraduate art and
design degree programs that
integrate the best of new
media and technologies with
a strong commitment to a
traditional art and design
curriculum. These programs
offer an exciting educational
opportunity to traditional and
non-traditional students.
These programs allow students to
small and faculty members work closely
immerse themselves in an intensive
with each student, helping to refine
two-year, career-track Associate of
his or her skills to a professional and
Occupational Studies (A.O.S.) or transfer-
competitive level, in keeping with the
track Associate of Applied Science (A.A.S.)
goals of the program.
education. Located in Manhattan, the
In all majors, there is a strong
center of the art and design community,
emphasis on teaching traditional skills
the programs give students immediate
and a commitment to providing students
access to the world’s leading design
with access to the most advanced
studios and museums, providing excellent
technology. The curriculum is sequential;
opportunities for field trips, guest
it begins with rigorous foundation
speakers, and internship placement.
courses for all majors, followed by
All of New York City is our campus, and
major-specific upper-level courses, and
the diversity of the student body—with
culminates in a professional portfolio
students of varied ages from across the
development course and internship
country and around the world—reflects
opportunities for students enrolled in
the sophisticated location.
the career-track A.O.S. degree.
The faculty, some of New York’s
leading artists and designers, bring to
the classroom a unique combination of
The Associate Degree program is concise,
expertise and dedication to teaching.
comprehensive, and demanding, offering
They work diligently to provide students
students the choice of an intensive two-
with professional experience and to
year career (A.O.S.) or transfer-track
inspire the confidence students need to
(A.A.S.) education. Located in Manhattan,
continue their education or to pursue
their chosen careers. Classes are kept
Chair
Office
Susan G. Young
Chandra Singh
Tel: 212.647.7375 | Fax: 212.367.2480
[email protected]
3-D Technician
Zach Whitehurst
www.pratt.edu/associate-degree
74
these programs integrate the best of
The program offers a strong foundation,
the new technologies into a strong,
advanced-level art and design courses,
traditional art and design curriculum.
and a liberal studies component, all
Associate of Occupational
Studies (A.O.S.)
Transfer Applicants
transfer degree.
• Basic application form.
• Application fee, $50 ($90 for
The faculty for both the A.O.S. and
A.A.S. degree programs comprises New
Design and Interactive Media
York’s leading professionals, who bring
degree designed for high school graduates
and adults with or without previous college
experience. This is an intensive, two-year
all art-and-design-based curriculum,
offering a strong foundation in design
along with capstone courses, internship
opportunities, and a professional portfolio
upon graduation. The program attracts
highly motivated students who, upon
completion, move quickly into the fields of
advertising, illustration, web design, digital
video, package design, and publishing.
Associate of Applied Science
(A.A.S.)
Graphic Design/Illustration
and Painting/Drawing
The A.A.S. program is a preprofessional
degree program providing the student
with the first two years of a four-year
bachelor of fine arts course of study.
to the classroom practical professional
experience and expertise reflecting the
highest standards in their fields. The
emphasis on the personal attention
given each student is a key difference
between this and other programs.
Students may attend classes on a full- or
part-time basis. Financial aid is available
to qualified students.
Filing Dates
Pratt Associate Degree programs have a
rolling admission policy for all applicants,
which means that there is no specific
deadline for applying to the program.
However, all applicants are encouraged
to file admissions documentation as early
as possible.
Application Requirements
Freshman Applicants
• Submission of the electronic
Upon completion, students graduate
application (www.pratt.edu/apply)
with an A.A.S. degree and have the
with $50 application fee paid by check
option of entering an arts profession
or credit card. International student
or applying for transfer into a fouryear B.F.A. program at Pratt or another
school of choice.
pratt.slideroom.com.
combined to create a comprehensive
Graphic Design, Illustration, and Digital
The A.O.S. program is a professional
• Portfolio should be uploaded to
application fee is $90.
• Essay/statement of purpose.
• One letter of recommendation
(optional).
• High school transcript.
international students).
• Essay/statement of purpose.
• One letter of recommendation
(optional).
• Transcripts from all previous colleges
attended.
• Portfolio should be uploaded to
High School Transcript
Transfer students who have completed
fewer than 30 college credits must also
submit their high school transcripts.
A completed Health Evaluation
Form and documentation of
immunization against measles, mumps,
and rubella are required by New York
State law for all students born on or after
January 1, 1957. All material should be
mailed if possible to:
Pratt Institute
Undergraduate Office of Admissions
Brooklyn, NY 11205
Page 72: Work by Beau Berkley
(A.O.S. Illustration ´14)
Above: Work by Cassandra Price
77
Home Exam
Illustration Applicants
Pratt offers a large number of grants,
If you do not have a portfolio, you must
Solve the following problem in color.
submit the following home exam instead
No oils.
at pratt.slideroom.com.
1. Illustrate a quotation. Send along
the words of the quotation with your
All Applicants
Complete the following drawings in black
and white only. You may use any media
except oils. Draw while looking at the
object. Submit these in slide form or prints
of digital images.
1. A pair of shoes or sneakers.
2.A self-portrait. (Do not copy a
photograph.)
3.A landscape.
Design and Digital Design Applicants
Solve the following problem in color,
No oils:
painting.
2.Draw a single figure in an environment.
scholarships, loans, and work awards.
Many awards are based on academic
achievement; others are based on
financial need. All financial aid packages
are awarded based on both academic
achievement and need. A student’s
Draw all from life and imagination. You
“need” is determined through specific
may use photos or printed materials as
application requirements; therefore,
reference only.
it is important to accurately complete
all required financial aid forms. Students
If you would like to receive feedback on
should submit the FAFSA electronically
your work, you may schedule a portfolio
at www.pratt.edu/financial-aid by
review at www.pratt.edu/admissions
February 1.
by calling 718.636.3779 or calling the
Associate Degree Office at 212.647.7375
International Students
to schedule an appointment.
The rolling admission policy is also
Acceptance Procedures
in effect for international student
applicants. All students whose first
Candidates are notified by mail as to
language is not English are required to
their acceptance or rejection. Decisions
submit a Test of English as a Foreign
will be mailed about six weeks after all
Language (TOEFL) score for admission.
materials are received. Deposit forms
In addition, all students upon arrival
will be sent with the decision letter.
at Pratt must take the Pratt English
Include all words of the quotation as a
Deposit forms should be completed
Proficiency Exam. If it is determined
design element.
and returned with a $300 admissions
that the student is not proficient in
nonrefundable deposit and an optional
English, he or she will be required
$300 housing deposit. Please note that
to take Intensive English courses at
this $300 deposit will be applied to the
Pratt Institute. International students
first semester’s tuition. Pratt reserves
must submit the I-20 Request Forms
the right to restrict registration of new
found at www.pratt.edu/oia checklist
students when the program’s maximum
or in the enrollment guide in order to
number of students is attained.
obtain a visa.
1. Design a calendar page, one month
only. You may include anything you
think appropriate (photos, drawings) as
well as type and numbers.
2.Design a page built around a quotation.
Financial Aid
Pratt tries to ensure that no student
is prevented from completing his or
her education due to a lack of funds.
Opposite: Work by Beau Berkley
78
Part-Time Enrollment
A part-time student is considered any
student who takes fewer than 12 credits
per semester. Part-time students may
be eligible for some financial aid and
may participate fully in all Pratt programs and activities.
Housing
Students wishing to live on or near Pratt’s
Brooklyn campus must submit the $300
deposit form by May 1 for fall entrance
and December 1 for spring entrance.
Contact the office of Residential Life for
more information at 718.399.4551.
School Visits
Visits by interested students are always
encouraged. Appointments may be made
by calling the Institute at 212.647.7375.
Above: Work by Carlo Cittadini
(A.A.S. Painting/Drawing ´14)
81
Digital Arts
What is a Digital Artist?
A Visual Thinker. A Researcher.
A Programmer. An Inventor.
A Builder. A Storyteller.
A Visionary.
One of the most exciting aspects of being
an artist in the 21st century is the ability
B.F.A. in Digital Arts
to digitally alter any medium to express
an idea.
Pratt’s Digital Arts program offers
three distinct areas of emphasis:
digital (3-D) animation and motion arts,
2-D animation, and interactive arts.
Interactive media allows the user to
contribute to the content of an artwork
as an installation or screen-based work.
Digital 3-D animation involves bringing
the inanimate to life in a virtual world,
while 2-D animation explores the
immediacy and joy of tactile media. In
each area, students have access to a
wide variety of high-quality technology
in an environment that can only be
described as invigorating and innovative.
The Digital Arts program is
populated with a faculty of talented,
leading professionals in the field. Many
write for trade and professional journals,
and several have authored trendsetting
books. Their works are widely published
and exhibited both nationally and
This program helps students to master
the new technologies that are reshaping
the way people interact, communicate,
and create new forms of expression.
The curriculum prepares students for
professional positions in the arts and
creative industries that currently employ
this technology: interactive media, digital
animation, and experimental fine arts.
Living and studying in New York City
affords students access to galleries and
production facilities that few cities can
rival. Our graduate students routinely
continue to expand their skills and make
career-changing contacts working as
interns in leading studios and galleries.
The four years culminate in a senior
project that is exhibited/screened in
senior shows. Students create traditional
portfolios, demo reels, and websites that
are used as a part of graduate school
applications, gallery and festival entries,
and job applications.
internationally.
Chair
Office
Peter Patchen
Deidre Carney
Tel: 718.636.3411 | Fax: 718.399.4494
Assistant Chair
Lab Managers
Carla Gannis
Phillip Allen
[email protected]
Igor Molochevski
www.pratt.edu/digital-arts
Digital Arts
82
This 134-credit program may be
completed in four calendar years.
Areas of Emphasis
Digital (3-D) Animation
and Motion Arts
Students focus on self-expression
using form and motion, time-based
Students are able to select one of
narrative, live action, and digital
three tracks: Interactive Arts, Digital
animation techniques. Courses include
(3-D) Animation and Motion Arts, or 2-D
3-D modeling, 3-D animation, character
Animation.
design, rigging, character animation,
storyboarding and storytelling, motion
Interactive Arts
Students use computer-human interaction
to convey meaning in the form of physical
installations, interactive objects, and online
artworks. This includes the combination of
video, animation, text, audio, and imagery
in an interactive environment. Courses
include Graphics Programming, Interface
Design, Interactive Installation, Robotics
and Physical Computing, Actionscript and
more. Recommended electives include
dynamics, lighting and rendering,
video editing, and audio editing.
Recommended electives include
contemporary issues in film and video,
history of animation, 2-D animation,
character design and rigging, scripting,
audio and video, compositing and special
effects, 3-D printing, and advanced
digital animation techniques.
2-D Animation
courses in sculpture, history of new
Animation courses are constructed to
media, video editing, programming, video
afford a wide exposure to all aspects
installation, online media, electronic music,
of animation production and to allow
and audio editing.
students to focus on the areas of
greatest interest. Courses in animation
history, character development,
storyboarding, and storytelling enhance
the animation production courses. The
junior workshops are advanced studies
in animation production using traditional
and digital tools.
Digital Arts
Page 80: Work by James Kwan (B.F.A. ’15)
Above: Work by Serena Rio (B.F.A. ’12)
Above from top: Work by Bryce Barsten
(B.F.A. ’15); Work by Cody Walzel (B.F.A. ’13);
Opposite from top: Work by Christine Wu
(B.F.A. ’15); Work by Bryce Barsten (B.F.A. ’15)
Digital Arts
87
Film/Video
You can’t escape the moving
image—from theaters,
television, and art galleries
to smart phones, YouTube,
building façades, and cabs—
movies are everywhere.
The magic of cinema, which
shocked audiences at its
inception, is now fully
integrated into our daily lives.
How can you as a young artist
make the most of this moment?
How can you explore all the
exciting new possibilities
of film and video, while still
becoming skilled in the
relevant traditions?
The Pratt Film program is designed to
Throughout the program, students
grow the next generation of innovators in
create, write, direct, and edit as ‘total
moving image and sound. We offer a solid
filmmakers,’ rather than focusing on one
foundation in the culture, techniques,
area. We provide a core curriculum of rig-
and processes of filmmaking, with training
orous required courses, while simultane-
in both traditional and non-traditional
ously encouraging students to follow their
forms. At Pratt, there are no limits.
own interests as they choose electives,
Fiction or non-fiction? Commercial or
which include dynamic film/video topics
art world? These may be boundaries you
choose to move beyond. Your classes
will take you through all modes of film
and video (narrative, documentary,
experimental, and hybrid) encouraging
intellectual cross-fertilization and
allowing you to shape your own artistic
vision. While our program provides
students with professional training in
all current technologies, our priority is
creative expression.
In our curriculum, award-winning
as well as interdisciplinary collaborations
with students in other majors.
For example, consider an elective in
Writing Through Pix + Sound, a non-traditional screenwriting class; collaborate with
fashion design students in Film + Fashion and explore the rich interaction of
costume and the moving image. Challenge
yourself to learn from your peers and your
environment, as well as your professors.
Access is key. In the Film program,
film/video artists and industry
starting freshman year, students shoot
professionals teach an exciting range
with large-sensor interchangeable-
of courses, from the foundational first
lens digital cinema cameras, quality
year Digital Cinema sequence, to the
microphones, and compact digital audio
culminating Senior Project, in which
recorders. Students edit in our digital
each student makes a short film as his/
her senior thesis.
Chair
Lab Manager
Office
Jorge Oliver
Matthew Hysell
Tel: 718.636.3633
Assistant Chair
Technicians
[email protected]
Kara Hearn
John Crowe
www.pratt.edu/film-video
Fax: 718.636.3478
Eric Trenkamp
88
Film/Video
editing facilities, manipulating image and
NYC, and an award-winning filmmaker
audio with the latest post-production
at Miami’s Art Basel. We celebrate their
software. Critical to your development,
accomplishments and look forward
the members of the Film/Video
to yours.
Department (administrators, faculty, and
technical support staff) are all active,
accomplished filmmakers, enthusiastic to
In the freshman year, Film majors take
share their experience with you.
two rigorous and comprehensive Digital
As a Film major, your access will
Cinema courses providing foundational
extend beyond Pratt into New York City
training. In the sophomore and junior
itself. Identifying new directions in the
years, the curriculum opens to more
field is not limited to your Ways of Seeing
electives, more collaborations with
Cinema class. You can visit cutting-edge
galleries and micro-cinemas, worldclass museums and film festivals—it’s
happening all over the city. Opportunities
for pre-professional experiences abound.
You can join a film crew shooting on the
streets of Brooklyn—or intern at places
like the Museum of Modern Art, Saturday
Night Live, or one of the countless
independent companies that shape New
York City’s thriving creative scene.
The future for the moving image
is unpredictable and wide open. At
Pratt, we’re excited by the possibilities.
Our mission is to provide you with the
tools and techniques, an understanding
of history, and a complex yet flexible
interdisciplinary arts education allowing
you to guide us into that future.
Our recent graduates are already
students across majors, and deeper
study in the student’s chosen mode.
The culmination of the program is a
guided but self-defined senior project,
publicly screened in New York City (in
the past few years, at Brooklyn Academy
of Music).
Students learn in an intimate
workshop setting through screenings,
readings, technical demonstrations, class
critique, visiting artists and professionals,
as well as through internship programs
in the many film, video, and postproduction studios throughout the city.
Upon graduation, students will have
produced their senior project as well as
compiled a sample reel of personal work,
which can be part of a graduate school
application, be submitted to galleries
leading the way with their infectious
and festivals, or serve as a demonstration
pioneering spirit. Some include: the co-
of the student’s skill for entry into the
founders of the Brooklyn Underground
professional landscape.
Film festival, the Director of Digital
Products and Strategy at TheWeek.
com, the CEO and COO of Gingersnap
Film/Video
Page 86: Work by Leigh McArthur
(B.F.A. ´15), class exercise for FX, Tricks + Pix
Above: Work by Emily Erhart (B.F.A. ´15), Days of Dust, thesis production still
Above from top: Work by Azure McBride (B.F.A. ´15),
A Star in Brooklyn, thesis film still; Digital Cinema
1 class experimenting with a weather balloon;
Cinematography and Lighting students perform
an exercise in Studio C
Opposite from top: Students collaborate in
the Sound Recording/Mixing Studio; Work by
Hayden Hoyl (B.F.A.´15), Odessa, thesis film
still; Work by Sydney Clara Brafman (B.F.A. ´15),
Squib, thesis film still
Film/Video
93
Fine Arts
“My first lesson was to see
objectively, to erase all
‘meaning’ of the thing seen.
Then only, could the real
meaning of it be understood
and felt.”
—Ellsworth Kelly (Cert. ’44),
Pratt alumnus
Ceramics
Painting
Drawing
Printmaking
Jewelry
Sculpture
The six areas of emphasis in the Fine
with professional networking through
Arts major offer a deep and sustained
internships, meetings, and lectures with
dialogue between imagining and making.
visiting artists and critics; gallery walks;
Embedded in a curriculum of required
and curated exhibitions of students’
and elective courses in art history and
work that are open to the public. Every
the liberal arts and sciences, Fine Arts
Pratt student and graduate has access
studio courses impart the modes of
to the institution’s career development
creative problem-solving, technical
and counseling resources, including
skills, and risk-taking that transform
databases of jobs and paid internships
students into accomplished artists who
in New York, the creative capital of the
have confidence in their ideas and know
United States.
how to continue taking their work to the
next level.
Graduates of Pratt’s esteemed
The fundamental component of
studio education is the critique, where
fellow students, faculty, and invited
B.F.A. program in Fine Arts have pursued
critics address each student’s work in a
diverse creative and professional
context of open, constructive dialogue.
careers as studio artists, community
All of Pratt’s faculty members are
artists and educators, teachers of artists
committed teachers and working artists
in prominent institutions, gallerists,
with international reputations. They bring
art entrepreneurs, museum curators,
a wide range of critical perspectives and
arts administrators, art critics, and
expressive approaches to their teaching
art historians. Pratt’s central location
so that students are exposed to the
in Brooklyn’s thriving art community
diversity of ideas and processes that
offers students many opportunities
characterize art-making today.
for integrating their Pratt education
Chair
Jason Segall
Deborah Bright
Lisa Banke-Humann
Christopher Verstegen
Assistant Chairs
Technicians
Office
Dina Weiss
Adam Apostolos
Tel: 718.636.3634 | Fax: 718.399.4517
Nat Meade
Alexia Cohen
www.pratt.edu/fine-arts
Yasu Izaki
Caitlin Riordan
Fine Arts
Page 92: Work by Odete Channell (B.F.A. ´14)
Opposite from top: Work by Eden Daniell (B.F.A.
´14); Work by Max Tovar (B.F.A. ’14)
Above: Work by Thomas Shapiro (B.F.A. ´14)
Fine Arts
Above: Work by Joo Young Lee (B.F.A. ´14)
Opposite from top: BFA exhibition at Kunsthalle
Galapagos; Work by Jonathan Romain (B.F.A. ‘14)
Fine Arts
Pratt’s excellent facilities and
99
In addition to their required
dedicated technical staff generously
courses, majors have 16 to 22 open
support students’ ambitions as they
credits to pursue internships, additional
hone their ideas and give them form.
courses and minors in liberal arts/
Sources of inspiration and nourishment
art history, in other Fine Arts areas,
are close at hand—all Pratt students have
or in other departments at Pratt such
free access with their ID to the Brooklyn
as Photography, Film/Video, Art and
Museum of Art, as well as to the Museum
Design Education, Digital Arts, and
of Modern Art, Whitney Museum of
Communications Design. The senior year
American Art, Museum of Arts and Design,
is focused on developing a body of work
and the Frick Collection.
for exhibition in the spring semester, and
departmental electives in professional
practice help students prepare
B.F.A. in Fine Arts
their portfolios and make a realistic
First-year students take the Foundation
Studio Core curriculum, along with core
art history and liberal arts courses, and
begin the major curriculum in the fall of
the second year. While continuing with
their required art history and general
education coursework, second-year
students pursue more focused courses
in drawing and life study, as well as in
their chosen areas of emphasis, whether
painting, drawing, sculpture, printmaking,
ceramics, or jewelry. Third-year majors
take more specialized and technical
courses in their areas of emphasis as well
as upper-level electives. Throughout the
three years of the major, students take
required Fine Arts seminars that address
social, historical, and critical issues in
contemporary art.
Opposite: Work by Marisa Stockton
(B.F.A. ´14)
plan for managing their careers and
approaching funders, galleries, residency
opportunities, and employers.
101
Photography
How do you see the world?
Through your iPhone? Your
digital camera? A view camera?
Do you record where you
come from or where you want
to go? In a world where
taking photos is available to
everyone, how do you develop
your own personal vision and
make it unique?
New York City is the center of the
The key to our program is access.
photography world. We give students
With working photographers as teach-
the techniques, the tools, and the
ers, students have access to some of
intellectual stimulation—in other words,
the best photographers in New York
the freedom to create powerful,
City. Our photography faculty includes
meaningful images. Our methods work.
Guggenheim and Emmy winners, fine art
Just ask our alumni who have gone on
book publishers, high-end commercial
to work for publications such as The
photographers, and artists whose work
New York Times, Harper’s Bazaar, and
can be found in the collections of The
National Geographic. Graduates of
Metropolitan Museum of Art, MoMA, and
the program have gone on to pursue
the Whitney Museum of American Art.
careers as photo editors, freelance
Accessibility to facilities and
editorial photographers, gallerists, and
equipment is extremely important.
professors of the medium, to name
Photography facilities include lighting
a few. Our graduates are in demand
studios, black and white darkrooms,
precisely because they are trained as
fully-equipped, state-of-the-art
professionals.
digital computer labs and large-format
New York City has an abundance
digital printing studios. Film and digital
of internship opportunities for photo
cameras, lighting gear, tablets, and more
students. Past students have interned
are available for checkout from our
with well-known fine art and commercial
equipment room.
photographers such as Gregory Crewdson, Annie Leibovitz, Mary Ellen Mark,
Taryn Simon, Bruce Weber, and David
LaChappelle.
Chair
Technicians
Office
Stephen Hilger
Fortunato Castro
Tel: 718.687.5639 Martin Lennon
[email protected]
Assistant Chair
John O’Toole
www.pratt.edu/photography
Tori Purcell
Sandy Rosenberg
Assistant To The Chair
Photography Labs Manager
Lindsay Dye
Andrew Todd
Photography
Photography
Page 100: Work by Nika De Carlo (B.F.A. ´15)
Opposite: Work by Sharon Holck (B.F.A. ´15)
Above: Work by Ian Lewandowski (B.F.A. ´14)
Page 104: Work by Russell Barsanti (B.F.A. ´14)
106
Photography
Bachelor of Fine Arts in Photography
The Department of Photography is
committed to the education of artist/
professionals who have acquired a
comprehensive understanding of the
artistic and professional options inherent
in the field. The curriculum is designed
to create a broad-based knowledge
of photography from traditional
photographic techniques to the digital
darkroom, including aesthetics, history,
and artistic and professional practice.
Development of a personal creative
With emphasis on artistic development
coupled with critical thinking, historical
analysis, and communication skills, the
Department of Photography prepares
students to become successful artists
and professionals. Graduates are
expected to demonstrate excellence
in artistic vision, professional
skills, innovation, and a contextual
understanding of their work in
contemporary culture.
identity begins with a highly structured
sophomore curriculum after the common
freshman foundation year and concludes
with a guided and self-defined senior
project. This approach is intended to
facilitate the transition from student
to independent artist/professional.
Unlike many other schools, completion
of the curriculum culminates in an
individual exhibition in the on-campus
departmental gallery, as well as a group
show in New York City. Small class sizes
help to promote a strong sense of
community in the intimate setting of
Pratt’s Brooklyn campus. Like a small town
within a big city, we look to give students
their own voice, so they can employ it in
whichever direction they choose.
Opposite: Work by Mary Catando (B.F.A. ‘13)
It was becaus
that I became
photograp
Pratt I not onl
and found
nourishment a
field, but I also
about life.
e of Pratt
ea
pher. Through
ly learned
d my source of
and creative
o learned
—Sylvia Plachy, B.F.A. Graphic Arts
and Illustration ’65, Internationally
renowned photographer
111
Pratt provides one of
the most comprehensive
design educations available,
supported by a distinguished
faculty and exceptional
resources, and located in the
borough of Brooklyn, the city’s
design and cultural epicenter.
School of Design
Foundation
Fashion Design
Communications Design
Industrial Design
Advertising Art Direction,
Graphic Design, Illustration
Interior Design
Gifted students from across the United
Two parallel objectives guide every
States and the world collaborate and
program at Pratt. The first is an emphasis
learn at Pratt, weaving creative energy
on professional skills development.
and opportunity into an unmatched
Students gain the techniques, skills,
educational experience.
methodologies, and vocabulary required
The faculty consists of professional
for success as productive artists,
designers, artists, and practitioners,
designers, and scholars. The second
including numerous recipients of
objective recognizes that this technical
prestigious awards such as the Tiffany,
experience only takes root within a
Fulbright, and Guggenheim fellowships.
complex cultural context. Therefore,
The faculty’s works, projects, and
students in the School of Design also
publications are recognized and
develop the critical judgment and
respected around the world.
historical perspective needed to become
The School of Design offers degrees
in Communications Design, Fashion
creative problem solvers in the
international arena.
Design, Industrial Design, and Interior
Design. The intensive, studio-based
programs of study are paired with studies
in the liberal arts and sciences, creating
a dynamic context for stimulating
intellectual and creative inquiry.
The School of Design programs are
also enriched by Pratt’s distinguished
programs in the School of Art and the
School of Architecture—all within the
broader cultural campus of New York City.
Dean
Acting Assistant Dean
Office
Anita Cooney
Shannon Price
Juliana Curran Terian Design Center
Director of Finance
Tel: 718.687.5744 | Fax: 718.687.5722
Donna Gorsline
Jerry Risner
[email protected]
Steuben 304
www.pratt.edu/sod
School of Design
112
Design is to educate those who will
make and shape our built and mediated
environment, our aesthetic surroundings,
and our collective future. We are
dedicated to the primacy of studio
practice and the transformative power
of creativity. We educate leaders in
the creative professions to identify,
understand, shape, and benefit from
the challenges of a rapidly changing
world. Our courses are designed to
develop critical thinking skills, deepen
understanding, enable practice, and
empower visionary action. The School
of Design is dedicated to developing
creative leadership in a world that
requires it.
Page 110: Work by So Hee Park (B.I.D. ’15)
Above: Work by Anne Lysonki
(B.F.A. Fashion Design ’14)
Opposite: Work by Jordan Awan,
( B.F.A. Com. D. Illustration ’07) (for Fishs Eddy)
School of Design
115
Foundation
The foundation program at
Pratt Institute constitutes
the core of the first year for
students in both the School
of Art and the School of
Design. Students in all majors
but fashion design in these
two schools attend the
foundation program. Fashion
design has its own first year.
This first-year program, a
year of exploration and study
in the fundamentals of art
and design, develops skills in
drawing, three-dimensional
work, light, color, and design,
and time and space, so that all
students enter the sophomore
year in their majors with the
requisite skills to begin their
specialized disciplines.
In the early years of an artist’s career, it
rigorous way, introducing him or her
is important to master the basics in an
to professional standards of work. The
environment of positive, critical feedback
third teacher guides the student through
and encouragement. But it wasn’t always
the specific ethics, disciplines, and
that way. Pratt introduced the practice to
requirements of the chosen art or design
the United States in the 1940s, creating an
field, helping build bridges that enable
American tradition in many ways distinct
the student to cross successfully into the
from its European Bauhaus antecedents.
professional world.
Yet the premise remains: In the early
While there are often more than
years of an artist’s career, it is important
three teachers involved in an artist’s
to master the basics in an environment
education, individuals who can fulfill the
of positive, critical feedback and
second role are an essential part of the
encouragement.
Foundation experience at Pratt. Day-to-
Research shows that a foundation
day work involves mastery of materials and
course of study often provides the second
techniques, with the explicit purpose of
of three key “teachers” in the lives of
producing thinking artists and designers—
successful artists. The first teacher—often
people who can integrate the physical and
a parent or friend during high school—
sensory aspects of art and design with its
issues relatively uncritical encouragement,
fuller emotional and intellectual aspects.
allowing the student to discover the sheer
(For another view of how Foundation fits
pleasure and excitement of working as an
into your life as an artist or designer, see
artist. The second teacher, sometimes
“How a Pratt Education Works,” page 36.)
encountered in high school, but more
often in a first-year college foundation
program, begins eliciting the student’s
talents and abilities in a more formal,
Acting Chair
4-D Lab Manager
Kim Sloane
Julia Shinay
Matthew Bray
Technician
Office
Natalie Moore
Sung Ha No
Tel: 718.636.3617 | Fax: 718.399.4589
[email protected]
Sabrina Lovell
www.pratt.edu/foundation
Foundation
Foundation
117
The first-year course of study consists
of Foundation Studio Core, Survey of Art
I and II (HA 115 and HA 116), and English
(HMS 101 and HMS 103). The fashion
department is an exception and has its
own first-year program.
The Foundation Studio Core helps
students evaluate their previous art
experience in the light of new ideas and
techniques. This grounding in underlying
concepts and principles of the visual
arts puts students’ professional goals
in a context of personal growth and
self-reflection. Before specialization in
the sophomore year, the core curriculum encourages flexibility, adaptability,
and the experience of design and art
as wide-ranging enterprises. Transfer
students will be evaluated for advanced
standing, with proper documentation
(transcript and portfolio), by the Office
of Admissions.
Students expand their thinking
by participating in a series of studio
experiences that deal with the analysis
of problems in perception, conception,
and imagination. The studio work
encompasses both 2- and 3-D forms in
their optical, technical, and symbolic
natures. In addition, students receive an
introduction to 4-D time arts through
the use of computers and other media.
At one point, students may deal with
specifically designed structural problems
and at another point may examine these
problems from expressive, social, and
historical perspectives. Through this
process, individual imagination, skill,
ambition, and preferences are examined.
Page 114: Work by Light, Color, Design
students (freshmen)
Opposite: Work by Light, Color, Design
students (freshmen)
Above: Work by Drawing students (freshmen)
119
Alumni of the Communications
Design major at Pratt
thrive at the center of the
increasingly complex and
converging disciplines of
Illustration, Advertising, and
Graphic Design. Recognizing
the commonalities in these
concentrations for more than
40 years, the department
has a long, successful history
of building both singular
visual communications and
entire careers on a solid
foundation of conceptual
thinking, expressed through
words, images, strategies,
motion, and sound. Prepared
for future developments
in technology and delivery
systems, students learn to
craft effective messaging
and systems design across a
wide range of platforms to
redefine problems, identify
opportunities, develop
solutions, and find their
audience wherever they prefer
to be found. In ComD we teach
our students how to be nimble
and creative problem-solvers,
elegant image-makers and
analytical individuals, who are
defined more by the impact of
their ideas than the titles on
their business cards.
Chair
Office
Kathleen Creighton
Alicia Pearce
Tel: 718.636.3594 | Fax: 718.399.4495
Assistant Chairs
Imaging Facility Manager
www.pratt.edu/ug-
M. Cecilia Almeida
Puja Choda
communications-design
In the rapidly changing media landscape,
where form is more fluid than ever,
and the boundaries between these
areas of concentration continue to
dissolve, our quest to produce wellrounded communicators does not stop
with the convergence of disciplines.
Understanding that design is not
just about the end product on the
page or screen, we educate students
to communicate both visually and
verbally, and to design effective and
edifying solutions to a wide range of
contemporary issues. With choices
from over 40 electives, representing
courses that focus on creating content,
entrepreneurial projects, the partnership
of business and design, social media,
design thinking, and audio branding, to
name a few, our students acquire the
skills needed to realize their visions
within a corporate structure or starting
out on their own. Select teams also have
the opportunity to design and produce
the school’s award-winning yearbook
(the only solely student-run publication
of its kind in a school of art and design)
and provide services for vital nonprofit
organizations through Design Corps, our
pro bono design class.
Thanks to our industry-leading
faculty, our students present their
work to the designers and art directors
who will be evaluating and hiring them
when they graduate, and have access
to even greater opportunities through
internships within the diverse networks
those faculty members represent.
[email protected]
Philip Graziano
Michael Kelly
Imaging Technician
Russell Barsanti
Page 118: Work by Rebecca Singer (B.F.A. ‘14)
Opposite from top: Work by Aaron Fernandez
(B.F.A. ’16), Catherine Ferro (B.F.A. ‘16)
Above: Work by Christina Rycz (B.F.A. ‘15)
Above from top: Work by Francesca Curry
(B.F.A. ‘17); Work by Sookyung Hwang (B.F.A. ‘15);
Work by Joseph Meier (B.F.A. ’16)
Opposite from top: Work by Alyssa Phillips
(B.F.A. ‘15); Work by Hyunseo Yoo (B.F.A. ‘15), Work
by Eunyoung Cho (B.F.A. ‘15)
124
We prize mental agility as highly as
direct other illustrators. Our students
craftsmanship, so that graduates from
who choose to concentrate in Illustration
our program are able to chart their own
are successful, in short, because they are
courses successfully, using their unique
literally prepared for everything, including
vision as their guide. If your goal is to
the changing face of Illustration itself.
develop your own creative voice, rather
than be part of a chorus; if you wish
to explore and then cross boundaries,
Emphasis in Advertising
Emphasis in Graphic Design
With a concentration in Graphic Design
at Pratt, you will learn the balance
of conceptual problem-solving and
technical skills that have earned the
Institute and its graduates and students
the world-class reputation they deserve,
With a concentration in Advertising at
and that can be applied to the design of
Pratt, you will be charged with conceiving
deliverables such as logos and websites
and executing brilliant ideas that both
or the development of complex systems
engage and move consumers to action.
and user experiences. Students are
You’ll learn what it takes to be an art
trained not only to translate or give
director in a top advertising agency or
form to content, but also to develop
With a concentration in Illustration at
to start an agency of your own. You’ll
and generate that content through core
Pratt, your education will differ from
explore every detail that affects an
illustration and imaging classes, as well
most programs at other schools of
ad or campaign, from typography and
as electives in motion and interaction
art and design specifically because
imagery to sound and motion, from the
design. In the industry, graphic designers
it is part of a larger major and not a
consumer’s first awareness through user
are often seen as the people who put all
stand-alone discipline. This means our
experience and delivery. A faculty of
the components together. Pratt graphic
graduates enter a field which itself is
award-winning and seasoned industry
designers craft those components
more innovative and exciting every year,
professionals will help you develop your
themselves and, as a result, graduate to
not only with grounding in all media,
own message-driven creative process,
become not just design professionals but
including painting and drawing, but
and teach you how to think simply and
authors and authorities in their fields.
having mastered—in required classes—
conceptually. They’ll work with you
typography and photography, as well as
on brand development, utilizing the
Communications Design program is
2- and 3-D design and current computer
potential of established and emerging
a multi- and trans-disciplinary studio
software. Recommended electives
platforms, and developing strategic
where students from each area of
include sequential art, motion graphics,
insights that will make your portfolio
concentration engage and challenge each
independent publishing, web design, and
stand out from the crowd. If you’re an
other, developing their own conceptually
business classes, all of which augment
artistically inclined dreamer who sees
sound approaches to a variety of
the students’ solid foundation in visually
no limit to the power and potential of
solutions. Their career paths are many,
sophisticated and conceptually based
an idea, Advertising is the course of
varied, and convergent, with success and
storytelling. Our alumni can—and do—
study and career for you. Our students
fulfillment as the common denominators.
succeed in widely varied careers, from
have received some of the industry’s
advertising and graphic design to film,
most coveted prizes and are working
to display, to fashion merchandising
at the most progressive and respected
and children’s books, and have the skills
agencies in the country and the world.
Communications Design at Pratt is the
major for you.
Emphasis in Illustration
necessary to oversee publications and
Opposite: Work by Rose Wong (B.F.A. ´14)
In the end, Pratt’s Undergraduate
127
Fashion
Design
From Pratt’s inspirational
campus in Brooklyn, the
Fashion Department offers
students a concept-led,
craft-based education at the
heart of one of the world’s
cultural epicenters.
Fashion education at Pratt Institute
in fashion design carry the hallmarks
is trans-disciplinary in nature, closely
of the department into the working
allied with illustration, photography,
world, where they are recognized for a
film, performance, visual studies, and
commitment to ingenuity, authenticity,
material culture. The practice of fashion
creativity, and personal vision as well
is taught as one’s cultural embodi-
as an informed versatility. Their artistic
ment within a social framework and
vision both reflects and challenges the
learned through rigorous attention to
needs of contemporary culture.
production, craft, and contemporary
aesthetics. Students build a vision and a
A Fashion Program in the Fashion Capital
language through conceptual process-
Pratt takes the city of New York and
es emphasizing curiosity, imagination,
the borough of Brooklyn as its urban
improvisation, and play. They commu-
laboratory, offering students a wealth of
nicate that vision through proficiency
opportunities to gain crucial experience
in construction and illustration skills,
beyond the classroom environment.
fluency with materials, traditional tech-
Museums, archives, and design studios
niques, and digital technologies as well
familiarize students with design
as synthesis of germane research. Inter-
processes and histories; internships at
disciplinary and collaborative classroom
top design companies such as Thom
opportunities set the program apart,
Browne, Zero Maria Cornejo, Rag & Bone,
offering students tools and creative
Ralph Lauren, and Donna Karan offer
engagement beyond the fashion milieu.
hands-on experience and professional
One of the world’s most prestigious
networking. All Pratt fashion design
independent colleges of art and design,
students participate in annual design
Pratt is globally recognized for its dis-
competitions sponsored by the Council
tinguished academic record. Graduates
of Fashion Designers of America and YMA
Chair
Assistant Chair
Office
Jennifer Minniti
Emily Mader
Tel: 718.636.3415 | Fax: 718.399.4566
[email protected]
Rachel Kinnard
www.pratt.edu/fashion
Fashion Design
128
Fashion Scholarship Fund; competitions
The Curriculum
sponsored by companies such as Cotton
The fashion design curriculum fosters
Incorporated and Supima Cotton are
development of individual identity
integrated into the curriculum, providing
within a collaborative environment,
avenues for scholarship support and
informed by self-reflection and
exposure within the fashion community.
engaged critique. A professionally
Public critiques with faculty, peers,
active and accomplished faculty
and outside design authorities help
challenges students to seek beyond the
students crystallize and articulate their
conventional. Students are prompted to
design visions. A mandate to show
have an ongoing dialog between sketch,
work publicly—in gallery environments,
flat 2-D patternmaking and 3-D drape:
on the street, in showrooms—instills
they are expected to work consistently—
appreciation for the true spectacle of
executing the fashion idea through the
fashion. The Fashion Design faculty is
making of innovative collections.
composed of professional practitioners
The Department of Fashion offers
from across the industry, including
a wide variety of elective and advanced
directors at top design houses, historians,
courses in topics such as millinery, shoe
curators and craftspeople. Some have
design, fashion and video, zero-waste
worked for Donna Karan, Giorgio di
construction, tailoring techniques,
Sant’Angelo, Nike, Liz Claiborne, Foley
jewelry design, leather and fur, and
+ Corinna, Ralph Lauren, and Geoffrey
knitting to complement the core
Beene; some have built their own
curriculum. The department offers
companies, such as Study NY, to promote
international exchange programs and an
modern, sustainable fashion, millinery,
intensive program abroad in the summer.
and more. Their work has been featured
in a wide range of publications including
Internship
The New York Times, Essence magazine,
Pratt students are required to complete
The Fader and The New Yorker. Seen on
four credits of internship between their
stage and screen at the Metropolitan
junior and senior years. Students have
Opera, on Broadway, and on Bravo TV,
the opportunity to explore different
faculty work has also sold in Barney’s New
aspects of the New York fashion design
York, Henri Bendel, Saks Fifth Avenue and
industry through their choice of
countless independent retailers.
internships. The internship experience
Guest practitioners from all fashion
provides them with job searching and
backgrounds join faculty in the classroom
interview skills as well as practice in
as visiting lecturers, advisors, and critics.
how to write a résumé and present their
Each semester, a full roster of fashion
portfolio. A Pratt faculty advisor guides
experts is invited to talk theory and
each student throughout the experience,
practice with Pratt students.
making sure the students’ learning
objectives are met.
Page 126: Work by Katya Reily (B.F.A. ’15);
Model: Lauren Taylor @ DNA Model Management
Opposite: Work by Sophie Andes Gascon
(B.F.A. ’15); Model: Lula @ Wilhelmina NYC
Above from top: Work by Chantal Galipeau
(B.F.A. ’15); Models: Tyler @ Fusion Models NYC
and Sydney @ Wilhelmina NYC; Work by Landry
Low (B.F.A. ’15); Model: Lula @ Wilhelmina NYC;
Work by Giovanna Flores (B.F.A. ’15); Model:
Sydney @ Wilhelmina NYC
Opposite: Work by Kit Woo (B.F.A. ’15);
Model: Sebastiaan @ Wilhelmina NYC
Above from top: Claire McKinney (B.F.A. ’15);
Model: Kirsten @ Wilhelmina NYC; Claire McKinney
(B.F.A. ’15); Model: Lula @ Wilhelmina NYC; Kit Woo
(B.F.A. ’15); Model: Roze @ Wilhelmina NYC
Opposite: Work by Giovanna Flores (B.F.A. ’15);
Model: Lula @ Wilhelmina NYC
135
Industrial Design
What is industrial design?
There’s no one answer, but
that hasn’t stopped us from
asking the question and
pushing the boundaries.
Some faculty members recently
core values of visual abstraction (line,
answered this way:
plane, color, form, structure, and volume)
and pragmatism (function, materials,
“One definition of industrial design
processes, sustainability, and marketing)
is the translation of ideas into form, with
coexist. Our mission is to teach aesthetic
all the implications that the notion of
value and form development as well as
translation (both linguistic and geometric)
practicality, focusing on the principles of
brings with it. In a very positive way, this
accessibility, responsibility, and creativity.
translation occurs daily in virtually every
In this carefully balanced environment,
course in Pratt ID.”
tempered by reality and vision, students
are encouraged to design the everyday
“Design is the expression of culture
in objects.”
forms of the future.
Our students arrive with a wide
range of emerging capabilities: in math
“Design is the application of the
and science, in drawing and painting, in
belief that we are responsible for our
model making and sculpture. All find a
own environment.”
home in industrial design, where Pratt
ID develops students’ individual talents.
In its most basic sense, industrial design
Faculty members are demanding;
is a field of artists, designers, and
all are experienced educators and
inventors who create the objects we
professionals, many are principals at
live with every day—from toothbrushes
world-renowned firms and recipients
to jumbo jets, from cameras to
of prestigious design awards. Together,
computers—along with the context of
teachers and students at Pratt explore,
product development in which these
challenge, and redefine the forms and
objects come into being. At Pratt, the
inventions with which we live, and the
Chair
Technical Coordinator
Office
Constantin Boym
Melissa Skluzacek
Tel: 718.636.3631 | Fax: 718.636.3553
Technicians
Audrey Lapiner
Gary Hou
[email protected]
Alejandro Morales
Acting Assistant to the Chair
Manuel Mota
Ramona Allen
Julia Wheeler
www.pratt.edu/ug-industrial-design
136
Industrial Design
processes of creating them. Both team
and individual assignments revolve
Pratt industrial design alumni are
around problem solving. Students learn
designers, artists, craftsmen, educators,
to design and execute in resonance with
entrepreneurs, researchers, and corporate
professional practice—from presentation
leaders. This diversity comes from a
sketches to finished models—ensuring
program of study that allows freedom to
a practical understanding of the entire
explore. A variety of studio options and
industrial design process.
prototype classes available to juniors and
With its magnificent collection
seniors delve into many of the current
of top-flight museums, libraries,
topics that define the growing field of
and galleries, New York is one of the
industrial design: form and technology,
world’s centers for design. As such,
mobility, tabletop objects, toy design,
students learn from both the richness
shoes, soft goods and athletic gear,
of past culture and the cutting edge
medical devices, tools, and exhibition and
of contemporary design. From a
experience design.
professional perspective, students
Students take core courses in the
benefit from a full year of portfolio
freshman and sophomore years, which
and professional practice classes, with
provide grounding in drawing, color, 3-D,
input from working designers. Exposure
and problem solving. Junior and senior
to the greater New York design scene
year students choose studios as their
also happens through the Pratt Show,
interests and skills dictate. The Industrial
an annual public showcase of work of
Design Department also offers study-
graduating students.
abroad exchanges in Germany, Scotland,
Pratt’s Industrial Design program,
the Netherlands, Israel, and Sweden, and a
consistently ranked in the top 10 in
summer program in Copenhagen. Students
the U.S. by DesignIntelligence, also
complete two semesters of digital design
maintains strong ties to industry through
studies in computer-aided design (CAD)
corporate-supported programs and
courses focusing on the foundations of
internships. Fortune 500 companies are
digital design and 3-D modeling.
regular sponsors of Pratt ID competitions
Students who have not initially
and studios. It is an education that opens
decided on a major will be reviewed at the
career possibilities that are as unique and
end of the freshman year for acceptance
as broad as our student body.
by the department.
Industrial Design
Page 134: Work by Tim Macken (B.I.D. ’14);
Propel Superhuman Prosthetic
Above: Work by Michael Liu (B.I.D. ’13)
Industrial Design
Above from top: Work by Michael Steiner
(B.I.D. ’13); 3-D abstraction exercise
Opposite: Work by Masamune Kaji (B.I.D. ’13)
Industrial Design
Industrial Design
Above: Work by Amber Thompson (B.I.D. ’12)
Opposite from top: William Bausback (B.I.D. ’12);
Onn Namkung (B.I.D. ’12)
143
Interior
Design
Pratt’s program was ranked
second in the U.S. by
DesignIntelligence 2014
and is accredited by the
Council for Interior Design
Accreditation (CIDA).
Studying interior design at Pratt is an
year, working in a stimulating studio
adventure enhanced by being in New
setting where the learning is collective,
York City, the interior design capital of
cooperative, and competitive. Students
the United States. Students enrolled
work closely in small groups with their
in this challenging course of study are
professor on projects that develop
prepared for a career in a profession
in size and complexity through the six
with enormous potential. Pratt’s was
semesters of design studio. The senior
one of the first programs in interior
year culminates with a thesis project;
design education in the country and
students develop a body of research on
continues to be a leading innovator in
a particular issue of the interior in the
the discipline. Our alumni have made
fall which they then develop as a design
significant contributions to the quality
project in the spring.
and character of our built environment
Students are encouraged to take
for decades, and it is certain that
advantage of the many courses offered
tomorrow’s graduates will continue to
at Pratt that will enable them to fully
make an environmentally mindful impact
develop their interests and talents.
on our culture and sense of place.
Studio electives may be chosen from
The Interior Design program is an
any department in the Institute; an
architecturally oriented program with
enormous menu of courses is available
emphasis on spatial design rather than
for the pursuit of individual interests.
surface embellishment. All aspects of
Interested students can apply to spend
space—scale, proportion, configuration,
the spring term of the junior year at the
and light sources, as well as textures,
Danish International School (DIS) studying
materials, and colors—are studied in
interior architecture in Copenhagen. The
relation to their effect on the human
program at DIS includes extensive study
spirit. Students begin their interior
tours throughout Scandinavia.
design studies in the sophomore
Acting Chair
Office
Karin Tehve
T. Camille Martin
Tel: 718.636.3630 | Fax: 718.399.4440
[email protected]
Aston Gibson
www.pratt.edu/interior-design
Page 142: Work by Ashley Kuo
(Senior Thesis sp’14);
Above from top: Work by Lisa Kim
(Junior Studio sp’14); Bottom: Work by
Ashley Kuo (Senior Thesis sp’14)
Opposite from top: INT202 Sophomore
Studio (group project sp’14); Work by
Tonya Kennedy (Senior Thesis sp’14)
Pratt was an
amazing, amazing
experience in
my life. We had
top faculty that
inspired us. I use
Associates, Inc.
designer; principal, Samuel Botero
Design ’68, Renowned interior
—Samuel Botero, B.F.A. Interior
the foundation
that I received at
Pratt, but I take it
in many different
directions.
Interior Design
Above: Work by Jennifer Palomaa
(Senior Thesis sp’14)
Interior Design
Students are integrated into the
149
Students begin their study of
professional world through professional
interior design in the sophomore year
practice coursework and internships
upon completion of a required year
that serve to prepare students for
in Foundation. Individuals interested
certification. Pratt students create
in transferring to Pratt from other
important relationships in school and
institutions are also encouraged
become part of the larger alumni
to apply. The structure of the program,
network when they graduate.
in which dedicated students thrive,
Our curriculum covers all aspects
prepares graduates for a leadership role
of interior design, beginning with
in an established profession. To support
the fundamentals of drawing, right
our commitment to technological
through to the complexities of building
excellence, personal laptop computers
construction, architectural drawing,
are required for all undergraduate
computer graphics, professional
students. For more information, please
practice, and contract administration.
refer to www.pratt.edu/academics/
The students’ experience is enhanced
technology-resources/laptop-
by a balance of intellectual exploration,
programs/interior.
practical experience in the design studio,
and the development of skills needed to
Minor in Interior Design
become successful professionals.
The Department of Interior Design offers
B.F.A. in Interior Design
a 16-credit minor to undergraduate
Architecture, Construction Management,
and Industrial Design students, or
Students have the opportunity to study
interested students with a related
interior design as an integral element of
background. Students may apply to
the built environment: shaping space as
the minor after meeting with the chair
well as planning and furnishing it. Light,
of Interior Design, as early as the first
color, form, and space are the classic
semester of the sophomore year.
elements of interior design with which
Determination of studio level to take
students work in a series of design
INT-301, -302, or -401 will be based upon
studies and related courses. At Pratt,
a review of the student’s transcript and
students focus on a variety of interior
portfolio. The completion of the minor
design projects that grow more complex
as the curriculum proceeds.
151
School of Liberal Arts
and Sciences
Liberal Arts and Sciences
(SLAS) is to enable students
to explore areas of knowledge
and to reflect critically
and creatively on aesthetic
forms and on intellectual and
cultural practices. Students
conduct research, substantiate
arguments, and communicate
in the broadest possible
socio-historical, literary, and
scientific contexts. The school’s
primary goal is for students to
make continuing contributions
as critical thinkers and creative
professionals.
The Writing Program
History of Art and Design
Liberal Arts
SLAS plays two major roles in the
student who wants to pursue studies
undergraduate curriculum. First, the
in the liberal arts and sciences while
School provides a well-rounded
immersed in Pratt’s unique environment
education for students in the professional
of creative openness and intellectual
programs, offering a general education
experimentation. At the core of the
curriculum in humanities and media
program is the understanding that
studies, mathematics and science,
the integration of theory, method,
social science, and cultural studies.
and experience is crucial to learning.
With both depth and breadth unequaled
Here, every aspect of social life—from
by other colleges of art and design,
street art to political systems, from
SLAS also offers a suite of minors to
international media to the global
complement the professional degrees:
economy—is a potential subject of
Cinema Studies, Creative Writing,
study. The program provides a unique
Cultural Studies, History of Art and
interdisciplinary framework within which
Design, Literature and Writing, Media
our students explore the liberal arts
Studies, Performance and Performance
through the study of the artistic, social,
Studies, Philosophy, Psychology, and
and political meanings of cultural and
Sustainability.
aesthetic production.
Second, the School of Liberal Arts
The chief goal of the undergraduate
and Sciences offers four undergraduate
writing degree is the graduation of
degrees: the B.A. in Critical and Visual
creative writers who are well-versed
Studies, the B.F.A. in Writing, the B.A. in
in literature, literary theory, and other
the History of Art and Design, and the
modes of critical thinking. At the center
B.F.A. in the History of Art and Design.
of the curriculum are creative writing
The Critical and Visual Studies program
studios in which a range of forms are
is for the curious and imaginative
explored. The studios are complemented
Dean
Office
Andrew W. Barnes, Ph.D.
Gloriana Russell
Tel: 718.636.3570 | Fax: 718.399.4586
[email protected]
www.pratt.edu/las
School of Liberal Arts and Sciences
152
by core courses that focus on essential,
but too often neglected, aspects of the
literary arts—word choice, grammar,
logic, exposition, and critical thought.
The location of the program in New York
City is taken full advantage of, primarily
in Writer’s Forum, a course that invites
writers, editors, and literary agents to
campus to address the writing majors;
and the Internship Program, in which
students can select from an array of
internships, from St. Mark’s Poetry
Project to Saturday Night Live.
The undergraduate degrees in the
history of art and design offer students
the chance to study on a campus that
attracts leading artists. Students have
the opportunity to study 17th-century
frescoes in Venice, 19th-century Dogon
figures in the conservation laboratory at
the Brooklyn Museum, and 21st-century
performance art as curatorial interns at
the Guggenheim Museum. History of Art
and Design students bring a wide array
of experiences and backgrounds to
their studies and graduate the program
with new knowledge, experience, and
a professional network to inform and
support their careers for many years.
Page 150: Students in class
Opposite: Students in a Performance Studies
course participating in a show, titled Iris
155
Critical and Visual Studies is a
Bachelor of Arts program for
the curious and imaginative
student who wants to pursue
studies in the liberal arts and
sciences while immersed in
Pratt’s unique environment
of creative openness and
intellectual experimentation.
We believe that the liberal arts and
electives and concentrations from within
sciences bring vitality, creativity, and
the School of Liberal Arts and Sciences,
practical application to intellectual
and across the Institute in architecture,
practice. Here, every aspect of social
art history, art and design, and planning.
life—from street art to political systems,
The fundamental goal of the
from international media to the global
faculty in the department’s program in
economy—is a potential subject of your
Critical and Visual Studies is to provide
studies. The program provides a unique
our students with an education that
interdisciplinary framework within which
helps them become critical, articulate,
our students explore the liberal arts
widely read, intellectually flexible, and
through the study of the artistic, social,
culturally savvy.
and political meanings of cultural and
aesthetic production.
Your studies in the program will
give you:
• A critical understanding of culture that
The Liberal Arts and Sciences
Context at Pratt: Strong Foundations,
Individualized Programs
Our B.A. program features a first-year
curriculum that builds a foundation in
many classic and innovative texts of
philosophy, the social sciences, and the
humanities, and in the writings of both
historical and contemporary thinkers
who are of special importance to critical
theory and visual studies. Students then
choose from a generous selection of
is grounded in philosophy, history, the
social sciences, and humanities.
• Competency in social theory, analytical
research methods, and various
techniques of communication.
• The ability to develop and critically
integrate written, oral, visual, and
spatial expression.
• The flexibility to pursue in-depth
studies and make links between
academic work and the wider world
through internships in cultural
Chair
Critical and Visual Studies Coordinator
Office
Gregg M. Horowitz
Lisabeth During
Tel: 718.636.3567 | Fax: 718.399.4575
[email protected]
[email protected]
www.pratt.edu/critical-visual-studies
Academic Advisement Coordinator
Sophia Straker-Babb
Erich Kuersten
[email protected]
[email protected]
156
institutions, especially nonprofit arts
Our faculty’s diverse teaching and
The program sponsors many events
research interests include philosophy,
every year that embody the range of
sociology, ethnography, cultural studies,
student and faculty interests. Some long-
on the cutting edge of scholarship and
media studies, globalization, imperialism,
running events and series include:
cultural criticism.
colonialism and post-colonialism,
• The Departmental Speaker Series,
and public service agencies.
• A faculty whose work and teaching is
critical theory, psychology, gender and
which brings renowned scholars and
sexuality, world history, history and
intellectuals to the Institute and gives
our students benefit from a stimulating
historiography, cinema and documentary
our students the opportunity to meet
atmosphere of intellectual and artistic
film, literature and creative writing,
and interact with them. Past speakers
innovation. The Critical and Visual
theater and performance studies,
have included: Nora Alter, Alain
Studies curriculum allows students the
landscape and space, environmental
Badiou, Robin Blackburn, Susan Buck-
opportunity to take electives in the
studies, sustainability, and the sociology
Morss, Tina Campt, Jim Czarnecki,
traditional studio arts and in new media.
of science and technology. The faculty’s
Gina Dent, Anna Grimshaw, Timothy
Students can work in a variety of media,
area specialties include the Americas,
Hall, Saidiya Hartmam, Randy Martin,
developing their writing skills and working
Africa, the Mediterranean, Central Asia,
Tom McCarthy, Gyan Prakash, Vicente
experimentally to integrate the verbal
the Middle East, the Pacific Rim, and the
Rafael, Martha Rosler, Sukhdev Sandhu,
and visual, creating new combinations of
Indian Ocean.
Because of our unique context,
word and image.
The faculty in Critical and Visual
Our students and faculty participate
and Wendy Woon.
• The Scholar-In-Residence Program,
in the dynamic array of cultural events and
which brings a major contemporary
Studies is committed to a wide range
institutions offered by our unparalleled
thinker or artist to campus for an
of intellectual endeavors and public
location in New York City. Students
extended residency. Past Scholars-
engagement. But we are united in our
immerse themselves in the intellectual
in-Residence have included Stanley
commitment to a new approach to the
life of the city, both outside the gates
Aronowitz, Patricia Clough, Juan Cole,
liberal arts and sciences that emphasizes
of the Institute and by participating in
and Susan Meiselas.
education and not simply “schooling” or
public programming planned by the
training. We understand education to be
faculty members and the organizations
provocative forums for timely debates
a matter of “learning to learn” in order to
with which they are affiliated.
about current social, political,
• Film Screenings, which offer
provide our graduates with a foundation
and aesthetic issues. Filmmakers
for independent, lifelong learning. The
accompany their film screenings and
faculty’s love of learning and teaching
address interested students afterward,
is deeply connected to our wish that
making for lively discussions that
our students be prepared to thrive in
extend beyond the classroom.
• The Wallabout Film Festival, which
a future economy where they will need
critical and analytical skills to move
is a student film festival produced
seamlessly among changing economic
and curated by an interdisciplinary
sectors and evolving career paths.
team of students from Pratt Institute.
Showcasing films by innovative
student filmmakers from around the
157
world, Wallabout is a platform for
The Second Year: Free Electives,
as cultural studies, urban studies, or
students to screen their work to a
“Symposium,” and “Moderation”
visual studies; or an individually designed
diverse community of peers, artists,
and industry professionals, initiating
conversation and collaboration. It is
an important platform for supporting
student filmmaking and for adding to
the vibrant creative culture of Brooklyn.
• Field trips, which provide
opportunities to see current museum
and gallery exhibitions; to network with
artists, architects, designers, critics,
and curators; and to engage with the
city at large.
• Senior Thesis Readings, which are
public presentations by seniors of their
thesis research. These presentations
and discussions are a chance for
students to get to know the work of
peers and to gain perspective on their
own intellectual development.
The First Year: Foundation
The second year of the program is rich
in elective offerings that permit students
to explore and expand the interests they
discovered in their first year of study.
The second year is anchored by the
two-course sequence of “Symposium”
and “Moderation.” In “Symposium,”
The Fourth Year: Senior Seminar
and Senior Thesis
their education by taking all-Institute
outside, lecture and lead a seminar in
electives in which they explore topics
which students gain exposure to the
and problems outside of their core areas
standards of professional intellectual
of study. At the same time, students
work. In “Moderation,” students are
complete their individual concentrations
guided by a faculty committee to reflect
with the capstone courses “Senior
on their studies during semesters one
Seminar” and “Senior Thesis,” in which
through three, identify their interests,
students are guided through the process
and begin to focus on the concentration
of developing, researching, and writing a
that will structure the final two years of
graduate school-level essay. The senior
their program. “Moderation” enables
thesis, which is the end product of this
students to take stock of their initial
experience, hones students’ abilities to
experiences in the program, examine
express themselves, argue their ideas, and
their goals and interests, evaluate their
make fresh sense of the cultural world.
to a course of study, and chart their final
philosophy, critical theory, and science
two years of college.
studies. The centerpiece of the first year
is a first-year seminar in which students
The Third Year: Guided Electives and
become acquainted with the range of
the Pursuit of a Focus of Study
specialized paths of study.
minors in studio art to their programs.
some from the Institute and some from
performance, establish their commitment
they will be able to assemble their own
war and culture. Students can also add
In the fourth year, students round out
students with a foundation in history,
which, later in their careers at Pratt,
and society, psychology and the arts, or
accomplished scholars in the liberal arts,
The first year of the program provides
subjects, methods, and theories from
course of study, such as mass media
In the third year of the program,
students use their individual interests, as
discovered and refined in “Moderation,”
to pursue an independent concentration.
The concentration can follow a standard
course of study in the liberal arts, such
as anthropology, history, or philosophy;
an interdisciplinary course of study, such
NEED HIGH-RES IMAGE
159
Pratt Institute is an exceptional
place to study the history of art
and design. Our landmarked
campus attracts leading artists,
designers, historians, and
theorists and is only minutes
from the studios, galleries,
private collections, libraries,
and museums that make New
York a premier center of art
and design.
Our faculty is composed of distinguished
Every Art and Design History
scholars and mentors who focus on the
student’s program includes “behind-
intellectual and professional growth of
the-scenes” experiences, not only at
our students. They bring a broad range of
exhibitions and museums but also in the
expertise and different methodologies
Institute itself. Connections with other
to the classroom; in addition, about
departments in all areas of fine arts
half of our faculty also has extensive
and design—interior, industrial, com-
museum and curatorial experience.
munication, and fashion—offer a unique
Their expertise, dedication, and original
platform for an interaction between
thinking are evident in our curriculum
practitioners and theoreticians. Our
and in the academic opportunities
students witness the making of art and
and professional connections faculty
design firsthand, which adds a real-life
members create for their students, and
perspective to their scholarly studies.
most importantly, are reflected in the
quality of our students’ work.
Explore our degree options and you
The History of Art and Design
Department offers exciting lectures
and seminars with a wide range of
will find students studying 17th-century
approaches, from connoisseurship to the
frescoes in Venice, 20th-century product
most recent theoretical approaches.
design at first-rate auction houses, and
Frequent excursions and internships
21st-century performance art at the
result from our extensive working
Guggenheim Museum. Students come
relationships with the city’s museums,
from a wide range of backgrounds, and
galleries, and cultural organizations and
leave with knowledge, experience, and a
are a crucial part of the curriculum.
professional network that will inform and
support their careers for many years.
Chair
Assistant Chair
Office
Dorothea Dietrich, Ph.D.
Gayle Rodda Kurtz, Ph.D.
Tel: 718.636.3598
[email protected]
Jill Song
www.pratt.edu/history-of-art-design
160
offers a unique choice of programs for
architecture, non-western, pre-
Degree Program’s Philosophy
undergraduate majors in two degree
Renaissance, Renaissance to Rococo, and
Degrees in the History of Art and Design
tracks: Bachelor of Arts, and Bachelor of
19th-, 20th- or 21st-century art. Theory
have been developed with a keen sense
Fine Arts.
and Methodology, Chemistry of Art, and
of Pratt’s history as a technical school. In
Students entering with an Advanced
the context of a school long devoted to
Placement score of four or five in art
the practicing artist, designer, architect,
history may apply for exemption from
and librarian, the historical perspective
the first semester survey and are allowed
is attached to the concrete example. Its
to substitute an elective in the survey
theory is developed from the specific
area for the second semester of survey.
to the general. At Pratt, the definition
Entering freshmen who have done well in
of art history is broad. It includes
a full-year art history survey course (but
design history of clothing, interiors,
did not get a four or five score or did not
communication, industrial products,
take AP Art History) may also apply to
photography, film, and animation, as
the chair of the History of Art and Design
well as urban design and the history of
department to substitute upper-level
painting, sculpture, architecture, and
electives in each survey area for the
graphic arts. These courses have been
required courses. Courses are open to all
developed to respond equally to the
students at Pratt Institute.
needs of the art/design student and to
aspiring historians.
The department of the History of
Art and Design provides courses and
a foundation of studies for all Pratt
students. All undergraduates in the
School of Art and the School of Design
are required to take 12 credits of art and
design history, including introductory
survey courses that cover pre-history
to the 20th century. The surveys are
complemented by elective courses in a
wide range of fields, which are designed
to cater to specific interests of the
varied majors within the Schools of Art
and Design. The department
B.A. in History of Art and Design
a Senior Seminar are requirements for
completion of the degree.
B.F.A. in History of Art and Design
Students who wish to receive a B.F.A. in
this department must take the regular
one-year Foundation Program of 24
credits and complete 40 credits of history
of art and design, an additional 30 credits
of studio art, 34 credits of liberal arts, and
the remaining 6 credits as free electives.
Sophomores who have chosen this major
will take upper-level electives in film and
design, architecture, non-western, preRenaissance, Renaissance to Rococo, and
19th-, 20th-, or 21st-century art. Theory
and Methodology, Chemistry of Art, and
The B.A. program affords a deeper
a Senior Seminar are requirements for
grounding in the philosophy, literature,
completion of the degree.
and criticism of the history of art
and design. This program requires 48
credits to be taken in art history and
incorporates a two-year study of a
foreign language and other humanities
courses in lieu of several studio courses.
Students will take specially designed
foundation courses and the survey
classes. They will continue with an
additional 57 credits in Liberal Arts
(English, humanities, sciences, social
sciences, and foreign language), 8 in
studio, and the remaining 19 credits as
free electives. Majors will take upperlevel electives in film and design,
History of Art and Design Minor
Undergraduates at Pratt who choose to
minor in the History of Art and Design
are required to complete at least 18
credits of art or design history, or six
(including one 500-level course) beyond
the B.F.A. requirement of 12 credits.
Prospective minors should see the
department chair for advisement on
appropriate choice of courses.
All undergraduate students
in the department are encouraged
to do an internship at a premier
New York institution.
Pratt in Venice
Pratt students and a select few from
other institutions are offered the
opportunity to live and study in Venice
each summer for six weeks in June
and July. They work with Pratt faculty
and experts from Italian universities
and cultural organizations in painting,
drawing/printmaking, art history, and/or
materials and techniques of Venetian
art. The program fosters interaction
between art history and studio arts in the
context of the visual richness of Venice
and the depth of intellectual resources
available in local museums, libraries,
and monuments.
Page 158: Studying outdoors on
the Brooklyn campus
Above: Class trip to the Metropolitan
Museum of Art, New York
163
The Writing Program
A writer writes. There is
simply no other way to learn.
It’s hard and humbling but
tremendously exhilarating.
As an aspiring writer you
already know this. That’s
what drew you to Pratt’s
Writing Program.
In most writing programs, students
The writing program also takes full
must complete two years of liberal arts
advantage of the fact that it is located
requirements before they are allowed
in New York City, arguably the publishing
to begin writing. At Pratt, writing majors
capital of the world, and in Brooklyn, the
start writing on the first day of fresh-
borough now most densely populated
man year and continue for the next four
with writers and artists. New York City
years, completing a book-length work
provides brilliant faculty, an endless
of poetry, fiction, or creative nonfiction
stream of famous writers who come to
as a senior thesis. In other words, they
campus to read from their work or serve
learn by doing and by having their efforts
as Writers-in-Residence, and a host of
rigorously responded to in critiques by
internship opportunities at institutions
hard-working peers and inspired, accom-
ranging from St. Mark’s Poetry Project to
plished instructors.
Saturday Night Live.
Along the way, writing majors read
widely and deeply in contemporary and
Bachelor of Fine Arts in Writing
classical literatures; they study literary
The Writing Program’s goal is the creation
and media theory, science and math,
of well-rounded writers. At the heart of
grammar and logic. But the primary focus
the curriculum are the Writing Studios,
is on writing, and the curriculum flows
through which students progress from
outward from, and is fueled by, writing as
word choice, grammar, and clarity of
the chief activity.
expression to more advanced narrative
Beyond the writing studios that form
and poetic forms and specialized genres,
the core of the curriculum are more spe-
culminating in the creation of a book-
cialized, tutorial-sized courses such as
length work of prose, poetry, or experi
The Book as Compositional Form, How to
mental form. The practice of writing is
Break into Journalism, Screenplay Writ-
reinforced by studies in literature,
ing, Blogging, The Graphic Novel, Crime
cultural studies, science, and history.
Writing, Bending Genre, and Experimental Fiction.
Chair
Writing Program Coordinator
Office
Maria Damon, Ph.D.
Thad Ziolkowski
Tel: 718.636.3790
[email protected]
[email protected]
www.pratt.edu/writing
Erich Kuersten
[email protected]
Humanities and Media Studies
Mathematics and Science
Chair
Chair
Chair
Dorothea Dietrich, Ph.D.
Maria Damon, Ph.D.
Carole Sirovich, Ph.D.
[email protected]
[email protected]
Assistant Chair
Kathryn Cullen-Dupont
Margaret Dy-So
[email protected]
[email protected]
Laboratory Technician
Danielle Skorzanka
Tiffany Liu
Assistant Chair
Gayle Rodda Kurtz, Ph.D.
Jill Song
[email protected]
165
Classes in the Liberal Arts
There are so-called skill mills.
And there is Pratt. We educate
the whole person.
Pratt provides a well-rounded education
and creative growth; and to promote
in the liberal arts that encompasses
understanding and appreciation for
Humanities and Media Studies,
the diverse cultures within the U.S. and
Mathematics and Science, and Social
throughout the world.
Science and Cultural Studies. In addition,
the Institute supports international
students in gaining the English language
skills they need to pursue their education
and to interact as vital members
of the community.
The mission of the Department of
Mathematics and Science is threefold.
The first is to acquaint students with
scientific methodologies, critical
thinking, and the history of scientific
thought. The second is to address the
The Humanities and Media Studies (HMS)
interface between science and art,
Department offers a variety of courses—
architecture, and design, whether
freshman English, literature and literary
it is through the physics of light, the
theory, communications, music, theater,
chemistry of color, the biology of form,
film, performance and performance
or the mathematics of symmetry. The
studies, foreign languages, and creative
third is to educate students so that they
writing. What unites them, giving them
can respond intelligently and critically to
continuity, is the department’s mission:
today’s new developments in science and
to recognize and foster the relationship
technology and make informed decisions
between visual and written texts; to instill
regarding current scientific matters that
in students critical thinking, reading,
affect public policy issues and ethics.
and writing skills that will inspire them in
their professional lives for intellectual
Social Science and Cultural Studies
Intensive English Program
Certificate of English Proficiency
Chair
Director
Coordinator
Gregg M. Horowitz, Ph.D.
Nancy Seidler
Dana Gordon
[email protected]
[email protected]
[email protected]
Assistant Chair
Assessment and Educational
Eric Godoy
Technology Coordinator Rachid Eladlouni
[email protected]
[email protected]
Assistant to the Director
Sophia Straker-Babb
Fanny Lao
[email protected]
[email protected]
[email protected]
166
Social Science and Cultural Studies
2.A minimum of 6 credits in cultural
The Department of Social Science and
Cultural Studies trains students to bring
critical and analytical skills to bear on the
social world and on their professional
and artistic work. Through the
perspectives of social science, history,
philosophy, and cultural studies, students
explore the cultural achievements of
humankind and the social forces that
have influenced the development of
culture and human personality. A core
curriculum develops understanding of
historical relationships among world
cultures, ideas, and institutions. Electives
provide interdisciplinary approaches and
intellectual diversity that foster critical
examination of the political, social,
Good communication skills are
history. Students must complete the
essential to academic success at
CH 300 and CH 400 sequence.
Pratt Institute. Instruction in the IEP
3.A minimum of 6 credits in the social
sciences or philosophy.
4.A minimum of 6 credits in science and/
or mathematics.
5.A minimum of 10 credits in the liberal
arts as electives.
Resources in the School of
Liberal Arts and Sciences
Intensive English Program
emphasizes language use for general
academic and specific purposes in the
professions in which Pratt specializes:
art, design, architecture, and information
and library science. IEP faculty are
trained and experienced in teaching
English as a second language, as well as
in integrating art and design content
into their courses. Our classes are small
(eight to 12 students per session), and
Pratt Institute and the School of Liberal
enrolled international students benefit
Arts and Sciences welcome international
from their use of the Language Resource
students and offer an array of programs
and Writing and Tutorial Centers for
and services to improve English-
additional language learning practice.
language skills and academic readiness.
All international students with TOEFL
The Intensive English Program (IEP)
scores below 600 (PbT), 250 (CBT), or
provides academic English language
100 (iBT)—including transfer students—
instruction to matriculated graduate and
whose first language is not English must
undergraduate students. In addition,
demonstrate proficiency in English by
and Sustainability.
two certificate programs run under the
taking an English Placement Exam upon
IEP’s umbrella: the full-time Certificate
arriving at the Institute.
Undergraduate Liberal Arts
(CEP) and Summer (SCP) programs. The
and economic forces at work in the
processes of cultural production.
The department offers minors in
Cultural Studies, Philosophy, Psychology
Requirements
Professional Curricula
At least 25 percent of the credit
requirements for all baccalaureate
degrees is the ultimate responsibility of
the School of Liberal Arts and Sciences.
The specific requirements are:
1. A minimum of 6 credits in English:
English 101 (3 credits) and English 103
(3 credits). Students must pass English
101 and 103 with a grade of C or better.
English 101, which must be taken in
the student’s first semester at the
Institute, is a prerequisite for all liberal
arts courses.
The English Placement Exam consists
Intensive English Program also oversees
of a reading test, a writing test, and a
the Freshman English sequence for
personal interview with an IEP faculty
non-native English-speaking students,
member. Students assessed at the
ENGL 100 and 102. These credit-bearing
exempt level of English proficiency satisfy
courses fulfill the same requirements as
their Intensive English requirement and
the HMS 101 and 103 sequence.
may enroll in all Institute courses without
The mission of all programs in
restriction. Students who are assessed as
the IEP is to support successful
being in need of English instruction must
matriculation and progress toward
register in consecutive Intensive English
graduation of international students by
courses (including summer IEP classes
providing appropriate English language
should they wish to take other Institute
instruction. Internal assessment and
courses during those sessions) until they
advisement ensure students’ proper
achieve exempt status based on IEP exit
placement in English language courses,
proficiency criteria.
as well as successful matriculation and
degree attainment.
Page 164: The Brooklyn Campus
Opposite: A student takes notes in class
168
Students whose proficiency is
For information on the Test of
assessed at or below Level 5 are required
English as a Foreign Language (TOEFL)
to enroll full time in the Certificate of
requirements at Pratt Institute,
English Proficency (CEP) program. Any
please refer to the catalog listing for
undergraduate international student
particular schools and departments.
who has been enrolled in three Intensive
New international students are strongly
English courses without having exempted
encouraged to enroll in our eight-
from (passed) the program will be moved
week Summer Certificate Program
to probationary status during his/her
(SCP) in order to be fully prepared for
fourth semester.
the academic requirements of their
Any graduate international student
degree programs.
who has been enrolled in one Intensive
English course without having exempted
The Certificate of English
from (passed) the program will be moved
Proficiency Program
to probationary status during his/her
second semester.
If the undergraduate student
fails to be exempt from the IEP at the
end of the fourth semester of study,
or if the graduate student fails to
exempt from the IEP at the end of the
second semester, he will be advised
of the reasons for being placed on IEP
probation, then offered the option of: 1)
voluntary withdrawal from the Institute
or, 2) full-time enrollment in the Summer
Certificate Program (SCP), and/or
Certificate of English Proficiency (CEP)
Program in order to meet the Institute
English requirement of exemption. After
meeting the language requirement,
affected students are eligible to return to
full-time degree study.
The Certificate of English Proficiency
(CEP) program at Pratt Institute is a oneyear, English-language program located
at our Brooklyn, New York campus.
Students whose TOEFL scores fall below
the admission minimums established by
Institute degree programs may apply to
the CEP for full-time English-language
instruction. At the end of the twosemester program of English study, those
students completing CEP coursework
receive a certificate of English language
proficiency.
Courses focus on speaking, listening,
reading, and writing within the context of
art and design. For more information on
Pratt’s Intensive and Certificate English
programs, contact IEP administrative
offices at 718.636.3450, visit the
IEP website at www.pratt.edu/iep
or email IEP at [email protected]
Opposite: Students listening in class
Laboratories and Computer Facilities
The science laboratories (chemistry,
physics, biology), located in the Activities
Resource Center, are interdisciplinary
research facilities. Sophisticated
instruments and equipment are available,
and undergraduates are encouraged
to use them under faculty supervision.
Computer facilities are available for use
by all students of the Institute. Specialized
facilities are employed in the sciences.
Writing and Tutorial Center
The Writing and Tutorial Center provides
free tutoring for all Pratt students in
English, math, physics, art history,
thesis preparation, and other academic
areas. Special assistance is provided for
students for whom English is a second
language. Small-group and regularly
scheduled one-on-one conversation
sessions are also offered.
The Writing and Tutorial Center
staff consists of a director, faculty
and staff tutors, and trained student
peer tutors. The director coordinates
scheduling and appointments in all areas.
Any faculty member, staff member, or
adviser may recommend students who
need assistance.
The Writing and Tutorial Center is
located in North Hall 101 (opposite the
bank). Appointments can be made by
phone, Skype IM, or in person.
Above: Students on the Brooklyn Campus
171
Academic Degrees Overview
Undergraduate Programs
Graduate Programs
Architecture
B.Arch.
0202
Construction Management B.P.S.
0201
Construction Management B.S.
0201
Building and Construction
5317
A.A.S.
School of Art
Digital Design and
Interactive Media
A.O.S.
Graphic Design
5012
A.O.S.
5012
Graphic Design/Illustration A.A.S.
5012
Illustration
A.O.S.
5012
Painting/Drawing
A.A.S.
5610
B.F.A.
0831
Digital Arts
B.F.A.
1009
Film
B.F.A.
1010
Fine Arts
B.F.A.
1001
Photography
B.F.A.
1011
School of Design
B.F.A.
0601
Fashion Design
B.F.A.
1009
Industrial Design
B.I.D.
1009
Interior Design
B.F.A.
0201
B.A.
4903
B.A.
1003
B.F.A.
1003
Writing
B.F.A.
1599
Combined Degree Programs
B.F.A./M.S. 0831
School of Design
Architecture
(first-professional)
M.Arch.
0202
Architecture
(post-professional)
M.S.
0202
Architecture and Urban
M.S.
Design (post-professional)
0205
City and Regional Planning
M.S.
Facilities Management
M.F.A.
1009
M.S.
0601
Industrial Design
M.I.D.
1009
Interior Design
M.F.A.
0201
Interior Design
M.S.
0201
0206
Package Design
M.S.
1009
M.S.
0201
School of Information and Library Sscience
Historic Preservation
M.S.
0299
1601
M.S.
0206
Library and Information
Science
M.S.
Sustainable Environmental
Systems
0899
M.S.
0206
Science: Library Media
Specialist
M.S.
Urban Placemaking and
Management
Archives Certificate
Program
ADV. CRT.
1699
Studies
ADV. CRT.
1699
Library Media Specialist
ADV. CRT.
0899
ADV. CRT.
1699
M.S.
0702
School of Art
(init./prf. certification)
M.S.
0831
(prf. certification)
M.S.
0831
ADV. CRT.
0831
Museum Libraries
Arts and Cultural
Management
M.P.S.
0599
Museums and Digital
Culture
Art Therapy and Creativity
Development
M.P.S.
1099
Art Therapy and
Creativity Development
(spring/summer)
M.P.S.
1099
M.S.
1003
Media Studies
M.A.
0601
Museum Studies
ADV. CRT.
1003
M.F.A.
1007
M.F.A.
1599
Art Therapy with Special
Needs Children
M.P.S.
1099
Performance and
Performance Studies
Art Therapy with
Special Needs Children
(spring/summer)
M.P.S.
1099
Writing
Combined Degree Programs
Science/Digital Arts
M.S./M.F.A. 1601/
1009
1099
Science/Law
M.S./J.D.
1601/
M.S./L.L.M. 1401
M.P.S.
0599
M.F.A.
1009
History of Art and
Design/Fine Arts
M.S./M.F.A. 1009/
1001
M.F.A.
1001
History of Art and
Design/Information
and Library Science
M.S./M.S.
Science/Information Law
and Society
M.S./L.L.M 1601/
1401
Planning and Law
M.S./J.D.
Dance/Movement Therapy M.S.
1099
Dance/Movement Therapy M.S.
(spring/summer)
Design Management
Digital Arts
Fine Arts
1009/
1601
0206/
1401
Curricula
172
B.Arch. in Architecture
Semester 1
Semester 8
Semester 4
ARCH-101
Design I
5
ARCH-202
Intermediate Design II
5
ARCH-402
Advanced Design II
5
ARCH-111
Representation 1
3
ARCH-232
Structures: Steel
3
CH-400
World Civilization II
3
ARCH-131
Technics
3
ARCH-252
3
Liberal Arts Elective
3
ARCH-151
History and Theory of
Architecture I
3
History and Theory
of Architecture IV
Architecture Elective
3
ARCH-262
3
All-Institute Elective
3
Introduction to Literary and
Critical Studies I
3
Architectural Assembly
Systems
MSCI-271
Ecology for Architects
3
Credit subtotal
17
ARCH-403
Advanced Design III
5
ARCH-501
Degree Project: Research
3
HMS-497B
Research Writing for
Architecture Students
1
Social Science/Philosophy
3
Architectural Elective
3
2
Credit subtotal
17
HMS-101B
HMS-291B
Introduction to
Transdisciplinary Writing I
1
Credit subtotal
18
ARCH-102
Design II
5
ARCH-112
Representation II
3
ARCH-152
History and Theory of
Architecture II
3
Introductory Physics/
Chemistry
3
Introduction to Literary
and Critical Studies II
3
Introduction to
Transdisciplinary Writing II
1
Credit subtotal
18
ARCH-201
Intermediate Design I
5
ARCH-211
Representation III
3
ARCH-231
Statics and Strength of
Materials
3
ARCH-251
History and Theory
of Architecture III
3
ARCH-261
Architectural Materials
HMS-103B
HMS-292B
ARCH-301
Comprehensive Design I
5
ARCH-331
Concrete Structures
3
ARCH-361
Building Environment
3
ARCH-363
Professional Practice
3
3
Credit subtotal
17
Semester 6
Semester 10
ARCH-302
Comprehensive Design II
5
ARCH-362
Building Services
3
ARCH-364
Construction Documents
3
Elective
3
(History/ Theory)
3
Credit subtotal
17
ARCH-401
Advanced Design I
5
ARCH-461
Urban Genetics
3
3
CH-300
World Civilization I
3
17
HMS-496B
Advanced Transdisciplinary
Writing
1
3
3
Credit subtotal
18
Semester 3
Credit subtotal
17
Semester 5
Semester 2
MSCI-110
Credit subtotal
Semester 9
Semester 7
ARCH-503
Degree Project: Design Studio 5
3
3
6
Credit subtotal
17
Total credits required
170
Curricula
173
B.P.S. in Construction Management
B.S. in Construction Management
Semester 1
Semester 5
CM-131
Construction Methods and
3
Materials: Wood and Masonry
CM-111
Construction Graphics
3
HMS-101A
Critical Studies I
3
MSCI-300
Calculus I
3
3
Credit subtotal
15
Construction Cost Analysis
3
CM-341
Design Theory
3
CM-331
Specifications
2
CM-321
Project Controls I
3
CM-346
Estimating
3
MGMT-307
Introduction to Management
3
Credit subtotal
17
CM-347
Planning and Scheduling
3
CM-344
Value Management
2
CM-322
Project Controls II
3
MGMT-303
Business Law
3
MGMT-201
Accounting
3
Professional Elective
Credit subtotal
Semester 6
Semester 2
CM-132
Semester 1
CM-343
CM-131
3
Materials: Wood and Masonry
CM-111
3
HMS-101A
Critical Studies I
3
MSCI-300
Calculus I
3
3
Credit subtotal
15
Semester 2
Materials: Concrete & Steel
3
CM-152
History of Construction
Technology
3
CM-440
Construction Safety
Management
3
HMS-103A
Intro to Literary and Critical
Studies II
3
MSCI-280
Environmental Science
3
Semester 7
MSCI-301
Calculus II
3
CM-471
Construction Law
3
Credit subtotal
18
CM-461
Building Codes and Zoning
2
Semester 3
CM-401
Construction Management I
3
CM-231
Structural Design Methods I
3
MGMT-309
Financial Management
3
CM-233
Mechanical and Electrical
Equipment I
3
MGMT-325
Managerial Economics
3
CM-201
Introduction to Construction
Management
3
Professional Elective
3
Credit subtotal
17
PHYS-131
Physics I
3
COM-301
Reports and Correspondence 2
CM-499
Capstone
3
CH-300
3
CM-402
Construction Management II
3
Credit subtotal
17
CM-404
Project Management
3
HMS-497A
Thesis Writing
1
MGMT-308
Marketing
3
Credit subtotal
13
132
Semester 3
Semester 4
CM-232
Structural Design Methods II
3
CM-234
Equipment II
3
CM-242
Construction Surveying
3
PHYS-132
Physics II
3
HMS-261A
Introduction to Public
Speaking
3
CH-400
3
Credit subtotal
18
CM-132
3
Materials: Concrete and Steel
CM-140
Construction Safety
Management
3
HMS-103A
Critical Studies II
3
3
MSCI-280
3
17
MSCI-301
Calculus II
3
3
Credit subtotal
18
CM-231
3
CM-233
Equipment I
3
CM-201
Management
3
PHYS-131
Physics I
3
COM-301
Reports and Correspondence 2
CH-300
3
Credit subtotal
17
CM-232
3
CM-234
Equipment II
3
CM-242
3
PHYS-132
Physics II
3
HMS-261A
Speaking
3
CH-400
3
Credit subtotal
18
Semester 8
Semester 4
Curricula
174
School of Art
Semester 5
CM-343
3
CM-341
Design Theory
3
CM-331
Specifications
2
CM-321
Project Controls I
3
CM-346
Estimating
3
3
Credit subtotal
17
CM-347
3
CM-344
Value Management
2
CM-322
Project Controls II
3
9
Credit subtotal
17
CM-471
Construction Law
CM-461
CM-401
A.A.S. in Building and Construction
A.A.S. in Graphic Design/Illustration
Semester 1
Semester 1
CM-131
3
Materials I: Wood and Masonry
CM-111
3
CM-321
Project Controls I
3
HMS-101A
Critical Studies I
3
CH-300
3
MSCI-300
Semester 6
3
Credit subtotal
18
Semester 2
2
ASFD-143B
Drawing I: General
2
ASFD-157
3-D Design I
3
ASFD-168
Light/Color/Design I
2
HA-111
Themes in Art and Culture I
3
ASIL-100
Painting I
2
HMS-101A
Studies
3
Credit subtotal
17
ASFD-144A
Drawing II: Figure
2
ASFD-144B
Drawing II: General
2
Semester 2
3
CM-322
Project Controls II
3
ASFD-158
3-D Design II
4
HMS-103A
Studies II
3
ASFD-169
Light/Color/Design II
2
3
HA-112
Themes in Art and Culture II
3
CH-400
World Civilizations II
3
2
ASDG-206
Painting II
2
MSCI-301
Calculus II
3
3
HMS-103A
Introduction to Literature
3
Credit subtotal
15
6
Credit subtotal
18
Semester 3
Elective
3
CM-231
Structural Design I
3
3
Typographic Design I
2
17
Equipment I
ASDG-109
Credit subtotal
CM-233
ASGR-101
Communication Design I
4
Computer Graphics
2
Illustration I
2
Art History Elective
2
World Civilizations I
3
Science Requirement
3
Credit subtotal
18
ASDG-101
Photography
2
ASDG-211
Typographic Design II
2
ASGR-102
Communication Design II
4
Illustration II
2
Semester 8
CM-499
Capstone
3
CM-402
3
Thesis Writing
1
3
3
Credit subtotal
13
132
CM-132
Drawing I: Figure
Materials II: Concrete and
Steel
Semester 7
HMS-497A
Calculus I
ASFD-143A
Semester 3
CM-343
3
ASGR-151
CM-201
Management
3
ASIL-101
Elective
3
Physics I
3
Credit subtotal
18
CM-232
Structural Design II
3
CM-234
Equipment II
3
PHYS-131
Semester 4
CH-300
Semester 4
CM-344
Value Management
2
ASIL-102
HMS-261A
Speaking
3
CH-400
3
SS-210
General Psychology
3
MSCI-280
3
Credit subtotal
16
PHYS-131
Physics II
3
69
Credit subtotal
17
68
A.A.S. in Painting/Drawing
Curricula
175
A.O.S. in Graphic Design
A.O.S. in Digital Design and
Interactive Media
Semester 1
Semester 1
Semester 1
ASFD-143A
Drawing I: Figure
2
ASFD-143A
Drawing I: Figure
2
ASFD-143B
Drawing I: General
2
ASFD-143B
Drawing I: General
2
ASFD-143B
Drawing I: General
2
ASFD-168
2
ASFD-157
3-D Design I
3
ASFD-168
2
ASGR-101
4
ASFD-168
2
ASFD-210
ASDG-109
2
3
Design History:
Communications
2
HA-111
ASCG-100
Fundamentals of Digital Media 3
ASIL-100
Painting I
2
ASGR-101
4
ASCG-101
Interactive Media
3
HMS-101A
Studies
3
ASDG-109
2
Credit subtotal
16
ASGR-151
Computer Graphics
2
Credit subtotal
17
Credit subtotal
16
ASGR-102
4
ASDG-211
2
ASDG-101
Photography
2
ASCG-102
Digital Design Studio I
3
ASCG-103
Media Design I
3
ASCG-105
Time-Based Media
3
Credit subtotal
17
ASGR-201
Graphic Design I
2
ASCG-204
Digital Design Studio II
3
ASCG-206
Media Design II
3
ASCG-209
Digital Video I
3
ASCG-210
3-D Modeling
3
Elective
2
Credit subtotal
16
ASCG-212
Electronic Pre-Press
3
ASCG-213
Digital Video II
3
ASCG-214
3-D Animation
3
ASCG-208
Media Design III
3
ASCG-240
Digital Design and Interactive
Portfolio
3
ASGR-202
Semester 2
Semester 2
ASFD-144A
Drawing II: Figure
2
ASFD-144A
Drawing II: Figure
2
ASFD-144B
Drawing II: General
2
ASFD-144B
Drawing II: General
2
ASFD-158
3-D Design II
3
ASGR-102
4
ASFD-169
2
ASGR-270
Electronic Page Design I
2
HA-112
3
ASCG-101
Interactive Media
3
ASDG-206
Painting II
2
ASDG-104
Visualization
2
HMS-103A
Introduction to Literature
3
ASDG-211
2
Credit subtotal
18
Credit subtotal
17
Semester 3
Semester 3
ASDG-101
Photography
2
ASGR-201
Graphic Design I
2
ASDG-207
Drawing III
2
ASGR-203
Advertising Design I
2
ASDG-225
Painting III
2
ASGR-205
Publication Design I
2
ASGR-151
Computer Graphics
2
ASGR-207
Package Design I
2
ASPR-205
Printmaking
2
ASGR-250
2-D Computer Graphics
2
CH-300
World Civilizations
3
ASGR-271
Electronic Page Design II
2
2
ASDG-101
Photography
2
Science Requirement
3
ASDG-212
Typographic Design III
2
Credit subtotal
18
Elective
2
Credit subtotal
18
Semester 4
Semester 2
Semester 3
Semester 4
ASDG-208
Drawing IV
2
Semester 4
ASDG-226
Painting IV
2
ASDG-213
Typographic Design IV
2
Graphic Design II
2
ASGR-250
2-D Computer Graphics
2
ASGR-202
Graphic Design II
2
Credit subtotal
17
ASFA-241
Fine Arts Seminar
2
ASGR-204
Advertising Design II
2
66
CH-400
3
ASGR-206
Publication Design II
2
SS-210
General Psychology
3
ASGR-208
Package Design II
2
Credit subtotal
16
ASGR-220
69
Pre-Press and Print
Production
2
ASGR-240
Portfolio Development and
Business Procedures for
Grapic Designers
2
Elective
2
Credit subtotal
16
67
Curricula
176
A.O.S. in Illustration
B.F.A. in Art and Design Education
Semester 1
Semester 4
Semester 1
ASFD-143A
Drawing I: Figure
2
ASIL-202
Illustration IV
2
FDC-143
Drawing I: Figure and General 4
ASFD-143B
Drawing I: General
2
ASIL-204
Illustration II: Editorial
2
FDC-157
2
ASIL-206
Illustration II: Advertising
2
Materials and
3-Dimensional Form
3
ASFD-168
ASFD-212
Design History: Illustration
2
ASIL-209
Illustration: Children’s Book
2
FDC-163
3
ASDG-109
2
ASDG-208
Drawing IV
2
FDC-180
4-D Design I
2
HA-111
3
HMS-101A
Critical Studies I
3
Credit subtotal
18
ASIL-100
Painting I
2
ASDG-226
Painting IV
2
ASIL-101
Illustration I
2
ASIL-240
2
ASGR-151
Computer Graphics
2
Portfolio Development and
Business Procedures for
Illustrators
Credit subtotal
16
Elective
2
Semester 2
Credit subtotal
16
FDC-144
Drawing II: Figure and General 4
67
FDC-158
Foundation Design Studio
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
Critical Studies II
3
Credit subtotal
18
Semester 2
ASFD-144A
Drawing II: Figure
2
ASFD-144B
Drawing II: General
2
ASIL-102
Illustration II
2
ASIL-215
Digital Illustration I
2
ASCG-101
Interactive Media I
3
ASDG-101
Photography
2
ASDG-104
Visualization
2
ASDG-206
Painting II
2
Semester 3
Credit subtotal
17
ED-250
Contemporary Ideas About
Art and Self
3
ASIL-201
Illustration III
2
CH-300
3
ASIL-203
Illustration I: Editorial
2
3
ASIL-205
Illustration I: Advertising
2
Art or Design Core
4
ASPR-205
Printmaking
2
Studio Elective
4
ASDG-207
Drawing III
2
Credit subtotal
17
ASDG-225
Painting III
2
ASGR-230
Graphic Design for Illustrators 2
ADE-215B
4
ASIL-216
Digital Illustration II
2
Fieldwork in Art and Design
Education with Special
Populations
Elective
2
SS-391
3
Credit subtotal
18
Child and Adolescent
Development
CH-400
3
3
Art or Design Core
4
Credit subtotal
17
Semester 3
Semester 4
Curricula
177
B.F.A./M.S. in Art and Design Education
Semester 5
Semester 1 (fall)
ED-406
American Urban Education:
Issues and Contexts
3
SPAN-501
Conversational Spanish I
3
ADE-419
Foundations in Art and Design 3
Education
ADE-521
Student Teaching:
Saturday Art School
or
ADE-523
3
Student Teaching: After
School
Math/Science
3
Studio Elective
2
Credit subtotal
17
ADE-420
The Art of Teaching Art and
Design
3
ADE-506
Literacy and Language
Acquisition in the Art
Classroom
1
Student Teaching:
Saturday Art School
3
Semester 6
ADE-522
or
ADE-524
SPAN-502
Drawing I: Figure & General
4
FDC-157
Materials and
3-Dimensional Form
3
FDC-163
3
FDC-180
4-D Design I
2
HA-111
3
HMS-101A
Studies I
3
Credit subtotal
18
FDC-144
Drawing II: Figure & General
4
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
Studies II
3
Credit subtotal
Art or Design Core
17
17
ADE-215A
or
ADE-215B
SS-391
Technology and Teaching:
Designing for Change
ADE-531A
Student Teaching: Public School,
Pre-K-HS
4
ADE-532A
2
CH-400
Student Teaching Seminar
1
Art or Design Core
4
Studio Elective
2
Credit subtotal
13
134
Student Teaching: In the
Galleries
Math/Science
3
Studio Elective
2
Credit subtotal
17
Semester 6 (spring)
The Art of Teaching Art
and Design
3
ADE-506
Literacy & Language
Acquisition in the Art
Classroom
1
18
ADE-522
Student Teaching:
Saturday Art School
3
Student Teaching: After
School
Conversational Spanish II
3
3
3
4
4
Studio Elective
4
Credit subtotal
17
Credit subtotal
17
Semester 4 (spring)
Semester 8
ADE-360
or
ADE-524
SPAN-502
4
Credit subtotal
3
3
Credit subtotal
7
3
Student Teaching:
Saturday Art School
Studio Elective
Conversational Spanish I
ADE-521
CH-300
4
SPAN-501
or
ADE-523
3
Art or Design Core
3
3
3
3
American Urban Education:
Issues and Contexts
Contemporary Ideas about
Art and Self
Math/Science
ED-406
ED-250
Conversational Spanish II
Foundations in the History and 3
Philosophy of Education
Foundations in Art and Design 3
Education
ADE-420
Semester 3 (fall)
Student Teaching:
In the Galleries
ADE-419
Semester 2 (spring)
Semester 7
ED-400
Semester 5 (fall)
FDC-143
Education
4
Fieldwork with Special
Populations
Child & Adolescent
Development
3
3
3
Art or Design Core
4
Credit subtotal
17
Semester 7 (fall)
ED-400
Foundations in the History &
Philosophy of Education
3
ADE-630
Media and Materials from
Studio to Classroom
3
Math/Science
3
Art or Design Core
6
Studio Elective
2
Credit subtotal
17
Curricula
178
Semester 8 (spring)
ADE-531A
or
ADE-531B
ADE-532A
Student Teaching:
Public School, Pre-K-HS
Semester 1
4
Student Teaching:
with Special Populations
Student Teaching Seminar
1
Art or Design Core
3
Ed with Special Populations
2
ADE-625
Play and Performance
3
ED-602
Survey of Art Education
Literature
3
Credit subtotal
16
ADE-616B
Semester 9 (fall)
ED-660A
Thesis I
3
ADE-621
Special Topics
3
Graduate Elective
6
Credit subtotal
12
FDC-143
The Teacher in Film and
Fiction
3
ED-660B
Thesis II
3
ADE-517
Directed Research
2
Graduate Elective
2
Credit subtotal
10
159
Completion of the following workshops taken
with a provider approved by NYSED:
0
School Violence Prevention and
Intervention Workshop
0
Training in Harassment, Bullying,
Cyberbullying, and Discrimination in
Schools: Prevention and Intervention
0
Passing scores on the following tests and
assessments:
Educating all Students (EAS)
Academic Literacy Skills Test (ALST)
Content Specialty Test (CST)
Education Teacher Portfolio Assessment
(edTPA)
3
6
Materials and
3-Dimensional Form
3
3
Requirement
3
FDC-163
FDC-180
4-D Design I
2
2
Studio Elective
4
Credit subtotal
18
3
Math/Science Requirement
3
HMS-101A
Studies I
3
HA-111
3
Semester 6
Credit subtotal
18
CH-400
Semester 2
FDC-144
Digital Arts Elective
6
FDC-158
3
Studio Elective
4
FDC-164
3
Credit subtotal
16
FDC-181
4-D Design II
2
HMS-103A
Introduction to Literature and 3
Critical Studies II
Senior Project I
4
3
Studio Elective
4
4
Credit subtotal
15
Senior Project II
4
Studio Elective
5
6
Credit subtotal
15
134
HA-112
3
Credit subtotal
18
DDA-200
Graphics Programming I
3
DDA-300
3-D Computer Modeling
3
3
3
Semester 7
DDA-400
Semester 3
Media Arts or Communications 2
Design Requirement
Requirement
3
Credit subtotal
17
Interactive Media
3
3
Semester 4
DDA-320
Media Arts or Communications 2
Design Requirement
Child Abuse Identification Workshop
FDC-157
NYSED Certification Requirements
The following requirements must be fulfilled
prior to applying for New York State Education
Department (NYSED) Initial Certification in Visual
Arts, Pre-K–12.
CH-300
Semester 10 (spring)
ED-605
Semester 5
Math/Science Requirement
3
Studio Elective
6
Credit subtotal
13
Semester 8
DDA-410
Curricula
179
B.F.A. in Film
(Emphasis in 2D Animation)
Semester 1
Semester 5
Semester 1
FDC-143
DDA-331
Drawing II: Animation
2
PHOT-101
Photo I
2
FDC-157
Materials and
3-Dimensional Form
3
DDA-304
Character Animation II
4
FVID-101
Digital Cinema I
3
CH-300
3
FDC-143
Drawing I
4
FDC-163
3
Studio Elective
4
FDC-163
Light, Color, Design I
3
FDC-180
4-D Design I
2
3
HA-111
3
HA-111
3
Credit subtotal
16
HMS-101A
I ntroduction to Literary and
Critical Studies I
3
Critical Studies I
3
HMS-101A
Animation II
3
18
18
DDA-384
Credit subtotal
Credit subtotal
DDA-386
Post-Production for
Animation
2
PHOT-250
Digital Imaging 1
2
3
FVID-102
Expanded Digital Cinema
3
Math/Science
3
FDC-144
Drawing II
4
Credit subtotal
15
FDC-164
Light, Color, Design II
3
HA-112
3
HMS-103A
Critical Studies II
3
Credit subtotal
18
FVID-201
Nonfiction Video I
3
FVID-210
or
FVID-211
Film Analysis/Practice
2
HMS-320A
or
HMS-320B
or
HMS-320S
Poetry Writing
Semester 2
FDC-144
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
Critical Studies II
3
Credit subtotal
18
Semester 6
CH-400
Semester 7
DDA-409
Semester 3
DDA-109
Video I
2
DDA-143
Animation I
3
3
3
Studio Elective
6
Credit subtotal
17
Semester 4
DDA-230
Drawing I: Animation
2
Animation III
4
3
Studio Elective
6
2
Studio Elective
2
Credit subtotal
17
Ssemester 8
Semester 2
Semester 3
Ways of Seeing Cinema
3
DDA-410
Animation IV
4
DDA-442
Professional Practices
2
Studio Elective
4
5
Credit subtotal
15
3
134
3
Studio Elective
3
Credit subtotal
17
Fiction Writing
Creative Writing, Special
Topics
DDA-281
Graphics and the Moving
Image
2
DDA-303
Character Animation I
4
HA-343
History of Animation
2
Semester 4
Math/Science
3
FVID-202
Fiction Video I
3
3
3
Studio Elective
2
Film Elective
3
Credit subtotal
18
3
Studio Elective
3
Credit subtotal
15
Curricula
180
B.F.A. in Fine Arts
(Emphasis in Ceramics)
Semester 5
Semester 1
FVID-311
or
Writing Through Pix and
Sound
FVID-310
Screenwriting
FVID-301
Nonfiction Video II: Hybrid
Forms
CH-300
3
3
Material and Three
Dimensional Form
3
DRWG-206
Drawing II
DRWG-212
Life Study II
FDC-163
3
PTG-206
Painting II
FDC-180
4-D Design I
2
PTG-208
HA-111
3
Painting II:
Sophomore Intensive
HMS-101A
PTG-212
Life Study II
SCJ-206
Sculpture II
2
TECH-421
Slipcasting Beginning
2
TECH-515
Materials
2
SCJ-208
Ceramics II
2
FAU-242
or
FAU-244
Sophomore Seminar II
2
3
3
Critical Studies
3
Film Elective
Studio Elective
3
Credit subtotal
18
Credit subtotal
18
FVID-312
Major Seminar: Film
2
CH-400
3
Math/Science
3
Film Elective
3
Studio Elective
3
Credit subtotal
17
Senior Studio I
4
3
Math/Science
3
Studio Elective
6
Credit subtotal
16
semester 7
Semester 2
FDC-144
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
Critical Studies
3
Credit subtotal
18
Semester 3
Fine Arts Seminar II: Sculpture
3
3
Studio Elective
2
Credit subtotal
18
SCJ-307
Ceramics III
4
TECH-422
Advanced Slip Casting
2
FAU-341
Fine Arts Seminar III
2
CH-300
3
Math/Science
3
Semester 5
DRWG-205
or
DRWG-211
Drawing I
PTG-205
or
PTG-207
or
PTG-211
Painting I
Painting I: Sophomore Intensive
SCJ-205
Sculpture I
2
PRNT-203
Intaglio I
4
SCJ-207
Ceramics I
2
PRNT-204
Lithography I
Film Elective
2
Fine Arts Seminar I
2
PRNT-211
Silkscreen I
6
FAU-241
or
FAU-243
PRNT-212
Relief I
Studio Elective
3
PRNT-303
Intaglio II
Credit subtotal
15
PRNT-304
Lithography II
134
PRNT-311
Silkscreen II
PRNT-312
Relief II
2
Credit subtotal
16
Semester 8
FILM-404
FDC-157
3
FVID-402
Choose one.
3
Fiction Video II: Directing
the Short
FVID-401
Semester 6
FVID-302
Semester 4
FDC-143
Senior Studio II
2
Life Study I
2
Life Study I
Choose one.
Fine Arts Seminar I: Sculpture
3
Math/Science
3
Studio Electives
2
Credit subtotal
18
Curricula
181
B.F.A. in Fine Arts (Emphasis in Drawing)
Semester 6
Semester 1
Semester 4
SCJ-308
Ceramics IV
4
FDC-143
CH-400
3
FDC-157
Materials and
3-Dimensional Form
Choose one.
PRNT-203
Intaglio I
PRNT-204
Lithography I
PRNT-211
Silkscreen I
PRNT-212
Relief I
PRNT-303
Intaglio II
PRNT-304
Lithography II
PRNT-311
Silkscreen II
PRNT-312
Relief II
2
FAU-342
Fine Arts Seminar IV
2
3
Studio Electives
4
Credit subtotal
18
FDC-163
3
FDC-180
4-D Design I
2
HA-111
Themes in Art I
3
HMS-101A
Critical Studies
3
Credit subtotal
18
Painting II
or
PTG-212
Life Study II
PRNT-203
Intaglio I
Lithography I
PRNT-211
Silkscreen I
FDC-158
3
PRNT-212
Relief I
FDC-164
3
PRNT-303
Intaglio II
FDC-181
4-D Design II
2
PRNT-304
Lithography II
HA-112
3
PRNT-311
Silkscreen II
HMS-103A
Critical Studies
3
PRNT-312
Relief II
Credit subtotal
18
4
Fine Arts Seminar V
2
Semester 3
3
Drawing I
Liberal Arts
3
DRWG-205
or
DRWG-211
Studio Elective
4
Painting I
Credit subtotal
16
4
PTG-205
or
PTG-207
or
PTG-211
4
Choose one.
Studio Electives
2
PRNT-203
Elective
2
PRNT-204
PRNT-211
Silkscreen I
Credit subtotal
12
PRNT-212
Relief I
134
Choose one.
2
Painting II: Sophomore
Intensive
PRNT-204
Ceramics V
2
Life Study II
FAU-441
Ceramics VI
PTG-206
or
PTG-208
FDC-144
SCJ-407
Semester 8
Drawing II
Choose one.
Semester 2
Semester 7
SCJ-408
3
DRWG-206
or
DRWG-212
2
Life Study I
2
Painting I: Sophomore Intensive
Life Study I
2
Choose one.
SCJ-206
Sculpture II
SCJ-208
Ceramics II
SCJ-212
Life Study II
SCJ-216
Jewelry II
2
FAU-242
or
FAU-244
Fine Arts Seminar II
2
3
3
Intaglio I
Studio Elective
2
Lithography I
Credit subtotal
18
2
SCJ-205
Sculpture I
SCJ-207
Ceramics I
SCJ-211
Life Study I
SCJ-215
Jewelry I
2
FAU-241
or
FAU-243
Fine Arts Seminar I
2
3
Math/Science
3
Studio Elective
2
Credit subtotal
18
Curricula
182
B.F.A. in Fine Arts
(Emphasis in Jewelry)
Semester 5
Semester 1
Semester 4
DRWG-314
Junior Drawing (fall)
4
FDC-143
DRWG-209
Rendering for Jewelry I
2
PTG-305
or
PTG-311
Painting III
2
FDC-157
Materials and
3-Dimensional Form
3
Painting II
2
FDC-163
3
PTG-206
or
PTG-208
FAU-341
2
FDC-180
4-D Design I
2
CH-300
3
HA-111
3
HMS-101A
Life Study III
Math/Science
3
2
Critical Studies
3
Studio Elective
Credit subtotal
16
Credit subtotal
18
Life Study II
Choose one.
PRNT-203
Intaglio I
PRNT-204
Lithography I
PRNT-211
Silkscreen I
FDC-144
PRNT-212
Relief I
FDC-158
3
PRNT-303
Intaglio II
FDC-164
3
PRNT-304
Lithography II
Semester 2
Semester 6
or
PTG-212
Intensive
DRWG-315
Junior Drawing (spring)
4
PTG-306
or
PTG-312
Painting IV
2
FDC-181
4-D Design II
2
PRNT-311
Silkscreen II
FAU-342
2
HA-112
3
PRNT-312
Relief II
2
CH-400
3
HMS-103A
SCJ-216
Jewelry II
2
4
Critical Studies
3
Studio Electives
FAU-245
Sophomore Seminar: Objects 2
3
Credit subtotal
18
Life Study IV
Credit subtotal
18
Semester 7
DRWG-405
Drawing V
4
FAU-441
Fine Arts Seminar V
2
3
Studio Elective
2
3
Credit subtotal
14
Semester 8
DRWG-406
Drawing VI
4
Studio Elective
6
4
Credit subtotal
14
134
3
3
Studio Elective
2
Credit subtotal
18
SCJ-315
Jewelry III
4
DRWG-310
Rendering for Jewelry II
2
CH-300
3
Choose one.
TECH-292
Bench Skills: Stone Setting
2
PRNT-203
Intaglio I
TECH-372
Casting for Metalsmiths
2
PRNT-204
Lithography I
Math/Science
3
PRNT-211
Silkscreen I
Credit subtotal
16
PRNT-212
Relief I
2
SCJ-215
Jewelry I
2
FAU-241
or
FAU-243
Fine Arts Seminar I
2
Semester 3
DRWG-205
or
DRWG-211
Drawing I
PTG-205
or
PTG-207
or
PTG-211
Painting I
2
Life Study I
2
Painting I: Sophomore
Intensive
Life Study I
3
Math/Science
3
Studio Elective
2
Credit subtotal
18
Semester 5
Curricula
183
B.F.A. in Fine Arts
(Emphasis in Painting)
Semester 6
Semester 1
Semester 4
SCJ-316
Jewelry IV
4
FDC-143
FAU-345
Junior Fine Arts Seminar:
Jewelry
2
FDC-157
Materials and
3-Dimensional Form
3
CH-400
3
FDC-163
3
TECH-291
Metalsmithing: Holloware
2
FDC-180
4-D Design I
2
TECH-371
Tools and Techniques for
Metalsmiths
2
HA-111
3
HMS-101A
3
3
Critical Studies
Studio Elective
2
Credit subtotal
18
Credit subtotal
18
Semester 7
SCJ-415
FAU-445
Drawing II
PTG-206
or
PTG-208
Painting II
or
PTG-212
Life Study II
Life Study II
PRNT-203
Intaglio I
PRNT-204
Lithography I
FDC-144
PRNT-211
Silkscreen I
4
FDC-158
3
PRNT-212
Relief I
3
FDC-164
3
PRNT-303
Intaglio II
3
FDC-181
4-D Design II
2
PRNT-304
Lithography II
Studio Electives
4
HA-112
3
PRNT-311
Silkscreen II
Credit subtotal
14
HMS-103A
Critical Studies
3
PRNT-312
Relief II
Credit subtotal
18
4
Senior Seminar: Jewelry
2
Studio Electives
4
4
Credit subtotal
14
134
Semester 3
DRWG-205
or
DRWG-211
Drawing I
PTG-205
or
PTG-207
Painting I
or
PTG-211
2
Life Study I
2
Intensive
Life Study I
Choose one.
PRNT-203
Intaglio I
PRNT-204
Lithography I
PRNT-211
Silkscreen I
PRNT-212
Relief I
2
Choose one.
SCJ-205
Sculpture I
SCJ-207
Ceramics I
SCJ-211
Life Study I
SCJ-215
Jewelry I
2
FAU-241
or
FAU-243
Fine Arts Seminar I
2
2
Intensive
Jewelry V
Jewelry VI
2
Choose one.
Semester 2
Semester 8
SCJ-416
DRWG-206
or
DRWG-212
3
Math/Science
3
Studio Elective
2
Credit subtotal
18
2
Choose one.
SCJ-206
Sculpture II
SCJ-208
Ceramics II
SCJ-212
Life Study II
SCJ-216
Jewelry II
2
FAU-242
or
FAU-244
2
3
3
Studio Elective
2
Credit subtotal
18
Curricula
184
B.F.A. in Fine Arts
(Emphasis in Printmaking)
Semester 5
PTG-307
or
PTG-313
Semester 7
Junior Intensive Painting, Fall
4
Junior Intensive Painting: Life
Study, Fall
Painting V
4
FDC-143
FAU-441
Fine Arts Seminar V
2
FDC-157
3
Material and
3-Dimensional Form
3
Studio Elective
2
FDC-163
3
3
FDC-180
4-D Design I
2
HA-111
3
HMS-101A
Critical Studies
3
Credit subtotal
18
Choose one.
DRWG-301
Drawing Installation, Fall
DRWG-305
Drawing III
DRWG-307
Drawing III:The Expanded
Field
DRWG-311
Life Study III
DRWG-321
Illustration and Symbolic
Imagery
Semester 1
PTG-405
Credit subtotal
16
Semester 8
PTG-406
2
Painting VI
4
Studio Electives
6
4
14
134
FAU-341
2
Credit subtotal
CH-300
3
Semester 2
FDC-144
FDC-158
3
FDC-164
3
Math/Science
3
FDC-181
4-D Design II
2
Studio Elective
2
HA-112
3
Credit subtotal
16
HMS-103A
Critical Studies
3
Junior Intensive Painting,
Spring
4
Credit subtotal
18
2
Semester 6
PTG-308
or
PTG-314
Semester 3
Junior Intensive Painting:
Life Study, Spring
DRWG-205
or
DRWG-211
Drawing I
DRWG-306
Drawing IV
Painting I
DRWG-308
Drawing IV: The Expanded
Field
PTG-205
or
PTG-207
DRWG-312
Life Study IV
DRWG-321
Illustration and Symbolic
Imagery
2
FAU-342
2
CH-400
3
TECH-507
Painting Processes
2
Studio Elective
2
3
Credit subtotal
18
Choose one.
or
PTG-211
Life Study I
2
Intensive
Life Study I
Choose one.
PRNT-203
Intaglio I
PRNT-204
Lithography I
PRNT-211
Silkscreen I
PRNT-212
Relief I
2
Choose one.
SCJ-205
Sculpture I
SCJ-207
Ceramics I
SCJ-211
Life Study I
SCJ-215
Jewelry I
2
FAU-241
or
FAU-243
Fine Arts Seminar I
2
3
Math/Science
3
Studio Elective
2
Credit subtotal
18
Curricula
185
B.F.A. in Fine Arts
(Emphasis in Sculpture)
Semester 4
DRWG-206
or
DRWG-212
Drawing II
PTG-206
or
PTG-208
Painting II
or
PTG-212
2
Semester 5
Select any two course for 4 credits
FDC-143
FDC-157
Materials and
3-Dimensional Form
3
Silkscreen I
FDC-163
3
Relief I
FDC-180
4-D Design I
2
HA-111
3
HMS-101A
Critical Studies
3
Credit subtotal
18
PRNT-203
Intaglio I
PRNT-204
Lithography I
PRNT-211
Intensive
PRNT-212
Life Study II
PRNT-303
Intaglio II
PRNT-304
Lithography II
Life Study II
2
Semester 1
4
Choose one.
Choose one.
PRNT-203
Intaglio I
PRNT-311
Silkscreen II
PRNT-204
Lithography I
PRNT-312
Relief II
2
PRNT-211
Silkscreen I
DRWG-307
Expanded Field
2
PRNT-212
Relief I
FAU-347
Junior Seminar: Prints and
Collaboration
2
CH-300
PRNT-303
Intaglio II
PRNT-304
Lithography II
PRNT-311
Silkscreen II
PRNT-312
Relief II
2
Semester 2
FDC-144
FDC-158
3
FDC-164
3
3
FDC-181
4-D Design II
2
Math/Science
3
HA-112
3
Credit subtotal
16
HMS-103A
Introduction to Literary
and Critical Studies
3
Credit subtotal
18
DRWG-205
or
DRWG-211
Drawing I
2
PTG-205
or
PTG-207
Painting I
Semester 6
Choose one.
SCJ-206
Sculpture II
Choose one.
SCJ-208
Ceramics II
PRNT-303
Intaglio II
SCJ-212
Life Study II
PRNT-304
Lithography II
SCJ-216
Jewelry II
2
PRNT-311
Silkscreen II
FAU-242
2
PRNT-312
Relief II
2
3
PRNT-310
Junior Printmaking
4
3
DRWG-308
Drawing IV: Expanded Field
2
Studio Elective
2
FAU-342
2
or
PTG-211
18
CH-400
3
Choose one.
Studio Elective
2
PRNT-203
Intaglio I
3
PRNT-204
Lithography I
Credit subtotal
18
PRNT-211
Silkscreen I
PRNT-212
Relief I
2
2
Credit subtotal
Semester 3
Semester 7
Life Study I
2
Intensive
Life Study I
PRNT-405
Senior Printmaking I
4
SCJ-205
Sculpture I
FAU-441
Fine Arts Seminar V
2
FAU-243
Fine Arts Seminar I: Sculpture 2
3
3
Studio Elective
2
Math/Science
3
3
Studio Elective
2
Credit subtotal
14
Credit subtotal
18
Senior Printmaking II
4
Studio Electives
6
Liberal Arts Electives
4
Credit subtotal
14
134
Semester 8
PRNT 406
Curricula
186
B.F.A. in Photography
Semester 4
DRWG-206
or
DRWG-212
PTG-206
or
PTG-208
or
PTG-212
Semester 6
Drawing II
2
Life Study II
Painting II
2
4
FDC-143
FAU-344
Fine Arts Seminar IV: Sculpture 2
FDC-163
CH-400
3
PHOT-105
Black and White Photography 3
Tech Elective
2
HA-111
3
Studio Elective
4
HMS-101A
3
3
Critical Studies I
Credit subtotal
18
Credit subtotal
16
SCJ-405
Sculpture V Senior Intensive
4
FAU-441
Fine Arts Seminar V
2
3
Studio Elective
2
3
Credit subtotal
14
Sculpture VI Senior Intensive
4
3 Studio Electives
6
4
Credit subtotal
14
134
Life Study II
Semester 7
PRNT-203
Intaglio I
PRNT-204
Lithography I
PRNT-211
Silkscreen I
PRNT-212
Relief I
PRNT-303
Intaglio II
PRNT-304
Lithography II
PRNT-311
Silkscreen II
PRNT-312
Relief II
2
SCJ-206
Sculpture II
2
FAU-244
Fine Arts Seminar II: Sculpture 2
3
3
Studio Elective
2
Credit subtotal
18
Semester 5
SCJ-305
Sculpture IV
Intensive
Choose one.
Sculpture III
Semester 1
SCJ-306
4
FAU-343
Fine Arts Seminar III: Sculpture 2
CH-300
3
Math/Science
3
Tech Elective
2
Studio Elective
2
Credit subtotal
16
Semester 8
SCJ-406
3
Semester 2
FDC-144
Drawing II:Figure and General 4
FDC-164
3
PHOT-210
Digital Photography
3
HA-112
3
HMS-103A
Critical Studies II
3
Credit subtotal
16
FDC-157
Materials and
3-Dimensional Form
3
PHOT-106
Inter. Black and White
Photography
3
PHOT-310
Inter. Digital Photography
3
HA-360
Survey of Photography: 1839
to Present
3
FVID-101
Intro to Digital Cinema
3
CH-300
3
Credit subtotal
18
FDC-158
3
PHOT-205
Sophomore Critique
3
PHOT-220
Large Format Photography
3
PHOT-410
Adv. Digital Photography
3
CH-400
3
3
Credit subtotal
18
Semester 3
Semester 4
Curricula
187
School of Design
B.F.A. in Communications Design
(Emphasis in Illustration)
Semester 5
Semester 1
Semester 5
PHOT-322
Lighting I
3
FDC-143
COMD-321
Illustration III
2
PHOT-305
Junior Research I
3
FDC-157
2
3
Photography Elective
3
FDC-163
3
TECH-227
or
COMD-345
Illustration: New Media I
Between Image and Word
Materials and
3-Dimensional Form
3
CH-250
4-D Design I
2
3
3
FDC-180
CH-300
Math/Science Reqt
Studio Elective
4
3
4
Credit subtotal
18
Credit subtotal
15
COMD-322
Illustration IV
2
TECH-228
or
COMD-346
Illustration: New Media II
2
CH-400
3
Studio Elective
4
6
Credit subtotal
17
Senior Project
8
3
Studio Elective
4
Credit subtotal
15
Senior Project
8
Math/Science
3
Studio Elective
4
HA-111
3
HMS-101A
Critical Studies I
3
Credit subtotal
18
Semester 6
PHOT-306
Junior Research II
3
PHOT-490
Photography Lectures
1
PHOT Elec
Photography Elective
3
Math/Science Reqt
3
Reqt
3
Credit subtotal
3
16
Semester 2
FDC-144
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
Critical Studies II
3
Semester 7
PHOT-405
Credit subtotal
Senior Thesis I
3
PHOT-440
Contemporary Issues in
Photography
3
PHOT-491
1
HMS-497
Thesis Writing
1
Reqt
3
3
3
Credit subtotal
17
Senior Thesis II
Visual Communication I
2
COMD-211
Design Procedures I
2
9
3
Credit subtotal
15
134
Children's Books II
Semester 7
COMD-215
2
COMD-221
Illustration I
2
COMD-231
Communications Imaging I
2
COMD-235
Illustration Methods and
Media I
2
3
Credit subtotal
15
3
134
Credit subtotal
18
COMD-202
Visual Communication II
2
COMD-212
Design Procedures II
2
COMD-216
2
COMD-222
Illustration II
2
COMD-232
Communications Imaging II
2
COMD-236
Illustration Methods and
Media II
2
3
Math/Science
3
Credit subtotal
18
3
Semester 6
COMD-401
COMD-201
Semester 8
PHOT-406
18
Semester 3
Children's Books I
Semester 4
Semester 8
COMD-402
Curricula
188
(Emphasis in Advertising Art Direction)
(Emphasis in Graphic Design)
Semester 1
Semester 5
Semester 1
FDC-143
COMD-302
Copywriting for Advertising
2
FDC-143
FDC-157
Materials and
3-Dimensional Form
3
COMD-313
2
FDC-157
Graphic Design I
2
Materials and
3-Dimensional Form
3
COMD-315
FDC-163
3
COMD-317
Advertising I
2
FDC-163
3
FDC-180
4-D Design I
2
CH-300
3
FDC-180
4-D Design I
2
HA-111
3
HA-111
3
ENGL-101
Critical Studies I
3
ENGL-101
Critical Studies I
3
Credit subtotal
18
Credit subtotal
18
Semester 2
FDC-144
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
ENGL-103
Critical Studies II
3
Credit subtotal
18
4
Credit subtotal
15
COMD-314
2
COMD-316
Graphic Design II
2
COMD-318
Advertising II
2
Film/Video Elective
2
3
6
Credit subtotal
17
Senior Project
8
3
Semester 3
Semester 6
CH-400
Semester 2
FDC-144
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
ENGL-103
Critical Studies II
3
Credit subtotal
18
Semester 7
COMD-401
Semester 3
COMD-201
2
Studio Elective
4
COMD-201
2
COMD-211
Design Procedures I
2
Credit subtotal
15
COMD-211
Design Procedures I
2
COMD-215
2
Semester 8
COMD-215
2
COMD-221
Illustration I
2
COMD-402
Senior Project
8
COMD-221
Illustration I
2
COMD-231
2
Math/Science
3
COMD-231
2
3
Studio Elective
4
3
3
Credit subtotal
15
3
Studio Elective
2
134
Studio Elective
2
Credit subtotal
18
Credit subtotal
18
Semester 4
Semester 4
COMD-202
2
COMD-202
2
COMD-212
2
COMD-212
2
COMD-216
2
COMD-216
2
COMD-222
Illustration II
2
COMD-222
Illustration II
2
COMD-232
2
COMD-232
2
3
3
Math/Science
3
Math/Science
3
Studio Elective
2
Studio Elective
2
Credit subtotal
18
Credit subtotal
18
Curricula
189
B.F.A. in Fashion Design
Semester 5
Semester 1
COMD-313
2
COMD-315
Graphic Design I
2
COMD-317
Advertising I
2
CH-300
3
Printmaking Elective
2
4
Credit subtotal
15
FASD-112
or
FASD-110
3
FASD-121
Drape and Construct I
4
FASD-317
Fashion Design II
3
FASD-301
Shape and Form I
4
FASD-233
Tailoring Techniques
2
Studio Elective
2
Math/Science Elective
3
Social Studies/Philosophy
3
Credit subtotal
17
FVID-101
Digital Cinema I
3
HMS-101A
Critical Studies I
3
3
Semester 6
Credit subtotal
18
FASD-302
Shape and Form II
4
FASD-368
Experimental Surface Design
2
FASD-318
Fashion Design III
3
Studio Elective
2
3
3
2
COMD-316
Graphic Design II
2
Semester 2
COMD-323
Package Design I
2
FASD-110
CH-400
3
Fashion Studio: Concepts +
Criteria
2
Film/Video Elective
2
or
FASD-112
6
FASD-114
Fashion Illustration I
3
17
FASD-122
Drape and Construct II
4
Social Studies/Philosophy
Elective
FVID-102
Digital Cinema II
3
Credit subtotal
17
HMS-103A
Critical Studies II
3
FASD-401
Collection I
4
HA-112
3
2
18
FASD-441
or
FASD-500
Portfolio
Credit subtotal
FASD-213
Fashion Illustration II
2
FASD-280
Internship
2
FASD-221
Drape and Construct III
4
Studio Elective
2
FASD-201
Hand Knitwear
3
3
CH-300
3
3
FASD-345
Contextualizing Fashion
3
Credit subtotal
16
Studio Elective
2
Credit subtotal
17
FASD-402
Collection II
4
Special Topics
2
FASD-214
Fashion Illustration III
2
FASD-500
or
FASD-441
FASD-222
Drape and Construct IV
4
FASD-281
Internship
2
FASD-217
Fashion Design I
2
3
FASD-202
Knitwear: Cut and Sew
3
4
FASD-208
20th Century Fashion
2
Credit subtotal
15
CH-400
3
134
Credit subtotal
16
Credit subtotal
Semester 7
Senior Project
8
3
Studio Elective
4
Credit subtotal
15
Senior Project
8
Math/Science
3
Studio Elective
4
Credit subtotal
15
134
Semester 8
COMD-402
Fashion Studio I
Drawing: Figure/Form
COMD-314
COMD-401
2
FASD-113
HA-111
Semester 6
Semester 5
Textiles
Textiles
Semester 3
Semester 4
Semester 7
Special Topics
Semester 8
Portfolio Development
Strategy
Curricula
190
B.I.D. in Industrial Design
Semester 1
Semester 5
FDC-143
FDC-157
Materials and
3-Dimensional Form
3
FDC-163
FDC-180
HA-111
HMS-101A
Semester 8
Design III (Exhibit)
3
IND-301A
or
IND-301B
or
IND-301C
4-D Design I
2
IND-311
3
Complex Form and Space
Methodology
Critical Studies I
3
IND-539
or
IND-541
CAID I
Credit subtotal
18
IND-585
Production Methods
2
3
ICH-300
3
Studio Elective
2
3
2
Credit subtotal
16
Credit subtotal
15
134
Semester 2
4
IND-402A
or
IND-402B
or
IND-402C
Design VI (Product)
2
IND-442
Professional Practice and
Portfolio II
2
2
IND-510
or
IND-516
Applied Space Methodology
2
Design III (Product)
Design III (Transportation)
CAID I: Solid Works
FDC-144
FDC-158
3
FDC-164
3
Semester 6
FDC-181
4-D Design II
2
3
HMS-103A
Critical Studies II
3
IND-302A
or
IND-302B
or
IND-302C
Design IV (Exhibit)
HA-112
Credit subtotal
18
IND-312
Applied Form and Space
Methodology
2
Drawing I
2
IND-586
Production Methods
2
4
CAID II: Alias
2
3
Semester 3
IND-145
4
Design IV (Product)
Design IV (Transportation)
IND-201
Design I
IND-211
Form and Space Methodology I 4
IND-540
or
IND-542
IND-214
Model Making and Drafting
4
CH-400
HD-361
History of Industrial Design
3
3
Math/Science
3
Credit subtotal
16
Credit subtotal
18
IND-401A
or
IND-401B
or
IND-401C
Design V (Product)
4
IND-509
or
IND-515
Advanced Space Methodology 2
IND-441
Semester 4
CAID II: Solid Works
Semester 7
IND-146
Drawing II
2
IND-202
Design II
4
IND-212
Form and Space
Methodology II
4
IND-215
Introduction to Prototypes
2
3
3
Professional Practice and
Portfolio
2
Credit subtotal
18
Math/Science
3
Studio Elective
2
2
Credit subtotal
15
Design V (Furniture)
Design V (Transportation)
Prototypes: Selected Topics
4
Design VI (Furniture)
Design VI (Transportation)
Prototypes: Selected Topics
191
School of Liberal Arts
and Sciences
B.F.A. in Interior Design
B.A. in Critical and Visual Studies
Semester 1
Semester 5
Semester 1
FDC-143
INT-301
Design III
4
CST-100
First Year Seminar
3
FDC-157
Materials and
3-Dimensional Form
3
INT-315
Building Construction I
2
CH-300
3
INT-323
Presentation Techniques
2
History of Philosophy, Ancient 3
FDC-163
3
INT-517
Furniture Design
2
FDC-180
4-D Design I
2
PHIL-208
or
PHIL-209
3
HA-111
3
HMS-101A
3
Critical Studies I
3
Math/Science
HMS-101A
Critical Studies I
3
Studio Elective
2
MSCI-210
Science and Society
3
Credit subtotal
18
Credit subtotal
18
CST-190
Beyond Google I: Basic
Information Literacy
1
Credit subtotal
16
HMS-103A
Critical Studies II
3
CH-400
3
Semester 6
Semester 2
Modern Philosophy
FDC-144
INT-302
Design IV
4
FDC-158
3
INT-316
Building Construction II
2
Environmental Theory I
2
CADD II: 3-D Max
2
3
All-Institute Electives
9
Studio Elective
2
Credit subtotal
15
3
Semester 3
Credit subtotal
18
SS-225
Symposium
3
FDC-164
3
INT-332
FDC-181
4-D Design II
2
INT-561
HA-112
3
HMS-103A
Semester 2
Critical Studies II
3
Credit subtotal
18
Semester 7
12
INT-201
Design I
4
INT-401
Design V
4
Credit subtotal
15
INT-215
Construction Systems
2
INT-403
Directed Research
2
Semester 4
INT-216
Color and Materials
2
INT-415
Working Drawings I
2
SS-299
Moderation
2
INT-223
Architectural Drawing I
2
INT-424
2
Theory and Practice Electives 3
CH-300
3
6
9
3
Credit subtotal
16
Credit subtotal
14
Credit subtotal
16
INT-402
Design VI: Thesis
4
Design II
4
INT-416
Working Drawings II
2
Beyond Google II: Thesis and
Information Research
1
INT-202
INT-221
Lighting Design I
2
INT-431
2
15
INT-224
Architectural Drawing II
2
Studio Elective
2
Credit subtotal
16
15
Credit subtotal
15
Senior Seminar
3
12
Credit subtotal
15
Senior Thesis/Project
3
12
Credit subtotal
15
121
Semester 3
Semester 4
Semester 5
Semester 8
INT-560
CAD I: Autocad
2
4
CH-400
3
Credit subtotal
14
134
3
Credit subtotal
16
CST-390
Semester 6
Semester 7
CST-440
Semester 8
CST-480
Curricula
192
B.A. in History of Art and Design
B.F.A. in History of Art and Design
Semester 1
Semester 6
HA-111
FDC-143
HMS-101A
3
Semester 1
3
FDC-143
Foreign Language
3
FDC-157
3
English/Humanities
3
Materials and
3-Dimensional Form
3
Critical Studies I
4
FDC-163
3
4
2
FDC-180
4-D Design I
2
2
HA-111
3
Credit subtotal
16
HMS-101A
Critical Studies I
3
HA-112
3
Credit subtotal
18
FDC-144
HMS-103A
Critical Studies II
3
2
Credit subtotal
Semester 7
Semester 2
HMS Elective
3
Credit subtotal
15
Semester 3
CH-300
15
3
English/Humanities
3
5
4
Credit subtotal
15
Senior Project
3
Semester 8
HA-405
or
HA-406
Senior Seminar
3
3
Math/Science
3
English/Humanities
6
Foreign Language
Semester 2
FDC-144
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
Critical Studies II
3
Credit subtotal
18
3
9
Studio Elective
6
Credit subtotal
18
3
3
3
Semester 3
6
Credit subtotal
15
CH-300
2
Credit subtotal
17
129
Semester 4
CH-400
3
Math/Science
3
Foreign Language
3
7
2
Credit subtotal
18
HA-402
Theory and Methodology
3
MSCI-430P
Chemistry for Art Historians
3
3
Foreign Language
3
4
2
Credit subtotal
18
Semester 5
Semester 4
CH-400
9
Studio Elective
6
Credit subtotal
18
Curricula
193
B.F.A. in Writing
Semester 5
HA-402
Semester 1
3
WR-101
Writer’s Studio I
4
WR-300
Writer’s Forum
1
3
WR-110
Critical Thinking and Writing I
3
WR-301
Writer’s Studio V
4
3
WR-120
Word, Usage, Style I
3
WR-320
Special Topics
3
Studio Elective
6
WR-300
Writer’s Forum
1
WR-330
The Professional Workplace
2
Credit subtotal
15
HMS-203A
World Literature Survey I
3
HMS Elective
3
3
Math/Science
3
3
MSCI–270
or
MSCI-221P
Ecology
Chemistry for Art Historians
Credit subtotal
16
5
3
WR-302
Writer’s Studio VI
4
Studio Elective
4
WR-320
Special Topics
3
2
WR-390
Internship/Seminar
3
Credit subtotal
17
HMS Elective
3
3
Math/Science
3
Credit subtotal
16
5
Studio Elective
4
Senior Project
4
2
6
Credit subtotal
14
Studio Elective
2
3
Senior Thesis
3
Credit subtotal
15
Senior Project
4
Elective
3
Elective
3
Studio Elective
2
Credit subtotal
12
127
Semester 6
MSCI-430P
Semester 7
Semester 8
HA-405
or
HA-406
Semester 5
Theory and Methodology
Senior Seminar
Conceptual Physics
Credit subtotal
17
Semester 2
WR-102
Writer’s Studio II
4
WR-111
Critical Thinking and Writing II 3
WR-121
Word, Usage, Style II
3
WR-300
Writer’s Forum
1
HMS-203B
World Literature Survey II
3
HMS Elective
3
Credit subtotal
17
WR-201
Writer’s Studio III
4
WR-300
Writer’s Forum
1
CH-300
HMS-304B
Perspectives on U.S. Literature 3
3
4
Studio Elective
4
2
WR-420
3
3
4
Semester 7
Semester 3
Studio Elective
Semester 6
Credit subtotal
18
Semester 4
Credit subtotal
16
WR-202
Writer’s Studio IV
4
134
WR-300
Writer’s Forum
1
WR-320
Special Topics
3
CH-400
3
HMS Elective
3
Studio Elective
2
Credit subtotal
16
Semester 8
WR-421
194
B.P.S. in Professional Services
Management
Year 1
Term 3
Term 1
PSML-305
Term 6
Fundamentals of Business Law 3
Elective
3
PSMM-205
Fundamentals of Management 3
Elective
3
Elective
3
PSMC-205
Fundamentals of Marketing
3
Credit subtotal
6
Credit subtotal
6
Credit subtotal
6
Ethics & Management
3
3
Credit subtotal
6
Year 4
Term 4
Term 2
Elective in the Major
3
Term 1
PSMF-205
Elective
3
PSMM-405
Credit subtotal
6
Introduction to Finance and
Accounting
3
3
Credit subtotal
6
Term 5
3
Term 3
Elective
3
3
HMS-101A
Credit subtotal
6
Elective
3
Credit subtotal
6
120
Critical Studies I
3
Elective
3
Term 6
Credit subtotal
Term 4
3
Art and Design History Elective 3
Credit subtotal
6
Critical Studies II
3
3
Credit subtotal
6
PSMM-305
PSMM-407
Art and Design Elective
3
Elective
3
PSMM-409
Credit subtotal
6
Year 2
Advertising I
3
CH-300
3
Credit subtotal
6
Term 2
3
Credit subtotal
6
Organizational Theory
3
3
Credit subtotal
6
Introduction to International
Business
3
3
Credit subtotal
6
Innovation, Change, and
Management
3
Elective
3
Credit subtotal
6
3
Elective
3
Credit subtotal
6
Term 2
Term 3
PSMC-305
Elective
Term 1
Term 6
Term 1
3
Year 3
Term 5
HMS-103
Elective
Term 4
Term 5
PSMH-305
Introduction to Human
Resources
3
3
CH-400
3
Elective
3
Credit subtotal
6
Credit subtotal
6
Term 2
195
Undergraduate Minors
Morphology Minor
Architectural Theory and Technology
As part of the Center for Experimental Structures,
the Morphology Minor leverages the long history of
our interest in form studies with a focus on exploring
the relations between Form and Space (geometry,
topology), Form and Force (structural morphology),
Form and Time (dynamic morphology) enabled by
computation, fabrication, construction and emerging
technologies. Within this overview, different course
offerings focus on any combination of these topics.
Students can stay within one or move among these
areas of study.
The Undergraduate Architecture Department
offers a 15-credit non-studio based minor to
qualified Construction Management students
(Minimum GPA of 3.0) pursuing a Bachelor of
Professional Studies degree. Students may
apply to the Minor in Architectural Theory and
Technology through their advisor at any point
during their academic career, beginning in the first
semester of their second year.
Students may choose from the following courses:
Take the following required course:
ARCH-252
History and Theory of Architecture IV
ARCH-262
Architectural Assembly Systems
ARCH-361
Building Environments
Take 3 credits from the required courses:
ARCH-362
Building Services
ARCH-363 Professional Practice
ARCH-211
Representation III
ARCH-364 Construction Documents I
ARCH-252
History & Theory IV
ARCH-461 Planning I
ARCH-551A
Aalto
ARCH-233
Technics: Non-Architecture Majors
The Art Museum: Theory
and Practice
CST-310
Culture in Motion
SS-369
Perception and Creativity
SS-355
Mass Media and Society
Topic: History of Art and Design
Students can choose from either:
ARCH-571C(R)
Form and Force: Analog
HA-551.07/08 Sculpture and the Public
Imagination (Issues in Art History)
HA-560
Form and Force: Digital
ARCH-571E(R)
Form and Time: Analog
ARCH-563A
Energy-Conscious Design
ARCH-573A Architectural Analysis
ARCH-571F(R)
Form and Time: Digital
ARCH-581A
Special Topics
ARCH-581B
Impact of Technology
ARCH-591A
Elements of Landscape Design
School of Art
ARCH-593B Architecture of the City
Art Design and Social Practice
ARCH-595A
Vintage New York
Take 9 credits from the following courses:
CM-321, CM-322, CM-331, CM-343, CM-344,
CM-352, CM-440, CM-446, CM-461, CM-462,
CM-463, CM-471, MGMT-205, MGMT-307
SS-490
Arts of the Other in a
Changing World II
ARCH-571D(R)
Art, Culture and Community
Development
Form and Space: Digital
Collaboration: Artists &
Architecture
CM-402
SS-512
ARCH-571B(R)
ARCH-559C
Construction Managment I
Topics: Social Science and Critical and
Visual Studies
Students can choose from
Concepts of Design
Islamic Architecture
CM-401
Student Teaching: In the Galleries
HA-350
Kahn and Venturi
Intro to Construction Management
Student Teaching: After School
ADE-524
HD-506
ARCH-555A
CM-201
ADE-523
Form and Space: Analog
ARCH-551C
Complete the following required courses:
Student Teaching: Saturday
Art School
ARCH-571A(R)
Frank Lloyd Wright
The Construction Management department
offers an 18-credit minor. Students may apply
to the Minor in Construction Management
program through their advisor at any point in their
academic career beginning in the first semester
of their second year. The completion of the minor
will be noted on the student’s transcript but will
not be shown on his or her diploma.
ADE-521/522
ARCH-551B
Topic: Teaching Practicum
The Department of Art and Design Education
offers a dynamic and cross-disciplinary 15-credit
minor for students from across the Institute.
Through coursework, fieldwork research, and
practicum experiences, students learn to
conceive and develop educational experiences
in a variety of community settings and explore
participatory practices in the public sphere. The
minor further opens up opportunities beyond the
gates for students and expands their capacity to
engage in the creative industries.
Museology
Photography
The Photography Minor enables students
from all majors to gain a conceptual, critical
and technical grounding in contemporary
photographic practice. The minor consists of
one required core course, Digital Photography,
followed by six additional Photography credits
from a select menu of options in the Photography
Department, and six credits from a select menu
of options in Liberal Arts and/or History of Art
and Design. A substantial menu of courses and
the flexible structure of the minor allow students
to determine a specific area of focus within the
medium. Please see Photography Department
website for more information.
PHOT-210
Digital Photography
Topic: Art and Design Education
ADE-419
Foundations in Art
PHOT-210
Digital Photography
ADE-420
The Art of Teaching Art & Design
PHOT-220
Large Format Photography I
PHOT-310
Intermediate Digital Photography
PHOT-322
Lighting I
PHOT-410
Advanced Digital Photography
PHOT-413
Narrative Forms: Photo Book
PHOT-415
Non-Silver Processes
PHOT-416
Platinum/Palladium Process
Topic: Fieldwork
ADE-215A
Fieldwork in Art
ADE-215B
Fieldwork with Special Populations
196
School of Design
HA-341
Film: Early Film to WWII
HA-342
Film: WWII to the Present
Interior Design
Digital Monochrome
HA-517
Documentary Film
PHOT-460
Photo: Curatorial Practices
PHOT-465
Editorial Photography
HMS-340B
Myth into Film
PHOT-470
Socially Engaged Media
HMS-340D
Cinema/New Media
PHOT-490
HMS-432A
Feminist Film/Theory
PHOT-491
HMS-440A
Documentary Film
PHOT-492
HMS-440B
Cinema & the City
HMS-440E
Poetics of Cinema
HMS-440F
Women in International Cinema
HMS-440I
Film Sound
HMS-440S
Special Topics in Cinema
and Media
INT-216
Color and Materials
NT-221
Lighting Design I
PHOT-422
Lighting II
PHOT-440
Contemporary Issues in Photo
PHOT-443
Photography: Theory & Practice
PHOT-455
CH-250
Between Image and Word
HA-360
Survey of Photography: 1839
to Present
HMS-340E
Documentary Image
HMS-431A
Modernism & Postmodernism
HMS-404E
Photography & Am Lit
HMS-493A
Writing As Photograph
Film/Video
Students who minor in Film/Video will
graduate with the fundamental skills to express
themselves creatively with motion image digital
technology. The Film/Video Department offers
a 15-credit minor to undergraduates from all
departments, consisting of nine studio-based
credits in the F/V department and six history/
theory credits. Students may apply for the minor
through their advisor at any point during their
academic career, beginning first semester of the
second year. In order to maintain minor status,
students must consult with the F/V Department
Minor coordinator once each semester prior
to registration.
Ceramics
A Ceramics Minor offers students the opportunity
to work in depth with clay through its many forms
and techniques. Students gain valuable technical
skills as well as strengthen their conceptual
knowledge within the field of Ceramics. Students
with a serious interest in Ceramics in any major
have the opportunity to add this Minor to enrich
their degree by gaining a deeper understanding of
this versatile medium.
Take the following required courses:
SCJ-207
Ceramics I
SCJ-208
Ceramics II
SCJ-307
Ceramics III
TECH-421
or
IND-515
Beginning Slipcasting
TECH-422
Advanced Slipcasting
TECH-515
Clay & Glazes
Prototypes I
FVID-201
Non Fiction Video I
FVID-202
Fiction Video I
Take 3 credits from the following Social
Science courses:
FVID-301
Non-Fiction II: Hybrid Forms
SS-350
FVID-302
Fiction Video II
Technology and the Future
of Work
SS-369
PHIL-307
Philosophy and Contemporary
Cultural Theory
FVID-251
FX, Tricks + Pix
FVID-310
Screenwriting
SS-321
Heritage Practice
FVID-311
Writing through Pix & Sound
SS-330
Cultural Studies
FVID-320
Sound Design & Editing
SS-444
Concepts of Materiality
FVID-321
Expanded Editing: Tools &
Techniques
FVID-370
Multimedia Installation
FVID-371
Film + Fashion
Take 3 credits from the following History of Art
courses:
HA-216
Survey of Art: 20th-Century Art
HD-361
History of Industrial Design
The Department of Interior Design offers a
16-credit minor to undergraduate Architecture,
Construction Management, and Industrial Design
students, or interested students with a related
background. Students may apply to the minor
after meeting with the Chair of Interior Design,
as early as the first semester of their sophomore
year. Determination of studio level to take—INT301, 302, 401—will be based upon a review of a
student’s transcript and portfolio.
Choose minimum of one of the following design
studio courses in consultation with the interior
design department chair:
INT-201
Design I
INT-202
Design II
INT-301
Design III
INT-302
Design IV
INT-401
Design V
INT-223
Architectural Drawing I
INT-224
Architectural Drawing II
INT-332
Environmental Theory
INT-456
Special Projects
INT-501
NEOCON Intensive (Chicago)
INT-517
Furniture Design
INT-525
Sustainable Design
INT-532
Textiles for Interiors
INT-560
CADD I: Autocad
INT-561
CADD II: 3-D Max
INT-562
CADD III: REVIT
INT-571
Retail Design
INT-572
Residential Design
197
Cultural Studies
Literature and Writing
Cinema Studies
Cultural Studies provides students with an
understanding of human experience through the
critical analysis of contemporary and historical
material expressions—objects, communities and
identities, media, institutions, technologies, and
environments—of the social world. It provides
you with a critical perspective on a world in flux
and on the future that you will be called upon to
create. The Minor in Cultural Studies strengthens
your grasp of the dynamics of social life and
develops your ability in critical analysis and its
application in the arts, architecture, design, and
the liberal arts. You develop insight into how fields
of scholarship and modes of creative expression
emerge, influence each other, and change.
The Minor in Literature and Writing enables
students of all majors to build a knowledge and
skill base in both the study of literature and the
practice of writing, choosing five courses from
a broad range that includes literature, writing,
and theory/criticism courses. Writing majors may
substitute additional literature/criticism/theory
courses for the writing component. The minor may
be declared at any time; courses already taken can
be counted.
The Cinema Studies Minor is for students
who want to gain an understanding of film
from a humanities perspective. Emphasizing
interpretation, theory, history, and cultures of
film across the world, it’s a perfect complement
for Film/Video majors or other majors who want
to build a knowledge base about film. The minor
involves a required course (Intensive Film Theory)
and four electives. It may be declared at any time.
HMS-440K
Intensive Film Theory
Take 12 credits from the following elective
courses:
HMS-240A, HMS-320S, HMS-340A, HMS-340B, HMS-340D, HMS-340E, HMS-340S, HMS-341A, HMS-341B, HMS-341S, HMS-342S, HMS-432A,
HMS-440A, HMS-440B, HMS-440E, HMS-440F, HMS-440H, HMS-440I, HMS-440S, HA-341, HA- 342, HA-343, HA-425, HA-517, SS-490, AIC-101
Creative Writing
The Creative Writing Minor is designed for Pratt
students who seek to deepen their commitment
to the composition of fiction, poetry, creative
nonfiction, and other forms. The core of the
minor consists of admission into Writing Studios, a
Special Topics class (WR-320), the Writer’s Forum,
and one more elective. The minimum number of
credits required for the minor is 15. All students
wishing to enroll in the minor must submit a
writing sample to the program director.
Take two of the following studio courses:
WR-201
Writer’s Studio III
WR-202
Writer’s Studio IV
WR-301
Writer’s Studio V
WR-302
Writer’s Studio VI
Take the following courses:
WR-320
Special Topics in Writing
WR-300
Writer’s Forum
Take 6 credits from the courses listed below:
HMS-203A, HMS-203B, HMS-203C, HMS-204A,
HMS-205A, HMS-205B, HMS-208A HMS-208B,
HMS-225A, HMS-225B, HMS-231A, HMS-231B,
HMS-230A
SS-330
Cultural Studies
SS-430
Methods of Cultural Studies
SS-510
Controversies in Cultural Theory
Take 9 credits from the following electives:
PHIL-207, PHIL-307, SS-200, SS-202, SS-209,
SS-210, SS-250P, SS-251P, SS-318, SS-320P,
SS-340,SS-343, SS-350, SS-355, SS-369, SS-460,
SS-463, SS-472, SS-480, SS-485, SS-537, SS-560
HMS-300A, HMS-300B, HMS-300C, HMS-300D,
HMS-300S, HMS-301A, HMS-301B, HMS-301S,
HMS-303S, HMS-304A, HMS-304B, HMS-304S,
HMS-308A, HMS-308B, HMS-308S, HMS-310S,
HMS-400A, HMS-400S, HMS-401S, HMS-403S,
HMS-404A, HMS-404B, HMS-404C, HMS-404D,
HMS-404E, HMS-404F, HMS-405A, HMS-405S,
HMS-410A, HMS-410S, HMS-432S, HMS-320A,
HMS-320B, HMS-320C, HMS-320S, HMS-325A,
HMS-325B, HMS-325S, HMS-420A, HMS-420B,
HMS-420S, COM-301, HMS-430A, HMS-430S
History of Art
Minoring in History of Art is a great way to
strengthen your degree no matter which field of
study you choose. The minor consists of 18 credits
in History of Art & Design, including the 12 credits
required of all undergraduates in the School of
Art & Design (10 credits of art history survey and
one elective course). In addition to the 10 credits
of art history survey, you need to complete a total
of 8 credits of electives, including at least one
500-level course. To declare the minor, simply
stop by the History of Art & Design office (no
appointments necessary) or email us at ha@pratt.
edu with your questions.
Media Studies
Complete 18 credits of art history courses.
HMS-440C
The Media Studies Minor offers space for
reflection on how media shape our dreams,
desires, and fears. It includes study of media
theories and histories, contemporary worldchanging technologies, and approaches to the
future. The minor involves one required course,
Contemporary Media Theory, four electives, and
a qualifying paper/project. You may declare the
minor at any point; courses already taken can be
counted.
Contemporary Media Theory
HMS-290A, HMS-331C, HMS-340A, HMS-340B,
HMS-340D, HMS-340E, HMS-340S, HMS-341A,
HMS-341B, HMS-341S, HMS-342S, HMS-390S,
HMS-404E, HMS-430B, HMS-430C, HMS-432A,
HMS-440A, HMS-440B, HMS-440E, HMS-440F,
HMS-440H, HMS-440I, HMS-440S, HMS-490A,
HMS-491A, HA-341, HA-343, HA-425, HA-517,
HA-551, SS-355, SS-370P, SS-490
198
Performance and Performance Studies
Psychology
Sustainability
The Performance and Performance Studies Minor
is designed for students who want to incorporate
performance perspectives into their primary
art/design/architecture/writing practice and to
learn new ways of understanding how all kinds of
performance—from theater, media, and music to
everyday life performances—affect how we see and
engage the world. The minor involves two required
courses and three electives; it may be declared at
any time.
Psychology is a study of human mental processes,
emotions, behaviors, and activities. The goal of the
Psychology Minor at Pratt is to provide students with
a deep grounding in diverse theoretical perspectives
and a working understanding of empirical research
methodologies in order to scaffold creative, critical,
and psychologically mindful processes of artistic
production, design, urban planning, and architecture.
This minor can be combined with any undergraduate
major and requires the completion of 15 credits.
A Minor in Sustainability Studies at Pratt deepens
the understanding of the interdisciplinary approach
to sustainable environmental, economic, and social
practices, providing students with a broad understanding of the complex interrelationships between
humans and ecosystems, and the best practices
for protecting environmental quality and fostering
social equity. The minor can be combined with any
undergraduate major and requires the completion of
15 credits approved in Sustainability Studies.
Take the following required courses:
HMS-360C
Introduction to Performance
Practice
SS-210
SUST-201
The Sustainable Core
Ecology
Introduction to Performance
Studies
MSCI-270
HMS-360D
HMS-261A, HMS-262A, HMS-301B, HMS-308A,
HMS-320C, HMS-320S, HMS-331C, HMS-360A,
HMS-360B, HMS-360S, HMS-460S, HMS-430S,
HMS-490S,
General Psychology
SS-357
Psychology of Gender/Sex Roles
SS-359
Cognitive Psychology
SUST-401
Power, Pollution, and Profit
SS-391
Child and Adolescent Development
SUST-405
SS-444
Abnormal Psychology
Production, Consumption,
and Waste
SS-456
Social Psychology
Philosophy
SS-430
A Minor in Philosophy at Pratt introduces the
formative ideas of Western thought, from beauty
and justice to bioethics and possible worlds.
With a grounding in the historical foundations
(Plato, Aristotle, Descartes), students shape their
own program, selecting courses in aesthetics,
ethics, politics, metaphysics, logic, epistemology, depending on their individual interests. The
minor can be combined with any undergraduate
major and requires the completion of 15 credits in
philosophy.
Methods of Cultural Analysis
Take 3 credits from the following courses: SS-369
INT-332
PHIL-355
Theories of Knowledge
HMS-330A
Freud & Lacan
Take 3 credits from the following courses: SS-357
Psychology of Gender/Sex Roles
SS-359
Cognitive Psychology
SS-391
History of Philosophy: Ancient
to Medieval
Child and Adolescent
Development
SS-444
Abnormal Psychology
History of Modern Philosophy
SS-456
Social Psychology
SS-369
Choose 3 credits from one of the following
contemporary philosophy courses:
INT-332
PHIL-200
Problems in Philosophy
PHIL-355
Theories of Knowledge
PHIL-210
Ethics and Social Issues
HMS-330A
Freud & Lacan
PHIL-265
Aesthetics
PHIL-301
Logic
Choose 3 credits from the following history of
philosophy courses:
PHIL-208
PHIL-209
PHIL-307, PHIL-311, PHIL-312, PHIL-320,
PHIL-350, PHIL-355, PHIL-356, PHIL-400,
PHIL-450, SS-460, CH-442
PHIL-356
Environmental Ethics
INT-332
IND-487
Sustainability and Production
MSCI-436
Toxics in the Environment
MSCI-438
Chemistry of Modern Polymeric
Materials
CM-446
Sustainable Construction
Management
More information about each minor can be found
at www.pratt.edu/academics/degrees/
undergraduate.
199
Architecture Faculty
Karen Bausman
Christopher Brokaw
Visiting Associate Professor
B.Arch., The Cooper Union.
Visiting Assistant Professor
M.F.A., University of Maryland; B. Environmental
Design, Miami University.
Emily Abruzzo
William Bedford
M.Arch., Princeton University; B.A., Columbia
University.
Nicholas Agneta
Adjunct Associate Professor
B.Arch., The Cooper Union; Nicholas Agneta
achieved Licensure with the New York State in
1986. Since then he has worked as architect and
construction manager in the NYC metropolitan
area. In 1991, he added teaching to his weekly
agenda and has taught at New York University
and New York Institute of Technology. Currently
he is teaching Professional Practice and is IDP
Coordinator at Pratt.
Gilland Akos
M.S., Columbia University; M.Arch., B.A., University
of Kansas.
Evan Akselrad
Adjunct Assistant Professor
B.S., B.S.C.E., City College of New York.
Howard Albert
M.S., Real Estate Development, Columbia
University; M.Arch., University of Pennsylvania;
B.A., Art History, Binghamton University.
Ajmal Aqtash
M.S., Columbia University; B.Arch., Pratt Institute.
Ezra Ardolino
M.Arch., Pratt Institute; B.S., Portland State
University.
Tulay Atak
Ph.D., EHESS, UCLA; B.Arch., Middle East
Technical University.
Guillermo Banchini
M.Arch., SCI-ARC; Dipl. Universidad Nacional de
Rosario, Argentina.
Annie Barrett
M.Arch., Harvard; B.Arch., Yale.
John Barry
M.S., University of Illinois; B.S., Georgia Institute of
Technology.
Philippe Baumann
M.Arch, Rice University; Honors Degree Art
History, Brown University; Rhode Island School
of Design.
M. Planning and Urban Design, Harvard University;
M.Arch., Pratt Institute; B.Arch. Texas A&M
University.
James Brucz
Jacob Bek
Anthony Buccellato
M.S., Architectural Association School of
Architecture, England; B.Arch., Pratt Institute.
M.Arch., Pratt Institute; B.S.B.A., Management
Information Systems, Northeastern University.
Frederick Biehle
Dan Bucsescu
Adjunct Professor
B.S., University of Virginia; M.Arch., Harvard
Design School; represents the third generation
of a northern Ohio family dedicated to the fine
and decorative arts. In 1986 he was awarded the
Prix de Rome Fellowship in Architecture, allowing
him to live and study in Italy for two years. He has
traveled extensively in the Mediterranean region
researching and documenting the architecture
of antiquity. His drawings and architectural works
have been exhibited and published widely. He
founded his own firm in partnership with Erika
Hinrichs in 1997. He is registered in the state of
New York.
Adjunct Professor
M.S., University of Surrey; B.Arch., City College of
New York.
Francis Bitonti
M.Arch., Pratt Institute; B.F.A., Long Island
University.
Ezio Blasetti
M.S., Columbia University; Dipl. National Technical
University of Athens.
Lawrence Blough
M.Arch., B.S., State University of New York
at Buffalo.
George Cambourakis
Ph.D. candidate., City College of New York;
Columbia University; M. Engineering, Structural
Engineering., City College of New York; B.
Engineering, Civil Engineering., City College of
New York.
Reese Campbell
B.S., Arizona State University.
Anthony Caradonna
Professor
M.Arch., Harvard University; B.Arch., Pratt
Institute.
Jeremie E. Carvalho
M.S., Columbia University; B.Arch., University
of Kansas.
Associate Professor
M.S., Columbia University; B.Arch., Tulane
University.
Bianca Celestin
Robert Brackett III
Michael Chen
M.Arch., Columbia University; B.S., University of
Illinois.
Lex Braes
M.F.A., University of California; Brooklyn Museum
Art School; Duncan of Jordanstone College of Art.
Bronwyn Breitner
M.Arch., Parsons The New School of Design,
B.A., Duke University.
Jeff Brock
M.Arch., Columbia University. B. Arch., Princeton
University.
B.Eng., Concordia University
M.Arch., Columbia University; B.A., University of
California at Berkeley.
Jesse Chrismer
M.S.S.E., Columbia University.
Karl Chu
Professor
M.S.A.A.D., Columbia University; B.Arch.,
Pennsylvania State University.
Jonas Coersmeier
M.S.A.A.D., Columbia University; M.Arch.,
Massachusetts Institute of Technology.
200
Abigail Coover-Hume
Adam Elstein
Lou Goodman
M.Arch., Yale University; B.Arch., University of
Virginia.
M.Arch., Pratt Institute; M.B.A., M.Phil., Oxford
University; M.S., London School of Economics;
B.A. History, Yale University (cum laude).
Adjunct Professor
B.Arch., Philadelphia Textile Institute; B.A.,
University of Pennsylvania
Donald Cromley
Adjunct Professor
M.Arch., University of Pennsylvania; B.Arch.,
Massachusetts Institute of Technology.
Patrick Curry
M.Arch., University of Illinois; B.E.D., Texas A&M
University.
Dieter Feurich
Academic Degree in Structural Engineering,
Unversity of Hanover; M.B.A., Baruch College, City
University of New York.
Giuliano Fiorenzoli
George Cutsogeorge
Professor
M.A.A.D., Massachusetts Institute of Technology;
M.Arch., University of Florence.
Adjunct Professor
Lapshan Fong
Theoharis David
Professor
M.Arch., Yale University; B.Arch., Pratt Institute;
former Graduate Architecture Chair, teaching
graduate and undergraduate design. He is a
Fellow of the American Institute of Architects, and
maintains a practice in New York City and Nicosia,
Cyprus. His architecture has received awards at
local, state, national and international levels and
his work as architect/educator has been exhibited
and published internationally.
Adam Dayem
M.Arch., Columbia University; B.Arch., University
of California at Berkeley.
Ronald DiDonno
B.Arch., Pratt Institute.
Livio Dimitriu
Adjunct Professor
Patrick Donbeck
Kathleen Dunne
Professor
B.S., B.Arch., Rensselaer Polytechnic Institute;
M.S., Environmental Design, Yale University;
professional engineer and a registered architect.
She has been teaching in the technology
sequence at Pratt for almost 20 years, and has
30 years of work experience as a structural
engineering consultant to architects. She
currently teaches in both the undergraduate
Architecture and Construction Management
programs.
Cathryn Dwyre
M.L.A., University of Pennsylvania; B.A., Colgate
University.
M.Arch., University of Washington at Seattle;
B.Arch., University of Washington; study abroad,
University of Liverpool; Design/Build Mexico,
Cuernavaca, Mexico; study abroad, architecture in
Rome at Palazzo Pio, Rome.
Carlyle Fraser
M.S. Arch., Columbia University; B.Arch.,
Pratt Institute.
Nina Freedman
Dipl., Architectural Association School of
Architecture; B.S., City College of New York.
Emma Fuller
Antonio Furgiuele
M.Sc., History, Theory & Criticism of Architecture
and Art, Massachusetts Institute of Technology;
B.Arch., Syracuse University.
Deborah Gans
Professor
M.Arch., Princeton University; B.A., Harvard
University (summa cum laude).
Frank Gesualdi
M.S., Advanced Arch., Columbia University GSAPP;
B.Arch., Syracuse University.
Simone Giostra
M.Arch., Polytechnic School of Architecture at
Milan (summa cum laude); Erasmus Program,
University of Porto.
Erica Goetz
M.Arch., Princeton University; B.A., Wellesley
College.
Michele Gorman
Visiting Assistant professor
M.Arch., Rhode Island School of Design; B.S., Int.
Arch., University of North Carolina at Greensboro.
Helen Gyger
Ph.D., Columbia University; M.A., The New School;
B.A., Sydney College of the Arts; TESOL, University
of New South Wales.
Thomas Hanrahan
Dean of the School of Architecture
M.Arch., Harvard Design School; B.S., University of
Illnois at Urbana-Champaign; practicing architect
and founding partner of Hanrahan Meyers
Architects (hMa), widely recognized in design by
numerous national and international publications,
the Museum of Modern Art, the AIA, and the
National Academy of Design. He is the author
of a monograph on his work “Four States of
Architecture,” and his projects include the Pratt
Design Center and “Light-Arc,” a Platinum LEED
rated community center adjacent to Ground Zero
in lower Manhattan.
Shannon Hayes
Erika Hinrichs
Chair, Adjunct Associate Professor
B.A., Parsons The New School for Design; B.Arch.,
The Cooper Union; has practiced architecture in
New York City since 1990, working for seven years
with Tod Williams and Billie Tsien, Architects;
was responsible for several highly acclaimed
projects including the auditorium building for the
Neurosciences Institute in La Jolla, Calif., which
received a national AIA citation; maintains an avid
interest in materials—new, natural, and recycled—
and the manner in which they relate both to each
other and to the body through detail; founded
her own firm in partnership with Frederick Biehle
in 1997.
Nathan Hume
M.Arch., Yale University; B.S., Ohio State
University.
Junhui Jia
Ph.D., West Virginia Univ; Post Doctoral Fellow,
Pennsylvania State University; M.S., West Virginia
Univ; Equivalent M.S., Zhejiang Univ; B.S.,
Shenyang Jianzhu Univ; Dr. Jia has over 10 years
of experience in the research, analysis, design,
investigation, and construction of complex
structures of all types. He has experience
in forensic analysis, new or remedial design,
vulnerability assessment and blast design, complex
retrofits, seismic and vibration analysis, curtain
wall calculation, and FRP composite application.
201
Latoya Johnson
Philip Lee
John McNanie
Administrative Clerk
David Jones
M.Arch., Rice University; E.C.-U.S., Princeton
University; B.S., The University of Michigan.
Institute of Design at Illinois Institute of
Technology.
B.S.A.E., Pennsylvania State University.
Frederic Levrat
Juliet Medel
Diploma of Architecture at the School of
Architecture at École Polytech Federale de
Lausanne.
Rebecca Jones
M.Eng., Princeton University; B.S.C.E., Iowa State
University.
Zachary Phillip Joslow
Visiting Instructor
Adam Kacperski
William Katavolos
Co-director of Center for Experimental
Structures at Pratt Institute; recipient of
Rowena Reed Award.
Brendan Kelly
M.Arch., Columbia University; B. Environmental
Design in Urban Design, Miami University.
Duks Koschitz
Associate Professor
Ph.D. Candidate, Massachusetts Institute
of Technology; Dipl. Ing., Technische
Universitaet Wien.
Nicholas Koutsomitis
B.Arch., Pratt Institute; architect and educator
with over 20 years of experience. He is an
active member of the the American Institute
of Architects, where he has served on the
Board of Directors of the NYC Chapter, and of
the American Association of Museums, and is
certified by the National Council of Architectural
Registration Boards.
Christoph A. Kumpusch
Thesis at The Cooper Union; B.Arch., University of
Applied Arts in Vienna, Austria.
Zehra Kuz
Adjunct Professor
M.S. Arch. and Building Design, Columbia
University.
Haresh Lalvani
Professor
Ph.D. Arch., University of Pennsylvania; M.S.Arch.,
Pratt Institute; B.Arch., Indian Institute of
Technology, Kharagpur (India).
Jason Lee
Assistant Chair, Adjunct Assistant Professor
M.Arch., Columbia University; B. Arch., University
of California at Berkeley.
Diane Lewis
Visiting Professor
B.Arch., The Cooper Union Irwin S. Chanin School
of Architecture, 1976; Rome Prize in Architecture,
The American Academy in Rome, 1976–77.
Enrique Limon
Graduate Diploma, The Architectural Association,
London; M.S.A.A.D., Columbia University; B.Arch.,
University of Southern California; recipient of
the William Kinnie Traveling Fellowship to Paris to
study and research the theories of urban theorist
Paul Virilio; awarded a Smithsonian Fellowship with
residency at the Cooper Hewitt National Design
Museum to research complex transparency in
the work of Laszlo Moholy-Nagy. LimonLab was
established as an urban laboratory dedicated
to the experimentation and development of
architecture and design in 2006. The Lab’s
projects have been published in Metropolis
Magazine and The New York Times.
John Lobell
Professor
M.Arch., B.A., University of Pennsylvania; Author
of numerous articles and several books, including
Between Silence and Light: Spirit in the Architecture
of Louis I. Kahn. Interests include technology
and culture, consciousness, art, Buddhism,
and mythology. Projects include: Timeship, for
the storage of cryogenically preserved people;
FutureFeeder.com; CinemaDiscourse.com,
analysis of movies from a mythological point of
view; consulting for Milgo/Bufkin, a high-tech
architectural metal company; Louis Kahn: Building
as Philosophy, book in progress.
Scott Lomax
M.Eng., University of Glasgow.
Christian Lynch
M.Arch., Columbia University; B.A. Architecture,
University of California at Berkeley.
Andrew Lyon
M.Arch., Yale University; A.B., Architectural
Studies, Brown University.
David Mans
William Menking
Professor
Ph.D., History of Art, City University of New York;
M.S., Pratt Institute; M.Sc., University of London,
England; B.A., University of California.
Gregory Merryweather
M.Arch., Columbia University; B.S. Arch., The Ohio
State University.
Sebastian Misiurek
Visiting Instructor
Nicholas Mundell
Assistant Professor
Product Architecture Lab, Stevens Institute of
Technology; B.Arch., University of Auckland,
New Zealand.
Signe Nielsen
Adjunct Professor
B.A., Smith College; B.L. Arch., City College of
New York; B.S., Pratt Institute; is a Fellow of the
American Society of Landscape Architecture and
has been principal of her firm, Mathews Nielsen
Landscape Architects, PC, since 1979. She has
taught landscape architecture, urban design and
environmental planning at City College of NY, NJ
Institute of Technology and Pratt Institute. She is
currently a full professor and has been a faculty
member since 1980. Nielsen is Vice President
of the NYC Art Commission and is a registered
landscape architect in five states. Her work has
been published and exhibited extensively.
Anne Nixon
M.Arch., Yale University; B.Arch., B.A., Art and Art
History, Rice University.
Beth O’Neill
M.Arch., Columbia University; B.A., Smith College;
B.F.A., Parsons College.
Ran Oron
B.Arch., The Cooper Union; B.A.,
University of Haifa.
Robert Otani
M.S. Civil Engineering, Pennsylvania State
University; B.S. Civil Engineering, Rutgers
University.
202
Mark Parsons
Yehuda Safran
Michael Trencher
Director of Production Technologies, Adjunct
Assistant Professor
M.F.A., Cornell University; B.P.A., University of
Massachusetts at Dartmouth; Fine Arts/Pre-Med.
Major at Rochester.
Adjunct Professor
Ph.D., University College London; M.A., Royal
College of Art; Dipl., St. Martin School of Art.
Professor
M.S. Urban Design, M.Arch., B.Arch., Columbia
University; B.A. English Literature, Yale College.
Richard Sarrach
Evan Tribus
M.S., Columbia University; B.Arch., Pratt Institute.
M.Arch., Southern California Institute of
Architecture; B.S., University of Virginia.
Ronnie Parsons
M.Arch., Ohio State University; B.S. with Honors in
Architecture, University of Texas at Arlington.
Marc Schaut
Robert Pelosi
M.Arch., University of Florida; Vicenza Institute of
Architecture; B.Arch., University of Florida.
Eunjeong Seong
Brent Porter
Adjunct Professor
M.Arch., The Pennsylvania State University;
B.Arch., University of Kansas.
Mark Rakatansky
M.Arch., University of California at Berkeley; B.A.
University of California at Santa Cruz.
Thomas Rice
B.S., Glasgow University, UK; Structural Engineer
and Chartered Engineer (UK) working for Ove
Arup and Partners PC in New York, specializing
in the structural design of buildings. Current and
recent projects are located in the Americas,
Europe, and Asia.
Dagmar Richter
Professor
Vordiplom, University of Stuttgart; M.Arch. Royal
Art Academy School of Architecture; postgraduate study, Städel School, Frankfurt; principal,
DR_D, a design research practice in Berlin
and Los Angeles; her internationally exhibited
design work has garnered numerous prestigious
competition prizes and awards, including second
prize for the design of the National Library of
Denmark in Copenhagen and first prize for an
office park design for the Shinkenshiku Membrane
competition in Japan; her work is the subject of
two monographs: XYZ: The Architecture of Dagmar
Richter (Princeton Architectural Press, 2001) and
Armed Surfaces: Architecture and Urbanisms 5
(Black Dog Press, 2003).
Brian Ripel
M.S., Columbia University; B.Arch., Pratt Institute;
Phillips Exeter Academy.
Otto Ruano
B.Arch., Pratt Institute; B.A., Parsons The New
School of Design.
Ostap Rudakevych
M.Arch., Harvard University; B.Arch.,
Carnegie Mellon University.
M.Arch., Columbia University; B.S., INHA
University.
Erik Verboon
M. Eng., Stevens Institute of Technology; B.Arch.,
University of Cincinnati.
Florencia Vetcher
M.Arch., Columbia University.
M.Arch., Princeton University; Architecture
Diploma at University of Belgrano; Joieria Artistica
Diploma at Universitat Autonoma de Barcelona;
Certificate in Art and Design at University of
Buenos Aires.
Justin Snider
Winston Von Engel
Ashley Simone
Scott Sorenson
M.S. City and Regional Planning, B.Arch., Pratt
Institute; Fulbright scholarship for study in Vienna,
Austria in Technische Universität and Hochschule
für Angewandte Kunst.
Omar Walker
B.Arch., Pratt Institute; Fine Arts.,
Adelphi University.
Terilyn Stewart
Student Advisement Coordinator
Michael Su
M.A., Princeton University; B.Arch., The Cooper
Union; M.S., Columbia University; B.S., California
Institute of Technology.
Yehre Suh
M.Arch., Harvard University; Design Research Lab,
Seoul, Republic of Korea; M.F.A., B.F.A., Seoul
National University, Seoul, Republic of Korea.
John Szot
M.S., Columbia University; B.Arch., University of
Texas at Austin.
Christa Waring
Ed Wendt
B.A., Princeton University; cum laude, Fine Arts
and Art History; Ph.D., Columbia University;
Dissertation: “The Burkean Sublime in British
Architecture.”
Danielle Willems
M.S., Columbia University; B.Arch., SCI-ARC; A.A.,
Orange Coast College.
Suzan Wines
Stephen Szycher
B.Arch., B.A., The Cooper Union.
Visiting Instructor
B.S.C.E., Cornell University.
Gia Wolff
Meredith TenHoor
Associate Professor in History and Theory
Ph.D. (in progress), M.A., Princeton University;
B.A., Brown University.
Salvatore Tranchina
M.Arch., Columbia University; B.S.,
Swarthmore College.
M.Arch., Harvard University; B.A., Parsons The
New School of Design.
Chi-Fan Wong
M.S., Columbia University; B.Arch., The Cooper
Union.
203
Farzam Yazdanseta
M.S. Advanced Architectural Design, M.Arch.,
University of Maryland School of Architecture;
B.A., University of Maryland.
Robert Zaccone
Adjunct Professor
M.S. Arch., Columbia University; B.Arch., Pratt
Institute; B.A. Art, C.W. Post College, L.I.U.
Lawrence Zeroth
M.Arch., Columbia University; B.S., University of
Wisconsin at Milwaukee.
Dragana Zoric
M.Arch., Columbia University; B.A., University of
California at Berkeley.
Faculty
George Fowler
B.Arch., City College of New York.
T. Kent Hikida
Howard Albert
B.A., Binghamton University; M.Arch., University
of Pennsylvania; M.S., Real Estate Development,
Columbia University; principal of Howard Albert,
Residential Architects; formerly: associate at
Streetworks (retail design and development);
principal at The Saratoga Associates (Landscape
Architecture and Planning); and assistant director
of planning at the New York City Housing Authority.
Lennart Andersson
M.Arch., Savannah College of Art and Design; M.B.
Engr., Wasa Gymnasium, Stockholm, Sweden;
associate, The LiRo Group, New York, NY.
Gail Bressler
Visiting Instructor
B.B.A., Accounting, Baruch College; M.B.A.,
Real Estate Finance, Pace University; asst. vice
president and senior project manager of Housing
Preservation Department of NYS Housing Finance
Agency; was principal/co-founder of Community
Housing Developers (CHD) and vice president of
Southmark/Envicon Capital Corp. (S/E).
Kenneth Browne
Construction executive working in purchasing and
project management for Goldman Sachs.
Martin Bruno
EH&S Director for the Skanska New York metro
area, consisting of New York and New Jersey;
the National EH&S Director of Skanska’s Mission
Critical Group; and the Global EH&S Director
of Skanska’s Validation and Commissioning
Group. Bruno is also an associate professor of
construction management at Middlesex County
College, New Jersey. A Safety Committee member
of the Building Trade Employers Association
(BTEA) of New York City, and a voting member of
the National Crane Education and Safety Training
Committee for the Special Carriers and Rigging
Association (SC&RA), he is a 13-year member of
the American Society of Safety Engineers.
George Cambourakis
Ph.D. candidate, City College of New York; M.
Engineering, Structural Engineering, Columbia
University; B. Engineering, Civil Engineering, City
College of New York.
Bryan Diffley
Schiavone Construction Co., LLC
Associate Professor
B.A., Bennington College; M.Arch., Columbia
University; recipient, Alpha Rho Chi medal;
AIA, LEED-AP; AIAS faculty advisor; recipient,
faculty development grant (2001–02) to enhance
professional practice curriculum; participant,
NAAB reviews; intern development program
coordinator for Pratt; 2006 primary author of AIA’s
Mentoring Guidelines, IDP Mentoring: The Essential
Relationship Between Architects and Interns;
experience includes work with Steven Holl,
Michael Sorkin, Gaetano Pesce, HLW International,
and Gensler.
James Howie
Adjunct Professor
B.Arch., University of Detroit; recipient, Alpha
Rho Chi medal; AIA; LEED AP; NCARB; associate
principal, Perkins Eastman Architects; founder
and partner, Howie, Freireich and Gardner,
Architects; member, World Trade Center Task
Force (2002–03), NYC Department of Buildings
(chair, Evacuation Committee); chief of quality
control, NYS Urban Development Corporation.
William Hudson
B.S., Pratt Institute; A.A.S., New York City
Tech College; project manager for Columbus
Construction Corporation; project manager for
Conti of NY; Vice President of Construction,
Yonkers Contracting Company; senior estimator/
project manager for DeFoe Corporation.
Diane S. Kaese, RA
B.S. Architecture, University of Nebraska; M.S.
Preservation, Columbia University; Partner in
Kaese & Lynch Architecture and Engineering LLP
in New York City.
Hillary Lobo
B.Eng. (Electrical), Bombay University, India;
member IEEE; professional engineer, State of New
York; associate principal at Arup, 2000–present;
Syska & Hennessey, 1995–2000.
Michael F. Lynch
B.S. M.E., Clarkson University; Partner in Kaese &
Lynch Architecture and Engineering LLP in New
York City. Other work experience includes vice
president for property care at the Society for
the Preservation of New England Antiquities, and
senior restoration coordinator for the New York
State Office of Parks, Recreation, and Historic
Preservation.
204
Mary Matthews
Edward Re
Professor Emerita
B.A., Concentration in Sociology and Education
Management, Emmanuel College; M.S., Social Work,
Boston College; consistent career advancement
specializing in safety, training, government
compliance, environmental issues, and insurance
programs in the construction management and
facilities management industries in the public
and private sector; professor and former chair
in the Construction Management and Facilities
Management Department at Pratt Institute.
A.A.S., Construction Technology, NYC Technical
College; B.S., Construction Management, M.S.,
Facilities Management, Pratt Institute; AIA;
certified professional constructor; certified real
estate appraiser (NAREA); certified environmental
inspector (EAA); certified occupational safety and
health director; knighted, Government of ItalyLegions of Merit; qualified continuing education
instructor, State of New York Department of
State/Division of Licensing for Architecture and
Real Estate Appraising, arbitrator, American
Arbitration Association (AAA).
Harriet Markis
Adjunct Professor
B.S., Rensselaer Polytechnic Institute; M.Eng.,
Cornell University; member of CMAA, AISC, ACI,
SECB and SEoNY; partner at Dunne & Markis
Consulting Structural Engineers, PLLC since 1990;
30 years of experience as a structural designer in
a variety of projects; licensed to practice in New
Jersey, Connecticut, Delaware, New Hampshire,
and Rhode Island.
Martin McManus
B.B.A., Accounting, Pace University; CPA; financial
principal and Registered Representative with
NASD; member of the NYS Society of CPAs;
American Institute of CPAs.
Clifford Opurum
Dip.T.S. (B.A. Honors) Transportation Studies,
University of London; M.S., Transportation
Management, SUNY Maritime; M.A., Economics and
International Business Management and Finance,
Fordham University; M.S., Transportation Planning,
Engineering, and Management, NY Polytechnic;
Ph.D., Transportation Studies, Management and
Economics, University of Leeds; active role in
planning, design, and implementation of NYC’s
first comprehensive para-transit program
(Access-A-Ride), while serving as a member
of NYC’s Transportation Task Force and Senior
Citizen’s Transportation Advisory Committee.
John Osborn
B.A., Political Science and Economics, State
University of New York at New Paltz; J.D.,
University of South Carolina Law Center; John
Osborn, P.C. Attorneys and Counselors at
Law; practice areas include environmental
law, construction law, surety law, healthcare
law, commercial litigation, hospitality law, and
professional liability defense; author and frequent
speaker on construction and environmental
law, risk management, and dispute resolution;
2000 Member of the Year, Greater New York
Construction User Council.
Robert Schwartz
B.S., Construction Management, Pratt Institute;
RA; AIA; CSI; founder and president of Robert
Schwartz and Associates; member of AIA Master
Spec Review Committee.
Marjorie St. Elin
B.P.S., C.M., Pratt Institute; M.C., Management,
Baruch College, School of Continuing and
Professional Studies; engineer/superintendent,
Turner Construction Co.
Joseph Tagliaferro
Visiting Instructor
B.Eng., The Cooper Union; certificate in Plumbing
Systems Design, NY; SCPS; LEED; consulting
engineer, P.E. associate, BR+A Consulting
Engineers, publications in Real Estate Weekly;
member of USGBC.
Tri Tran
B.S., Civil Engineering, Manhattan College; LEED,
AP/AVS; preconstruction director for Skanska.
Mira Tsymuk
B.S., Economics and Computer Science, University
of Business Management, Moscow, Russia; M.B.A.,
University of Economics and Finance, Moscow,
Russia; M.A., Economics, C.U.N.Y. Hunter;
member American Economic Association and
International Institute of Public Finance; gathered
experience as executive business developer for
the International Association of Arts and Sciences,
Inc., and later became a research analyst for Estée
Lauder Trust subsidiary, the Institute for the Study
of Aging, Inc.
Arthur Xanthos
J.D., Fordham University, School of Law; B.A.,
Williams College; partner, Gartner + Bloom, PC.
Faculty
Lisa Capone
Adjunct Instructor
M.F.A. Sculpture, Pratt Institute; B.F.A. and
B.A., Marymount College, New York and Chelsea
School of Art, London, England. With an
expertise in Sculpture and 3-D artmaking, she
has taught a range of courses in a variety of
private and public educational venues, including
the afterschool teaching practicum with children
living in shelters. Her most recent exhibition took
place at the Oklahoma City Museum of Art 2012
in Fusion/A Century of Glass. In 2011 she received
a Pratt Faculty Development Fund Award for her
ongoing series Beauty + The Beast.
Mary Elmer-Dewitt
B.A., New York University; M.S., Art and Design
Education, Pratt Institute. An elementary school
art educator and mentor, Elmer-Dewitt taught
with Studio in a School for seven years and is
currently a facilitator with the Arts Achieve, a
Federal i-3 research project investigating the role
of assessment in student achievement in the arts.
She has conducted workshops for Studio in a
School artists, trained Department of Education
art teachers in the implementation of the NYC
Blueprint, and collaborated with fellow Studio in a
School artists to bring children from diverse areas
of the city together through artmaking. She has
investigated how different materials and processes
enable second graders to make their learning
visible, as well as what occurs when kindergarten
students are directed away from storytelling in the
art room. Elmer-Dewitt works across several
disciplines, primarily photography and painting,
and exhibited Not (2) Big at the MS Renzy Gallery in
Lexington, KY.
Shari Fischberg
Adjunct Instructor
B.F.A., The School of the Museum of Fine Arts
Boston; B.A., Tufts University; M.F.A., CUNY
Queens College. With more than 15 years of
experience as an urban art educator in New
York City, Boston, and Oakland, Fischberg was
honored by the New York City Board of Education
as Teacher of the Year in 2000. A previous
director of special programs for the Studio in a
School Association, she has created professional
development programming for teaching artists
with MoMA, Queens Museum, and Asia Society.
She has conceived and implemented grantfunded after-school programs and curated
exhibitions for the Edward Hopper House Arts
Center. Currently a teaching artist with the aging
population in Washington Heights and at the
Anne Frank Center USA, Fischberg continues her
practice in sculpture and encaustics at her studio
in the lower Hudson River Valley.
205
Borinquen Gallo
Heather Lewis
Assistant Professor
B.F.A., The Cooper Union, M.F.A., Hunter
College; Ed.D. candidate, Teachers College,
Columbia University. Areas of expertise include
contemporary art practices and contemporary
art-based education, studio-based education,
and the intersections of curation and education.
Born in Rome and currently living in NYC, she has
more than 10 years of planning, development,
and management experience in education.
She has organized and facilitated professional
development workshops for art educators
city-wide, and designed curricula for a host of
organizations including Studio in a School and the
NYC Department of Education. Widely exhibited
locally and nationally, including, most recently, at
The National Academy Museum, Site 110 Gallery,
and the Queens Museum of Art in New York.
In November 2013, she had a residency at the
Vermont Studio Center in Johnson, Vermont.
Associate Professor
Ph.D., New York University. Dr. Lewis’s research
explores the intersection of urban social
movements and institutional reform in education
and the arts. Her book, New York City Schools from
Brownsville to Bloomberg: Community Control and
Its Legacy, was published by Teachers College
Press in 2013. She is currently working on a study
of Harlem’s public schools as part of a scholarly
research community studying the history of
education in 20th-century Harlem. She serves on
Pratt’s Middle States Steering Committee and is
actively engaged in efforts to improve teaching
and learning in higher education.
Tonya Leslie
Visiting Instructor
B.A., State University at New York, New Paltz; M.A.,
New York University; Ph.D. candidate at New York
University and a research fellow at the Metropolitan
Center for Urban Education. Her research interests
include urban education and literacy. She has
worked in all levels of children’s publishing and
educational program development and has been
a member of organizations such as Scholastic Inc.,
Girl Scouts of the USA, Sesame Workshop, and
the Schomburg Center for Research and Black
Culture. She is also the author of several children’s
books including True You: Sometimes I Feel Ugly
and Other Truths About Growing Up, available online
through Dove’s Campaign for Real Beauty. In 2013,
she received a grant for the Empowering Boys
Initiative (EBI) pilot program from the New York City
Department of Education.
Theodora Skipitares
Associate Professor
B.S., University of California at Berkeley; M.F.A.,
New York University. An interdisciplinary artist,
Skipitares has exhibited work and performed
throughout Europe, Asia, and South America. She
has received grants from the NEA, NYFA, UNIMA,
and the Guggenheim, Fulbright, and Rockefeller
Foundations, among others; twice, The New York
Times has named her plays among the 10 best of
the year, and her production Iphigenia won two
New York Innovative Theater Awards. She has
created performances in Vietnam, Cambodia, and
Korea, and travels frequently to India to develop
new projects. She has taught workshops to diverse
populations with Hospital Audiences, Inc. and has
developed classes and performances at Rikers
Island Prison. Her most recent performances and
exhibitions include the Ionesco Project at the Long
Island University Gallery and Rituals of Rented
Island: Object Theater, Loft Performance and the
New Psychodrama—Manhattan, 1970–80 at the
Whitney Museum.
Aileen Wilson
Professor
M.A., Chelsea School of Art, London; Ed.D.,
Art/Art Education, Teachers College, Columbia
University, New York; she was a recipient of a
Fulbright specialist grant, 2011–12; recent projects
include Building Space with Words, a multimedia,
interactive installation, March 2009, NYU-Poly;
a curatorial project, Neo-Nomads: What Travels
with You? at BRIC Rotunda Gallery, January–
February, 2011, both with Anne-Laure Fayard. In
February 2013 she co-curated with Tara Kopp the
group exhibition Studio Pedagogy: The Imperative
of Teaching at Gallery Bergen, New Jersey.
Faculty
Jonathan Andrew
Visiting Instructor
M.A., Hunter College; B.F.A., The Cooper Union;
president, Andrews Design.
Anne Fink Bartoc
Visiting Instructor
B.A., University of Michigan; M.F.A., Art Institute
of Chicago; work exhibited by the American
Institute of Graphic Arts, 50 Books/50 Covers,
1999, 2001 and 2003; clients include The
New-York Historical Society, Martha Stewart,
Guggenheim Museum, Penguin Books and New
Press; has co-authored six books on graphic
design with Steven Heller, including Less Is More,
published by North Light Books.
Dean Dalfonzo
Visiting Instructor
M.F.A., New York Academy of Art; Certificate in
Fine Art, Maryland Institute College of Art; studied
with world-renowned artists Steven Assael, Eric
Fischl, Vincent Desiderio, Damian Loeb, and Tony
Scherman; summer resident in the Norwegian
studio of acclaimed figurative painter Odd
Nerdrum and at the Florence Academy of Art;
exhibited at both Sotheby’s and Christie’s auction
houses in New York; works included in private and
corporate collections including United Airlines,
Struever Brothers, and Eccles and Rouse.
Lee Epstein
Adjunct Professor
B.F.A., The Cooper Union; president and creative
director, Epstein and Walker Associates, a New
York advertising agency; previously senior creative
director, Doyle Dane Bernbach Advertising.
Bob Feldgus
Adjunct Professor
B.F.A., Philadelphia College of Art; M.F.A.,
Brooklyn College; clients include Marvel
Entertainment Group, DC Comics, Topps Inc.,
Children’s Television Workshop.
Barbara Friedman
M.F.A., William Paterson University; B.F.A.,
Parsons The New School of Design; selected
clients include: Sybex Publishing, Peachpit Press;
principal, BFD New York.
206
Associate Degree Programs Faculty
Harley Goode
Mark O’Grady
Nancy Stamatopoulos
Art director, designer, and consultant, Goode
Communications and Design; clients include
Campbell’s, Bacardi, and AT&T; received many
awards including an honor from The New York
Times for a supplement design; former creative
director at Jamison and Associates at BBDO.
Professor
B.F.A., The Cooper Union; M.F.A., Louisiana Tech
University; painter and educator; recent exhibits
in New York, Boston, Barcelona, and Dublin; work
included in both private and public collections.
B.A., SUNY Empire State College; A.O.S. Pratt
Institute; Art Director Penton Media; clients
include Time Inc., Bloomberg Businessweek,
This Old House, and Walter Bernard and Milton
Glaser Inc.
Jenna Lucente
Visiting Instructor
B.F.A., Syracuse University; M.F.A., Queens College,
CUNY.
David Marcinkowski
M.A., Media Studies, The New School; B.A.,
Philosophy and Religion, Kean University.
Michael Marston
B.F.A., Portland School of Art; M.F.A., Pratt
Institute; National Endowment for the Arts,
Artist’s Fellowship, 1984; photographer/
multimedia producer; clients include: Godiva
Chocolatier, CBS Broadcast Group, HoffmanLaRoche, Lancôme, NYNEX, Equitable Life, and
Architectural Digest.
Wilfredo Ortega
Visiting Instructor
A.A.S., B.F.A., Pratt Institute; M.F.A., Yale
University, Barry Cohen Scholarship.
Thomas Palmer
Visiting Instructor
B.F.A., Washington University in St. Louis; comic
artist and illustrator working under the pen name
T. Motley; publishers include Dalkey Archive Press,
The Brooklyn Rail, Nickelodeon Magazine, Kidjutsu.
com, Starcherone Books, Fantagraphics, Exquisite
Corpse, and The Stranger; www.tmotley.com.
C. Stewart Parker
Acting Chair, Associate Professor
B.A., Glasgow School of Art; M.F.A., Danube
University, Krems/Transart; painter and illustrator;
clients include David Geffen Co., Sony Music,
Scottish Television, MCA/Universal Group; exhibits
in Europe and the United States.
Yoko Motomiya
Jamie Powell
Visiting Instructor
B.F.A., Musashino Arts University; B.F.A., M.F.A.,
School of Visual Arts; solo exhibitions include:
Domo Gallery, N.J., Exhibit A Gallery, N.Y.; group
exhibitions have included: Jersey City Museum,
Noyes Museum of Art, and IPCNY.
Visiting Instructor
M.F.A., Rutgers University; Post Baccalaureate,
Brandeis University; B.A., Marietta College;
recipient of the Paul Robeson Emerging Artist
Award from Rutgers University (2006) and
a Geraldine R. Dodge Grant (2007); recent
exhibitions include FLUXspace in Philadelphia, the
Allston Skirt Gallery in Boston, Hello My Name Is
Gallery in New Haven, and Seton Hall Law School.
John Nickle
Visiting Instructor
M.F.A., B.A., University of South Florida; clients
include: Random House, Scholastic Books, Simon
& Schuster, The New York Times, The Wall Street
Journal, Los Angeles Times, Nike, Inc., The Atlantic
Monthly, Sports Illustrated, Knopf Books, Crown
Publishing, Harper Collins, St. Martin’s Press,
Pocket Books, Little, Brown & Co., Harcourt
Brace, Harlequin Books, Washington Post, and
Avon Books.
Sung No
Technician, Visiting Instructor
A.A., Monroe Community College; B.F.A., M.F.A.,
Pratt Institute.
Herman Schaper
Visiting Instructor
B.F.A., Montclair State College; principal of a
New Jersey-based studio; served as art director
and creative director in New York and New Jersey
agencies.
Marc Silverman
B.F.A., Philadelphia College of Art; president,
SilverMarc Services; specializes in website design
and implementation; produces film and video
sequences; provides digital imaging technical
training for advertising and corporate clients.
Victoria Vebell
B.A., Philadelphia College of Art; M.F.A., Lesley
University.
Melanie Vote
Visiting Instructor
M.F.A., The Graduate School of Figurative Art,
New York Academy of Art; B.F.A., Iowa State
University; recipient of the Pollock Krasner
Foundation Grant.
Susan G. Young
Visiting Instructor
B.A., Loyola University; M.F.A., Savannah College
of Art and Design; freelance illustrator working in
markets such as portraiture, marketing, animation
development, book illustration, and packaging design.
M. Christopher Zacharow
Visiting Instructor
M.F.A., Academy of Fine Arts, Krakow, Poland;
painter and illustrator.
207
Digital Arts Faculty
Peter Patchen
Chair
M.F.A., University of Oregon; Peter Frank Patchen
is a digital artist exhibiting and lecturing nationally
and internationally. He grew up in Colorado
where the natural environment had a profound
influence on his perception of the relationships
that exist between nature, humanity, culture,
and technology. In 1993, he founded the Cyber
Arts (now New Media) program at the University
of Toledo. Recent work includes interactive
artworks, prints, web-based art, and mixed
media pieces.
Carla Gannis
Assistant Chair
M.F.A., Boston University; B.F.A., University of
North Carolina at Greensboro; Carla Gannis is the
recipient of several awards, including a 2005 New
York Foundation for the Arts Grant in Computer
Arts, an Emerge 7 Fellowship from the Aljira Art
Center, and a Chashama AREA Visual Arts Studio
Award in NYC. She has exhibited in solo and group
exhibitions both nationally and internationally.
Features on Gannis’s work have appeared in Res
Magazine and Collezioni Edge, and her work has
been reviewed in The New York Times, the Los
Angeles Times, the Miami Herald, the Daily News,
and the Village Voice.
Justin Berry
Digital Arts
Jonathan Cohrs
Visiting Instructor
Digital Arts
Thomas Bone
Professional digital and traditional animator and
cartoonist with over 14 years of professional work
experience in film, television, illustrations, web,
advertising, and merchandising productions.
Liubomir Borissov
Associate Professor
Ph.D., Physics, Columbia University; M.P.S.,
Interactive Telecommunications, New York
University; B.S., Mathematics and Physics,
California Institute of Technology; Global
Vilar Fellow, Tisch School of the Arts, NYU;
exhibitions: New Interfaces for Musical Expression
conference, Japan, 2004; Canada 2005; Lincoln
Center Summer Festival, NYC; the Kennedy
Center, Washington, D.C. Borissov has taught at
Harvestworks, Parsons School of Design and the
Columbia University The New Graduate School of
Architecture, Planning and Preservation.
Svjetlana Bukvich-Nichols
Edward Darino
M.F.A., Rensselaer Polytechnic Institute; B.A.,
Sarajevo University Music Academy. Bukvich
grew up during the wildly active music scene in
Sarajevo’s ’80s, with Arabian horses and four
major religions at her doorstep. Her signature
sound weaves deconstructivist dance suites
with polymicrotonal sympho-rock tone poems,
experimental prog rock/world jazz fusions with
musique concrète spirituals, and contemporary
art-song with electronica. A “concert composer/
performer whose music defies boundaries,”
(ASCAP) Bukvich has appeared in the U.S. and
internationally. She has received grants from
the Soros Foundation, the American Composers
Forum, ASCAP’s Buddy Baker Film Scoring
Scholarship, New England Foundation for the Arts,
and the Institute on the Arts and Civic Dialogue
at Harvard University. Bukvich is featured in
the recently released book In Her Own Words—
Conversations with Composers in the United States
(University of Illinois Press). She was artist-inresidence at Lafayette College, and collaborated
with Pomegranate Arts in New York in support
of Goran Bregovic and His Wedding and Funeral
Orchestra’s North American tour. Her score
Interior Designs was listed as one of the top 10
dance events of 2013 (The Star-Ledger) and has
received the New Music USA, 2013 Live Music for
Dance award. Her album EVOLUTION was released
on PARMA’s Big Round Records in April 2014. In
July, she was an artist-in-residence at the historic
Manley-Lefevre House in Vermont. Bukvich is
also on faculty at NYU, and is a 2013 New York
Foundation for the Arts Fellow in Music/Sound.
Ph.D., UEU on New Technologies; M.F.A., Tisch
School of Art, New York University; designer,
on-air identification for Manhattan Cable,
HBO, Calliope, USA Networks, Con Edison, USA
Olympics, Snoopy and Superman specials; editor,
director, and special effects supervisor for
Hollywood Stars, Grand Entertainment, Disney
Entertainment, Discovery, Galavision, and many
others. Darino’s Special Effects Library is used in
62 countries worldwide.
Elliot Cowan
Visiting Instructor
Cowan was born in Melbourne, Australia, then
moved to the wilds of Tasmania, where he
directed thousands of commercials for regional
television. In 2006 he left for London where he
mostly worked with UIi Meyer animation. While in
London he began animating the award-winning
Boxhead and Roundhead shorts. Now he lives in
New York with all kinds of grown-up stuff like a
wife and child and a green card. He has recently
completed The Stressful Adventures of Boxhead
& Roundhead, his first feature, and he did almost
all of it himself in between teaching, freelance
animation gigs, and his family.
Marianna Ellenberg
Visiting Instructor
M.A., Slade School of Art; B.A., Wesleyan
University; 2009 LMCC Swing Space residency;
exhibitions: The N.Y. Underground Film Festival,
2007, The Collectif Jeune Cinéma, 2003, LA
Freewaves, 2006; exhibitions: The Pleasures
Seekers, Chashama Gallery, NYC, 2009, Hysteria,
UC Long Beach, 2008.
Mike Enright
B.F.A., The University of the Arts; M.F.A.,
California Institute of the Arts; curated national
and international animated shorts and features
for the Philadelphia Film Society (2002–08);
also produced animated campaigns for the
Philadelphia Film Festival and the Philadelphia
International Gay and Lesbian Film Festival; scenic
painter for theater, broadcast, and museum
installations, credits include work for NBC, VH1,
Anheuser Busch theme parks, and the Long Beach
Opera; his works in oil and acrylics are held by
private collectors; his independent animated
films include Moo! (1995), nominated for a Student
Academy award, and Grit!, a 10-minute, handprocessed 16mm tribute to boxing featured at
MoMA (2006.)
Kay Hines
B.A., Art History, Barnard College; Cine Golden
Eagle Award, editor of 9/11: Response and
Recovery for Signet Productions and Bovis Lend
Lease, 2003; Greenwald Foundation Grant, 1995;
New York Foundation for the Arts Grant, 1992,
1985; National Endowment for the Arts Creative
Artist Fellowship Grant, 1981; videographer and
internationally exhibited media installation artist;
co-owner/founder of Dekart Video, est. 1981.
Kenneth Hughes
Visiting Instructor
Digital Arts
208
Digital Arts Faculty
Stephen Jackett
Peter Mackey
Genevieve Okupniak
Visiting Instructor
B.A., Dartmouth College; M.F.A., School of Visual
Arts; works include award-winning commercial
animation for J.J. Sedelmaier Productions,
with clients such as the Oxygen and Discovery
channels, Saturday Night Live, Chef Boyardee, the
Ad Council, and the Chicago Tribune; additional
work includes animated web advertisements for
ESPN360.com for W/M Animation and an antismoking 3-D animated film for the C. Everett Koop
Institute (1998–99); web-based projects include
3-D animated e-cards for online greeting card
brand MyFunCards and various popular Facebook
applications, such as the FlowerShop, My Own
Superhero, and Smiley Creator.
Professor
B.A., Syracuse University; M.F.A., University
of Southern California; has nearly 40 years of
experience writing and directing award-winning
films, videos, multi-image, and interactive
programs and installations for companies such as
GE, Apple, and Simon and Schuster Interactive.
He has taught and lectured in South Korea
and Turkey, writes speculative fiction, and
enjoys pushing the limits of three-dimensional
interactivity, player-mediated generative art, and
artist-friendly microelectronics.
Visiting Instructor
Digital Arts
M.F.A. California Institute of Arts
Everett Kane
Visiting Instructor
B.A., Religion, Princeton University, 1993; B.F.A.,
with distinction, Fine Arts; M.F.A., Fine Arts, Art
Center College of Design. Kane is an artist, 3-D
animator, and technical director whose clients
include Nike, Klasky-Csupo, Reel FX, Location One,
CalTech, Sloan-Kettering, Rockefeller College,
Pixel Blocks, New York Festivals, Mirabell Films,
and DZI; exhibitions include Location One, White
Box, Animamus Art Salon, Los Angeles Arboretum,
Art Center College of Design, Hotel Grifou, Pillers
Gallery, Envoy Enterprises, Nezla Productions,
L.A. Municipal Gallery. For the last 16 years, he
has taught 3-D modeling, animation, drawing for
animation, character design, character modeling,
3-D lighting and rendering, VFX, dynamics,
programming for animators, character rigging,
technical direction, digital compositing, digital
painting, digital imaging, web design, interface
design, fine art, critical theory, and experimental
digital media.
Hyunsuk Kim
Visiting Instructor
Digital Arts
Linda Lauro-Lazin
Masters, Computer Graphics, NYIT; Lauro-Lazin
is a cross-disciplinary artist, curator, lecturer
and educator. Her work explores impermanence,
perception and vehicles of communication. She
has been using digital media in her practice since
1986 and is considered a pioneer of digital art.
Lauro-Lazin began her career as a painter and
photographer. She is a Fulbright scholar in art.
Her work is included in Art in the Digital Age by
Bruce Wands. She has been teaching for many
years and has organized and moderated many
guest lectures and panel discussions. She has
served on international art juries and has curated
some provocative exhibitions. Lauro-Lazin has a
great passion for building community and sharing
her ideas about art. She also loves a good story.
David Mattingly
Visiting Instructor
B.F.A., Colorado State University; M.F.A., Art
Center; headed the Matte Department at Walt
Disney Studios where he worked on The Black
Hole, Tron, Dick Tracy, Stephen King’s The Stand,
and I, Robot for Weta Digital in New Zealand;
has produced over 500 covers for most major
publishers of science fiction and fantasy, including
Baen, Bantam, DAW, Del Rey, Dell, Marvel, Omni,
Playboy, Signet, and Tor; for Scholastic Inc., he
painted 54 covers for K.A. Applegate’s Animorphs
series, along with the last five covers for the
Everworld series; illustrated the popular Honor
Harrington series for author David Weber; painted
the latest repackaging of Edgar Rice Burroughs’
“Pellucidar” books for Ballantine Books; two-time
winner of Magazine and Booksellers Best Cover
of the Year award, and winner of the Association
of Science Fiction Artists Chesley award; other
clients include Michael Jackson, Lucasfilm,
Universal Studios, Totco Oil, Galloob Toys, R/
Greenberg Associates, Click 3X, and Spontaneous
Combustion; author of The Digital Matte Painting
Handbook (Sybex, 2011), the first guide to digital
matte painting.
Nicholas O’Brien
Visiting Instructor
M.F.A., University of Colorado at Boulder;
B.F.A., School of the Art Institute of Chicaco;
O’Brien is a net-based artist, curator, and writer
whose research revolves around the exploration
of digital self and the relevance of landscape
representation within network culture.
His work has appeared internationally in Mexico,
Berlin, London, Dublin, Italy, and throughout
the U.S. He has also been featured in several
publications including ARTINFO, Art F City,
Sculpture Magazine, Dazed Digital, The Creators
Project, DIS, ilikethisart, Frieze d/e, the Brooklyn
Rail, Rhizome at the New Museum, and The
New York Times. In 2011 he was awarded a
Turbulence Commission Grant funded by the
NEA and curated a top 10 exhibition of 2011
as noted by Paddy Johnson for L Magazine.
He premiered a new work in collaboration with
Rashaun Mitchell at the Baryshnikov Art Center in
New York as well as mounting an exhibition at the
Arti et Amicitiae in Amsterdam. He is currently
living in Brooklyn working as a visiting artist
professor and gallery director for the Department
of Digital Arts at Pratt Institute.
Michael O’Rourke
Professor
M.F.A., University of Pennsylvania; Ed.M., Harvard
University; artist, author, and educator; selected
exhibitions include: Kennedy Center for the Arts,
Washington, D.C.; Musée d’Art Moderne, Paris;
Isetan Museum, Tokyo; Laumont Editions, NYC;
Hong Gah Museum, Taipei; Uma Gallery, NYC.
His artwork encompasses printmaking, murals,
sculpture, drawing, and animation, and frequently
combines digital and traditional techniques.
Recent work focuses on large-scale multimedia
murals, multimedia sculpture, and digital prints.
The interactive multimedia works combine static
imagery, drawing, video, and 3-D animation.
In the 1980s, he worked at the world-famous
NYIT Computer Graphics Lab, with many of the
pioneers and inventors of computer imaging and
animation. In the late 1980s and early 1990s, he did
extensive work for the artist Frank Stella, producing
sculptural models, graphics, and animation. He
has consulted on digital imaging for a number of
artists, including Jenny Holzer, and is the author
of two books and numerous articles about digital
art. His teaching experience includes teaching
kindergarten, conversational French, and English
as a foreign language in Birkina-Faso, Africa.
Mira Scharf
Visiting Instructor
B.S., University of California at San Diego;
M.F.A., University of California at Los Angeles;
animated for television programming including
Dilbert, Queer Duck, Assy McGee, Wonder Pets,
Sesame Street shorts and Pinky Dinky Doo; also
animated many webisodes for General Mills,
Postopia, and PBS Kids, and animated computer
games for Dreamworks Interactive, Knowledge
Adventure, and others; illustrated 25 educational
workbooks for U.R.J. Press and has written
copy for computer games and created story
and graphic content for computer game play
as well; her cartoons have appeared in Harvard
Business Review, Reader’s Digest, Funny Times, and
Narrative magazine.
Claudia Tait
Associate Professor
M.F.A., University of Maryland Baltimore
County; B.F.A., Ringling School of Art and Design.
She is a digital artist and media theorist whose
works explore the meaning of technology in
the construction of gender. Her critical inquiries
focus on the social, political, and economic
role of computer programming and contextualize
technology’s languages as a form of writing
and literacy.
Katherine Torn
Visiting Instructor
Digital Arts
M.F.A., School of the Art Institute, Chicago
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Lukas Wadya
Visiting Instructor
Digital Arts
M.F.A., School of Visual Arts
Gregory Webb
Adjunct Instructor
Digital Arts
Daniel Weisbard
Visiting Instructor
Digital Arts
M.F.A., Rochester Institute of Technology
Elizabeth White
Visiting Instructor
B.A., Vassar College; M.F.A, Photography, Video,
and Related Media, School of Visual Arts; White
is a multidisciplinary artist whose work has
been exhibited nationally and internationally,
most recently in The Balloon, a group show at
Rawson Projects curated by Jessamyn Fiore.
Other recent exhibitions include A Map is Not
the Territory at FiveMyles, the fourth annual
Artisterium International Contemporary Art
Exhibition in Tbilisi, No Soul for Sale at the Tate
Modern in London, and Surveil, a two-person
show with Anne Elizabeth Moore at the Center
for Endless Progress in Berlin. White curated
Culturehall’s Feature Issue 95, and her work was
recently published in The State (UAE). She has
been awarded residencies in Leipzig, Tbilisi,
Marfa,TX, and on Governors Island, and has
received support from CECArtsLink, the Hattie
Strong Foundation, and the Davis Educational
Foundation. Recipient of an Aaron Siskind
Fellowship. Based in Brooklyn, she teaches in the
graduate program in digital arts at Pratt Institute,
and at Bennington College in Vermont.
Bryan Zanisnik
Visiting Instructor
M.F.A., Hunter College; attended the Skowhegan
School of Painting and Sculpture. He has recently
exhibited and performed at PS1, Sculpture Center,
and the Queens Museum of Art; in Philadelphia at
the Fabric Workshop and Museum; in Miami at the
De La Cruz Collection; in Chicago at the Museum
of Contemporary Photography; in Los Angeles at
LAXART; and internationally at the Istanbul Museum
of Modern Art, the Kunsthalle Exnergasse in Vienna,
and the Futura Centre for Contemporary Art in
Prague. Zanisnik’s work has been reviewed in The
New York Times, Art in America, Artforum, ARTnews,
Modern Painters, and Time Out New York. He has
completed residencies at the Macdowell Colony, the
Art Omi International Artists Residency, the Lower
Manhattan Cultural Council Workspace Program,
and the Guangdong Times Museum in Guangzhou,
China. Currently he is an artist in residence at the
Smack Mellon Artist Studio Program in Brooklyn, NY,
and presented a newly commissioned project at the
Institute of Contemporary Art in Philadelphia in the
spring of 2014.
Film/Video Faculty
Jennie Allen
Visiting Instructor
B.A., The New School University; M.F.A., Columbia
University; films have won awards from Palm
Springs, Babelgum, USA Film Festival, the
Columbus Film Council, and the Adrienne Shelly
Foundation; they have screened at festivals
including Brussels, Woodstock, LA Shorts Fest,
and on NYC-TV; she wrote the feature film
Failing Better Now, available in the U.S. on the
Starz network; she received the Lewis Cole A
ward for Excellence in Screenwriting from
Columbia University.
Perry Bard
Adjunct Professor
B.A., McGill University; M.F.A., San Francisco
Art Institute; working collaboratively on media
installations for public space, and on singlechannel videos; work has been presented
internationally at the Sao Paolo, Cartagena and
Montreal Biennials, at Rotterdam, Toronto,
Transmediale, Ars Electronica Festivals as well as
at MoMA NY, Reina Sofia Museum Madrid, MOCA
Zagreb, Bucharest and public screens in the U.K.,
U.S., and Australia; her experiment in database
cinema, Man with a Movie Camera: The Global
Remake is the subject of a chapter in Resolutions
3: Global Networks of Video; she also curates and
writes for Afterimage.
Jacob Burckhardt
B.A., University of Pennsylvania; TESOL certificate
Teacher’s College at Columbia University; awardwinning filmmaker and sound designer, and winner
of New York’s Bessie Award for sound design;
projects include sound design for John Cage’s
Variations VII, producing, directing, camera, and
editing on the feature films Landlord Blues and It
Don’t Pay to Be an Honest Citizen.
Lisa Crafts
M.F.A, Vermont College of Fine Arts. Animator,
After Effects artist, and painter, her independent
films have been shown in festivals, museums,
theaters, and on television in Europe, Japan,
Korea, and throughout North America; recipient
of grants from the Jerome Foundation, NYSCA,
and NYFA; was named a 2012 Guggenheim Fellow;
commissioned work includes animation for
independent documentaries, Sesame Street, and
American Movie Classics; guest lecturer at many
schools, including Harvard University and Rhode
Island School of Design; and curator of animation
programs in the United States and Japan.
John Crowe
Technician
M.F.A., Tyler School of Art; B.F.A., University of
Georgia; California Institute of the Arts; timebased artist, animator, and sculptor; his videos
have been screened at Joymore Gallery, Fleisher
Ollman, Bodega, Cinema Scope Miami, and the
Institute of Contemporary Art, Philadelphia.
Donald Daedalus
Technician
B.A. University of Washington; M.F.A. San Francisco
Art Institute; video artist and writer Daedalus is also
an active member of Critical Practices, Inc., and
a founder of Lugubrious New York, a publication
company that focuses on artist books in electronic
formats. He exhibits and performs nationally and
internationally, including Whitney Biennial, 2014
(Critical Practices, Inc.); Annez/Manesse (Zurich);
The White Building (London). Residencies include
the Betsy Hotel; Center for Book Arts; Campos de
Gutierrez (MedellÍn); Byrdcliffe; and Flux Factory.
He is the recipient of numerous awards including
from Foundation for Contemporary Arts and New
York Foundation for the Arts. Recent exhibited
projects include Imagined Bonds, Impossible
Escape (LA Galería, Bogotá Colombia), Doppler Shift
(Lower Manhattan Cultural Council, New York) and
Doppelganger Effect (Franklin Furnace, New York).
Jim Finn
Assistant Professor
B.A., Creative Writing, University of Arizona ;
M.F.A., Electronic Arts, Rensselaer Polytechnic
Institute. His award-winning movies have
been called “Utopian comedies” and “trompe
l’oeil films.” His Communist Trilogy is in the
permanent collection of MoMA, and he has had
retrospectives in seven countries. His movies
have screened widely at festivals like Sundance,
Rotterdam, Sao Paulo, AFI, and Edinburgh as well
as museums and cinematheques. He is featured in
a Phaidon Press book called Take 100—The Future
of Film: 100 New Directors.
David A. Ford
B.F.A., SUNY at Purchase Film Conservatory, cinematography. Director of Photography/Producer;
Ford has produced, shot, and gaffed features,
shorts, and live performances. Recent work includes: I Am Divine (feature doc); The Falcon Project
(short doc); and Raging Bull: Reflections on a Classic
(short doc). Clients include HBO, Logo, PBS, Warner
Bros., MGM, and Disney. Owner and designer of
ergocine, ltd., where he produces ergonomically
designed camera tools.
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Film/Video Faculty
Erin Harper
Chris McChane
Jorge Oliver
Visiting Instructor
B.S. Theatre, Northwestern University; M.F.A. Film,
City College of New York; produced the feature
comedy, My Best Day, which premiered at The
Sundance Film Festival in 2012; a NYSCA grant
supported her international touring improvised
film and jazz show, Passion; cinematographer on
Barbara Hammer’s award winning short, Maya
Deren’s Sink; she is adapting and directing the
award-winning novel, East of Denver, into a feature
that will be filmed in rural Colorado; directs and
edits videos for the YMCA of the U.S.A.
Visiting Instructor
B.A., Cinema, University of Iowa; M.F.A.,
Screenwriting, Boston University; production
manager/assistant director working in film,
television, and commercials; recent projects
include The Impossibilities web series and feature
films Ned Rifle and Caihong City; currently works
with Hal Hartley’s Possible Films.
Chair
B.A., The George Washington University; M.A.,
The New School University; M.F.A., San Francisco
State University; an independent filmmaker, actor
and educator born and raised in Puerto Rico; the
first male filmmaker in the history of Puerto Rican
cinema to openly deal with gay images; his films
have been featured in film festivals in the U.S. and
around the world, including the Cork International
Film Festival, the Havana Film Festival and the
Festival de Viña del Mar in Chile; as a professional
actor, has performed off-Broadway, as well as in
regional stages in San Juan, Washington, D.C., San
Francisco, and Saint Louis; he is proud of having
worked with some of the major Hispanic theaters
in the U.S.; he has also performed in radio and
television commercials for the Hispanic market in
the U.S., as well as television and films.
Kara Hearn
Assistant Chair
B.A., University of California at Santa Cruz; M.A.,
San Francisco State University; M.F.A., University
of California at Berkeley; an interdisciplinary video
artist whose work has been screened, exhibited,
and performed nationally and internationally at such
venues as MoMA, SFMOMA, Recess, DiverseWorks,
New Orleans Museum of Art, Yerba Buena Center
for the Arts, White Columns, Center for Curatorial
Studies at Bard, Berkeley Art Museum, Pacific
Film Archive, Walker Art Center, and Dallas Video
Festival; she has been a Core Fellow at the Museum
of Fine Arts, Houston and has completed largescale social practice projects at Recess and EFA
Project Space in New York.
Ross McLaren
AOCA Associate of College Art (B.F.A. equivalent),
Ontario College of Art; winner of the EVVY
Millennium Achievement Award in 2009, films
and photographs can be found in the collections
of the Arts Council of Great Britain, London; The
National Gallery of Canada, Ottawa; National Film
Archives, Ottawa; and the American Federation of
Arts, New York.
Deborah Meehan
Professor
B.S., Northwestern University; M.F.A., School of
the Art Institute of Chicago; Whitney Museum,
Independent Study Program; clients include the
BBC, IFP, Steelcase, Cook’s magazine, and the
Whitney Museum of American Art.
Ramón Rivera-Moret
B.A., University of Notre Dame; M.A., University
of Iowa. His film and video work combine
documentary material with experimental
narrative strategies.
Alexandra Sumner
Visiting Instructor, Film/Video Lab Manager
M.F.A., California Institute of the Arts; B.A., Hunter
College, City University of New York; Columbia
College, Chicago; writes, directs, composes,
and edits his own narrative films; in 2009 he
premiered his first feature film Marin Blue at
the 59th Berlinale in the Forum section; the film
received distribution from the Arsenal Institute
of Film and Video Art, and subsequently screened
in several theaters across Germany, among
other places.
M.F.A., School of the Art Institute of Chicago;
B.F.A., University of Oklahoma; Whitney Museum
of American Art, Independent Study Program; has
provided sound mixing for the following networks:
PBS, HBO, BBC, NBC, CBS, and Fox, to name a few;
has done sound mixing and cinematography for
Brace for Impact: The Chesley B. Sullenberger Story,
released 2010; other cinematography projects
include Air Force One, a documentary broadcast on
the National Geographic Channel, and Everybody
Knows, a documentary of Elizabeth Murray’s life,
screened at the Museum of Modern Art, New York.
B.F.A., School of the Museum of Fine Arts, Boston;
video artist and performance/installation artist,
musician, and community activist; selected shows
and performances include Art for Change, Theater
for the New City, Lincoln Center Out of Doors,
Tribeca Film Festival outdoors, Irving Plaza, Museum
of Modern Art performance, Knitting Factory, ABC
No Rio, Socrates Sculpture Park, Mardi Gras New
Orleans, as well as venues in many cities around
the world; appearances in What Would Jesus Buy,
produced by Morgan Spurlock, and Shortbus,
directed by John Cameron Mitchell; chair of the
Pratt Initiative for Art, Community and Social Change.
Josh Koury
Alexander Noyes
Ramzy Telley
B.A., Music, Antioch College; sound designer,
editor, and mixer, whose television projects
have appeared on the following networks: HBO,
Cinemax, Sundance, IFC, PBS, Discovery, TLC,
MTV, and ESPN; radio projects have appeared on
NPR; film and video projects include The Road
to Redemption; 2008 Academy Award winner
Freeheld: The Laurel Hester Story; and Tea on the
Axis of Evil, among others.
B.F.A. Film, California Institute of the Arts; has
exhibited video and fine arts projects nationally
and internationally at the Museum of Fine Arts,
Houston; Museo de Arte Moderno, Trujillo, Peru;
Leipzig Art House Cinema, Leipzig, Germany;
and Shanghai Art Museum, Shanghai, China; has
worked as cinematographer on such films as
The Wildest Show in the South: The Angola Prison
Rodeo, winner of Best Documentary Short at
the Sundance Film Festival and also received
an Academy Award nomination; his film Death
in Vegas was awarded the Grand Remi “Best of
Show” at the 2007 Houston International Film
Festival; his production company Rodeo Circus
Films Inc. has provided production, editing, and
programming services to such clients as HBO,
Discovery, A&E and The Travel Channel.
Matthew Hysell
B.A., Pratt Institute; a documentary filmmaker
living and working in Brooklyn; his first film,
Standing by Yourself, received critical acclaim
after opening theatrically in 2002; his second
feature length documentary, We Are Wizards,
had its world premiere at SXSW in March of 2008
and was later theatrically released in five cities
across the country; his third feature-length film,
Journey to Planet X, had its world premiere at
the Tribeca Film Festival and has traveled to film
festivals around the world; the film was picked
up as an Epix Original Documentary and aired
nationwide in May of 2013; his most recent short
film, An Immortal Man, premiered at the Toronto
International Film Festival and will air as part of
ESPN’s 30 for 30 documentary series in 2015.
John Murphy
Jacki Ochs
B.F.A., San Francisco Art Institute; her films have
been broadcast worldwide; awards include Special
Jury Prize at Sundance Film Festival, Best Feature
Documentary at SXSW Film Festival, premieres at
the New York Film Festival, Mannheim Film Festival
(Germany) and Cinema du Réel (Paris); two MacDowell Colony Fellowships and the Guggenheim
Fellowship. Articles about her work have appeared
in The New York Times, LA Times, Film Comment,
Cinéaste, Variety, and International Documentary Magazine, among others. Ochs is executive
director of the Human Arts Association, a not-forprofit media arts foundation.
211
Florina Titz
Visiting Instructor
B.A., University of Letters, Romania; M.F.A,
Film and Video Production, University of Iowa;
writer and filmmaker from Romania; wrote and
directed TRIP, a no-budget guerrilla-style feature
film about the Romanian post-communist lost
generation; currently working on her second
feature film MOMO; her work has been exhibited
nationally and internationally, at film festivals
such as Cannes, SXSW, European Short Films,
Queer Fruits (Australia), Antimatter, Chicago
Underground, and many more.
Eric Trenkamp
Visiting Instructor
B.A., College of Santa Fe; an award-winning
writer/director whose short films and
documentaries have been featured on IFC and
Current TV, as well as in festivals in New York and
Los Angeles. His feature film American Bomber
won awards at the Manhattan Film Festival, Art of
Brooklyn and Mississippi International Film Festival
and is currently distributed by IndiePix Films.
Fine Arts Faculty
David Alban
B.F.A., Kansas City Art Institute; M.F.A., Cranbrook
Academy of Art; selected group exhibitions:
Clay Art Center, Port Chester, N.Y.; Josaphat
Arts Hall & Convivium33 Gallery, Cleveland; Lill
Street Art Center, Chicago; Wrocław National
Gallery, Poland; selected grants and residencies:
Ksiaz Factory, Poland; Watershed Center for the
Ceramic Arts; Panevezys Glass Works, Lithuania;
International Ceramics Symposium, Hongik
University, Seoul, Korea; Jerome Foundation
Grant Residency, St. John’s University; other
professional: master kiln builder; art fabricator,
Polich Art Works, Newburgh, N.Y.; collections: The
Decorative Arts Museum, Prague; International
Museum of Ceramic Arts, Czech Republic;
Ceramic Arts Museum, Poland; the Bemis
Foundation; the Butler Museum of Art.
Adam Apostolos
Sculpture Technician, Visiting Instructor
Karen Bachmann
B.F.A., Pratt Institute; exhibitions: Museum of Arts
and Design, New York; Philadelphia Museum of
Art; Oregon College of Arts and Sciences; Greene
and Greene Gallery, Lambertville, N.J.; Miyo Oto,
San Francisco; Flushing Council of the Arts and
Sciences, Flushing, N.Y.; Craze Gallery, London;
www.karenbachmanndesigns.com.
Lisha Bai
B.A., Washington University in St. Louis; M.F.A,
Yale University; exhibitions: National Academy,
New York; MCLA Gallery 51, North Adams, Mass.;
Bravin Lee Programs, New York; Zone Chelsea
Center for the Arts, New York; Josée Bienvenu
Gallery, New York,; Tyler Estate, New York; Musée
d’Art Américain Giverny, Giverny, France; awards
and residencies: S.J. Wallace Truman Fund
Award, National Academy, New York; Vermont
Studio Center Full Fellowship, Johnson, Vt.; Terra
Summer Residency Fellow, Giverny, France;
publications: The New York Times; The New Yorker;
New York Sun; www.lishabai.com.
Hannah Barrett
M.F.A., Boston University; B.A., Wellesley College;
has spent a decade developing and exhibiting an
oeuvre of androgynous portraiture; had solos in
New York City at the Stephan Stoyanov Gallery
and in Boston at the Childs Gallery and Howard
Yezerski Gallery; has exhibited at the Museum for
Women in the Arts, Washington, and the Museum
of Fine Arts, Boston; recipient of an Artadia Award
and Travel Fellowships from the School of the
Museum of Fine Arts and Wellesley College.
Rick Barry
Digital Arts, Professor
Donald Pierce School of Painting; Pratt Institute;
founded Rick Barry/Desktop Studio in 1987; prior
design work at William Etsy Company, Craig Adams
Associates, Helitzer Advertising, and Robert
Whitehall Advertising.
Lisa Bateman
B.F.A., East Carolina University; M.F.A., Virginia
Commonwealth University; recent exhibition and
curatorial projects: Location One, New York; PS1
MoMA, New York; public arts projects: MTA Arts
for Transit, BACA, and PACC; special projects
manager, PS1 MoMA; Teme Celeste magazine;
national and international exhibitions; recipient
of Pollock-Krasner fellowship; www.lisabateman.
tumblr.com/post/3622546208.
Michael Brennan
M.F.A., Pratt Institute; B.A., University of Florida;
exhibited with Minus Space, Thatcher Projects,
Lucas Schoormans, Anthony Meier Fine Arts,
Yoshii Gallery, and others; exhibited internationally
in Brussels, Paris, Shanghai, Sydney; group
exhibitions include PS1 MoMA, Vassar College,
St. Peter’s College; has written extensively for
The Brooklyn Rail, ArtNet, and numerous catalog
essays; reviewed in Art in America, The New York
Times, The Philadelphia Inquirer, etc.; collected in
the National Gallery of Art, Baltimore Museum of
Art, San Jose Museum of Art, American Express,
General Dynamics; also teaches at Hunter College
and has taught at the Cooper Union; www.
michaelbrennan.info.
Deborah Bright
Chair
M.F.A., University of Chicago; B.A., Wheaton
College; photographic projects have been
exhibited internationally, including at the Victoria
and Albert Museum; the Museet for Fotokunst,
Copenhagen; Nederlands Foto Instituut,
Rotterdam; Museum Folkwang, Essen; Canadian
Museum of Contemporary Photography, Ottawa;
Cambridge Darkroom; Vancouver Art Gallery; her
photographs are included in the collections of the
Whitney Museum; National Museum of American
Art, Smithsonian; Addison Gallery of American Art;
Fogg Art Museum; Boston Athenaeum; Rose Art
Museum; University Art Museum at Binghamton
University; California Museum of Photography; and
the RISD Museum of Art; www.deborahbright.net.
212
Fine Arts Faculty
Mona Brody
William Carroll
M.F.A., Vermont College of Art; M.S.,
Massachusetts College of Art; B.F.A., Moore
College of Art and Design; solo exhibitions:
Aljira, Newark, N.J.; the Montclair Art Museum,
N.J.; Pleiades Gallery, N.Y.; group exhibitions:
Southwest Minnesota State University Art
Museum, Marshall; Kunstlerhaus, Graz, Austria;
awards: Geraldine Dodge Foundation Grant;
National Association for the Advancement of
Psychoanalysis, N.Y.; Printmaking Fellowship,
Rutgers Center for Innovative Print and Paper;
collections: Museum of Modern Art Library, New
York; the Montclair Art Museum, Montclair, N.J.;
Virginia Center for the Creative Arts, Sweet Briar;
Boleshlawiec Art Museum, Poland; publications:
The New York Times, Washington Art News;
www.monabrody.com.
M.F.A., C.U.N.Y. Queens College; B.F.A., Pratt
Institute; director of the Studio Program at the
Elizabeth Foundation for the Arts; involved with
the New York art world for more than 25 years;
held prior positions at the Dia Art Foundation, the
Brooklyn Museum, and as the gallery director for
Charles Cowles Gallery and the Elizabeth Harris
Gallery; has lectured for the New York Foundation
for the Arts, Bard College, Cranbrook Academy of
Art, F.I.T., New York University, and the School of
Visual Arts.
Howard Buchwald
Professor
M.A., Hunter College; B.F.A., The Cooper Union;
since 1971: numerous solo and group exhibitions
here and abroad; represented by Nancy Hoffman
Gallery: www.nancyhoffmangallery.com; awards:
Gottlieb Foundation, Elizabeth Foundation,
Pollock-Krasner Grant, National Endowment for
the Arts CAPS (Creative Artists Program Services),
Guggenheim Fellowship.
David Butler
M.F.A., University of Washington; B.F.A., Georgia
State University; sculptor, jeweler, designer, and
goldsmith; his work has been extensively exhibited
and is included in public and private collections;
www.davidbutlerco.com.
Blake Carrington
Visiting Instructor
M.F.A., Syracuse University, B.A., Indiana
University; works within the spheres of the
sound, visual, and performing arts; in 2014 he
performed with Soundwalk Collective and Patti
Smith for the French Institute/Alliance Française
Crossing the Line Festival; staged a solo exhibition
and premiered an audiovisual performance at
Contemporary Art Center New Orleans; received
a Jerome Foundation research grant; curated
shows for This Red Door and Dumbo Arts Festival;
previously he also staged solo exhibitions at the
Philadelphia Photo Arts Center and Central Utah
Arts Center, and has performed at the Musée
d’Art et d’Histoire du Judaïsme in Paris and
Elektra Festival in Montreal; in 2012 he completed
a sound art commission for Radio del Museo
Reina Sofia in Madrid and performed in the River
to River Festival in New York; has been artist-inresidence at LMCC’s Swing Space in New York,
Rustines Lab in Montreal, Tofte Lake Center in
Minnesota, and Haeinsa Temple in South Korea,
among others; in 2011 he received a NYSCA grant
in support of his debut CD release concert at
St. Patrick’s Old Cathedral in New York; born in
Indiana and currently lives and works in Brooklyn.
Nanette Carter
publications include an artist profile of Alberto
Borea for Arte al Día and co-writing an essay with
Lopez-Chahoud for the Bronx Museum’s Taking
AIM! The Business of Being an Artist Today (2011)
edited by Marysol Nieves; profiles and reviews of
exhibitions he has curated have appeared in The
Art Newspaper, Arte al Día International, and The
Wall Street Journal, among others.
David Cohen
B.A., Hons (History of Art) University of Sussex;
M.A., (History of Art) Courtauld Institute of Art,
University of London.
Adjunct Associate Professor, Coordinator for
Drawing
M.F.A., Pratt Institute; B.A., Oberlin College,
studied abroad in Perugia, Italy, and traveled
through Europe and North Africa; exhibits with the
G.R. N’Namdi Gallery in Chicago, Miami, and Detroit;
works and lives in New York; had solo show in Miami
in October 2012 and in São Paulo, Brazil, in 2013 and
Havana, Cuba, in 2014; www.nanettecarter.com.
Alexia Cohen-Tortoledo
Cammi Climaco
James Costanzo
B.F.A., Kent State University, Ohio; M.F.A.,
Cranbrook Academy of Art, Mich.; Pilchuck Glass
School, Seattle; solo exhibitions: Lump Gallery,
Raleigh, N.C.; Garden Fresh, Chicago; Silo, New
York; Claude Howell Gallery, University of North
Carolina, Wilmington; Duncan Art Gallery, Stetson
University, Deland, Fla.; group exhibitions include:
Front Room, Brooklyn; Rotunda Gallery, Brooklyn;
Spaces, Cleveland; Redsaw, Newark; publications
include: The New York Times, The New York Sun,
Cleveland Plain Dealer, and flavorpill.net;
www.brightsunnyfutures.com.
M.A., M.F.A., University of Iowa; has shown his
work in the U.S. and in Europe; founding member
of REPOhistory, an artist collective that makes
site-specific public artwork based on issues
of race, gender, class, and sexuality; created a
multimedia installation titled datamap_2001.2
that dealt with the social and political climate
and was shown at the Annex, which is affiliated
with White Box; www.jimcostanzo.us.
Ian Cofre
Visiting Instructor
Political Science and Economics, Columbia
University; independent curator and writer based
in New York City, engaged primarily with emerging
and established artists working locally and in Latin
America; his main areas of interest are examining
the art market, alternative economies and their
modes of art production, turning the lens onto
underrepresented artists and marginalized
communities, and contextualizing artists crossgenerationally; has previously worked as director
at Sue Scott Gallery, Studio Manager for Mickalene
Thomas, and most recently as U.S. Director for
the PINTA NY art fair; recent projects include cocurating, as one of 10 curators, the exhibition TEN
at Cindy Rucker Gallery (New York, 2014); Bigger
Than Shadows, DODGEgallery (New York, 2012) with
Rich Blint; and both Tracing the Unseen Border,
La MaMa La Galleria (New York, 2011) and Southern
Exposure at Dumbo Arts Center (Brooklyn, 2009)
with Omar Lopez-Chahoud; other shows include
South Central (2014), a co-curated review of
regional painters from the south of Chile; Behind
Closed Doors (2011), a curated solo project by
Manuela Viera-Gallo at Y Gallery; and The Doubtful
Guest (2010) at Kill Devil Hill in Greenpoint, NY;
Jewelry Technician, Visiting Instructor
B.F.A., Massachusetts College of Art and Design;
her art jewelry pieces have been shown with
Mobilia Gallery and Gallery Loupe, both prominent
galleries in the Art Jewelry world; recently, her
work was shown as part of the Art of Adornment:
Studio Jewelry exhibition at the Hunterdon Art
Museum in New Jersey; www.alexiacohen.com.
Grayson Cox
M.F.A., Columbia University; B.F.A., Indiana
University; exhibitions include Exquisite Corpse
Project, Gasser Grunert Gallery, N.Y.; Short-Term
Deviation, The Elizabeth Foundation for the Arts,
N.Y.; One and Three Quarters of an Inch, curated
by Peter Clough, St. Cecilia’s Parish Art Space,
Brooklyn, N.Y.; Entropy Symphony, performance
with Zefrey Thorwell, Whitney Museum, N.Y.;
B-Sides, 6–8 Months Project Space, N.Y.; grants
and residencies include Rema Hort Mann
Foundation Nominee; Catwalk Artist Residency,
Catskill, N.Y.; Montrose Initiative for the Arts,
Artist Residency program; the Daisy Soros Prize
for Fine Arts, awarded by the American Austrian
Foundation to study in Salzburg, Austria; work
held in the collections of Fisher Landau Center
for Art; John Friedman, Easton Capital, N.Y.; Serra
Sabuncuoglu, N.Y.; www.graysoncox.com.
Fine Arts Faculty
213
Peggy Cyphers
Patrick Fenton
Michael Fujita
Adjunct Professor
B.F.A., Maryland Institute of Art; Towson State
University; M.F.A., Pratt Institute; recipient of
National Endowment for the Arts Fellowship, PS1
MoMA New York Studio Award; Ingor Foundation
Award; represented by E. M. Donahue Gallery,
New York; Solo Press, New York; Betsy Rosenfield
Gallery, Chicago; contributing writer to Arts
Magazine, Art Journal, and other publications;
www.peggycyphers.com.
M.F.A., Stanford University; B.A., University of
California at Los Angeles. Partner and co-founder
of Swayspace, Brooklyn, a custom design studio
with an emphasis on custom printing, letterpress,
book design, interface design, and identity
design. Recent exhibitions include International
Print Center, Art Directors Club, and Governors
Island, in New York. Featured in Made in New York:
Handcrafted Works by Master Artisans.
Pradeep Dalal
Allen Frame
M.F.A., International Center of Photography/
Bard College; M.S., Massachusetts Institute of
Technology in Architecture; B.Arch., Center for
Environmental Planning and Technology, 1987;
www.pradeepdalal.com.
B.A., Art History and English, Harvard University;
represented by Gitterman Gallery in New York
where he had solo exhibitions in 2005 and
2009; his book Detour, a compilation of his
photographs over a decade, was published by
Kehrer Verlag Heidelberg in 2001; recipient
of grants from the Penny McCall Foundation,
the Peter Reed Foundation, Creative Time, Art
Matters, CEC Artslink and others; co-founder
of the contemporary art center Delta Axis in
Memphis in 1992, and in 1990, co-created “Electric
Blanket,” an epic slide show about AIDS, which
toured throughout the U.S. and to Norway, the
U.K., Germany, Hungary, Japan, and Russia; has
been the curator of exhibitions at Art in General,
including Darrel Ellis in 1996 and In This Place in
2004; at PS122 Gallery, including Bearings: the
Female Figure in 2006; and at the Camera Club of
New York, including Linda Salerno: A Selection of
Experimental Photographs from the Black Mirror
Series; currently serves as the president of the
board of the Camera Club of New York, and is an
executive producer of Joshua Sanchez’s feature
film Four; www.allenframe.net.
M.F.A., New York State College of Ceramics at
Alfred University; B.F.A., Ceramic Art, Kansas
City Art Institute; exhibitions include Periphery,
Philadelphia Art Alliance; Sightlines, Jane Hartsook
Gallery; Greenwich House Pottery, New York;
New Porcelain Work, Cross Mackenzie Gallery,
Washington; Artificially Flavored, the Evelyn
Shapiro Foundation Fellowship Solo Exhibition,
The Clay Studio, Philadelphia; Preserve, Master
of Fine Arts Thesis Exhibition, Schein-Joseph
International Museum of Ceramic Art, Alfred, N.Y.;
Michael Fujita, New Work, Red Star Studios, Kansas
City, Mo.; Gyeonggi International CeraMIX Biennale
International Competition, Icheon, Republic of
Korea; Strangely Familiar, NCECA, University of
South Florida School of Art, Tampa, Fla.;
Pretty Young Things, Lacoste Gallery, Concord,
Mass.; Midsummer Eve, Meredith Gallery,
Baltimore; Correlations, Red Star Studios; Small
Favors V, Philadelphia; Of This Century, The
Clay Studio; Conversations, Coincidences, and
Motivations: The Alfred Experience, Snyderman
Gallery, Philadelphia; www.michaelfujita.com.
Gregory Drasler
B.F.A., M.F.A., University of Illinois; solo exhibitions:
Betty Cunningham Gallery, New York; the Center for
Contemporary Art, Chicago; Queens Museum of Art,
N.Y., and the recent Tattoo Parlor, at California State
University at Fullerton, Santa Ana; group exhibitions
include New Museum of Contemporary Art; Whitney
Museum of Contemporary Art/Champion, New
York; Carnegie Museum of Art, Pittsburgh; awards:
Guggenheim Fellowship, National Endowment for
the Arts Fellowship, New York Foundation for the
Arts Fellowship; author of: “Painting into a Corner:
Representation as Shelter,” in The Vitality of Objects:
Exploring the Work of Christopher Bollas (Wesleyan
University Press, 2002); represented in New York by
the Betty Cunningham Gallery; www.drasler.com.
Kelly Driscoll
Assistant Professor
B.F.A., Plymouth University of England; M.F.A.,
City College, New York; exhibitions: Kristen
Frederickson Gallery, New York; International Print
Center, New York; Greater New York (2000), MoMA
PS1, N.Y.; Mark Wooley Gallery, Portland, Ore.;
D.A.P, New York; Kaosiung Museum of Fine Art,
Taiwan; artist books: Jalaluddin Mohammad Rumi
(Vincent Fitzgerald & Co, New York), and Georges
Bataille’s Story of the Eye (the Institute for Cultural
Inquiry, Calif.).
Samuel Evensen
Visisting Assistant Professor
B.F.A., Brigham Young University; M.F.A., the
New York Academy; B.F.A. from Brigham Young
University. Exhibition venues include: Fuse Gallery,
NY; Art House Gallery, Philadelphia; Mark Miller
Gallery, NY; and Sloan Fine Art, NY.
Brad Ewing
Visiting Instructor
M.F.A., Rhode Island School of Design; Teaching
Certificate, Brown University; B.F.A., Cornish
College of the Arts; exhibitions: IPCNY, New
York; Temple University, Rome, Italy; 193c Gallery,
Brooklyn, N.Y.; professional activities: director
and printer, the Grenfell Press, New York; printer,
Sienese Shredder Editions, New York; director and
printer, Marginal Editions, New York; printer for
artist Philip Taaffe.
Linda Francis
Adjunct Professor
M.A., B.F.A., Hunter College; selected solo
exhibitions include Hal Bromm Gallery, Gallerie
Gislain Mollet-Vieville, PS1 MoMA, Damon Brandt
Gallery, Gallerie Per Sten, William Paterson
University, Nicholas Davies Gallery, University of
Alabama College of Arts and Sciences, Cathedral
of St. John the Divine, Minus Space; selected
group exhibitions include Aldrich Museum, Studio
La Citta, Moore College of Art, Stadische Gallerie
Im Lenbachhaus, Kunsthalle Basel, List Gallery
MIT, Nordjyllands Kunst-museum, The Kitchen,
Louisiana Museet, Leubsdorf Art Gallery at Hunter
College, Rogalund Kunstmuseum, Sydney Non
Objective, Vassar College, and Academy of Arts
and Letters Invitational.
Joseph Fyfe
B.F.A., University of the Arts, Philadelphia
College of Art; selected solo exhibitions: JG
Contemporary, New York; Ryllega Gallery, Hanoi,
Vietnam; Cynthia Broan Gallery, New York;
selected group exhibitions include Intersections,
Meyer School of Art; Paint/Not Paint, Paul
Sharpe Contemporary Art, New York; Carton
Rouge, Atelier Tampon-Ramier, Paris; selected
awards: Guggenheim Fellowship; McDowell
Fellowship; Adolph and Esther Gottlieb Award;
Pollock-Krasner Award; Fulbright Award; selected
publications: Art, das Kunstmagazin; Art in
America, Joe Fyfe at Nicholas Davies;
www.joefyfe.com.
Mariam Ghani
M.F.A., School of Visual Arts; B.A., New York
University; Mariam Ghani’s research-based
practice spans video, installation, photography,
performance, and text. Her recent exhibitions
and screenings include the Rotterdam and
CPH:DOX film festivals; dOCUMENTA (13) in Kabul,
Afghanistan, and Kassel, Germany; MoMA in New
York, and the Sharjah Biennial in the United Arab
Emirates. Recent texts have been published in
Filmmaker, Mousse, the Radical History Review, The
New York Review of Books blog, and dOCUMENTA’s
100 Notes/100 Thoughts book series. Ongoing
collaborations include Index of the Disappeared
(with Chitra Ganesh), Performed Places (with Erin
Kelly), and the Afghan Films online archive (with
pad.ma). Ghani has been awarded the New York
Foundation of the Arts and Soros Fellowships,
grants from the Graham Foundation for Advanced
Studies in the Fine Arts, CEC ArtsLink, the MidAtlantic Arts Foundation, and the Experimental
Television Center; and residencies at Lower
Manhattan Cultural Council, Eyebeam Atelier,
Smack Mellon, and the Akademie Schloss Solitude
in Stuttgart.
214
Fine Arts Faculty
Anne Gilman
Eric Heist
Shirley Kaneda
B.F.A., State University of New York at New
Paltz; M.F.A., Brooklyn College; solo exhibitions:
Palacio del Segundo Cabo, Havana, Cuba; Casa
Cristo, Guadalajara, Mexico; Sala Polivanted,
Matanzaz, Cuba; and numerous group exhibitions
and awards; collections: the New York Public
Library; Kresge Museum of Art; Brooklyn Museum;
National Museum of Women in the Arts; Colegio
de Arquitectos de Estado de Jalisco, Guadalajara,
Mexico; Library of Congress; publications: Frayed
Edges (Ediciones Vigia, Matanzas, Cuba, 2001);
Facing Eviction and Don’t Lose Heart, ISCA; www.
annegilman.com.
B.F.A., University of Delaware; Empire State
College, SUNY Studio Program in New York; M.F.A.,
Hunter College; exhibitions: Schroeder Romero
(solo exhibition), New York; Max Protetch, New
York; Islip Art Museum, East Islip, N.Y.; Ronald
Feldman Gallery, New York; Brooklyn Museum,
N.Y.; Centre of Attention, London; publications:
Contemporary magazine; The New York Times,
Village Voice; Elle; founder and director of
Momenta Art, Brooklyn, N.Y.; www.ericheist.com.
Professor
B.F.A., Parsons The New School of Design;
recent solo exhibitions: Danese Gallery, New
York; Bernard Jacobson Gallery, London;
Galerie Jean-Luc and Takako Richards, Paris;
Feigen Contemporary, NY; Galerie Schuster and
Scheuerman; Berlin and Frankfurt; Centre d’Art
Contemporain Roussillon-Languedoc, France;
Centre d’Art d’Ivry, Paris; publications include: Art
in America, ARTnews, Contemporary, The New York
Times, Time Out; Beauty and the Contemporary
Sublime by Jeremy Gilbert Rolfe; What is
Abstraction by Andrew Benjamin; Talking Painting:
Dialogues with 12 Contemporary Abstract Painters
by David Ryan; awards: Guggenheim Memorial
Foundation Grant, Pollock Krasner Foundation
Grant, NEA Regional Fellowship, and The Elizabeth
Foundation; contributing editor for BOMB
magazine and has published articles, catalogue
essays, and reviews for various publications and
journals since 1989; www.shirleykaneda.com.
Jonathan Goodman
B.A., Columbia University; M.A., University of
Pennsylvania; freelance writer and editor, various
publications, including Art in America, ARTnews,
Drawing, and Art Asia Pacific.
David Gothard
B.F.A., Pratt Institute; freelance illustrator
providing conceptual images for major national
and international publications such as The Wall
Street Journal, Newsweek, Time magazine, the
Los Angeles Times, and The New York Times;
www.davidgothard.com.
Toni Greenbaum
M.A., Hunter College; B.A., City College of New
York; a Brooklyn-based art historian specializing
in 20th and 21st-century jewelry and metalwork;
wrote Messengers of Modernism: American Studio
Jewelry 1940-1960, along with numerous book
chapters and essays for arts publications; has
lectured internationally at institutions such as the
Museum of Arts and Design, New York; Museum of
Fine Arts, Boston; and Pinakotheck der Moderne,
Munich, and curated exhibitions for several
institutions, including the Victoria and Albert
Museum in London.
Nancy Grimes
B.A., Indiana University; M.F.A., School of the Art
Institute of Chicago; co-founder of the artists’
space West Hubbard Gallery, Chicago; exhibited
widely nationally; author of Jared French’s Myths;
writes for Art in America and ARTnews, for which
she has been an editorial associate since 1986;
www.nancygrimes.net.
Dave Hardy
Visiting Professor
M.F.A., the Yale School of Art; B.A., Brown
University; studied at the Skowhegan School
of Painting and Sculpture; selected group
exhibitions include Make It Now at Sculpture
Center, Unbalance at Jack Shainman, and Greater
New York 2005 at PS1 MoMA. Solo exhibitions
include Art in General, 92Y Tribeca, and La Mama
Galleria in New York and Southern Exposure in
San Francisco; recipient of New York Foundation
for the Arts fellowship in 2011; had a solo show at
Regina Rex in September 2013;
www.davehardystudio.com.
Vera Iliatova
Studied at the Sorbonne University in Paris,
France, B.A., Brandeis University; M.F.A. Painting,
Yale University; attended Skowhegan School
of Art; exhibition venues include: Monya Rowe
Gallery, NY; Schroeder Romero NY; Eleven
Rivington, NY; and Artists’ Space, NY.
Martine Kacynski
M.F.A., Parsons The New School of Design;
B.F.A., Liverpool Polytechnic, England;
exhibitions: Sculpture Space, Utica, N.Y.; Mary
Dinaburg Studios, New York; Affinity Archives,
Dublin, Ireland; Jessica Murray Projects, Brooklyn,
N.Y.; Kent Gallery, New York; Art and Idea, Mexico
City; Davis Anderson Gallery, Buffalo, N.Y.; public
sculpture: Socrates Sculpture Park, Long Island
City, N.Y.; The Rosen Sculpture Park, N.C.; Lipe
Art Park in Syracuse, N.Y.; recipient of a New
York Foundation for the Arts Fellowship;
represented by Dinaburg Arts in New York;
www.martinestudio.com.
Yael Kanarek
M.F.A., Rensselaer Polytechnic Institute; a
multidisciplinary artist; has been working with
the visual properties of languages and the
Internet, to explore the universality of human
interaction; in addition to her fine art practice
at yaelkanarek.com, she recently founded Aleph
Foundry, a company that specializes in text-based
jewelry; selected for the 2002 Whitney Biennial,
past exhibitions of Kanarek’s work also include
The Drawing Center, New York; Beral Madra
Contemporary Art, Istanbul; National Museum of
Contemporary Art, Athens; CU Museum, Boulder;
Cantor Arts Center, Stanford University; The
Jewish Museum, New York; Exit Art; The Kitchen;
Museum of the Moving Image, New York; Wood
Street Galleries, Pittsburgh; bitforms gallery,
New York; in addition to a Rockefeller New Media
Fellowship and an Eyebeam Honorary Fellowship,
Kanarek is also the recipient of grants from the
Jerome Foundation Media Arts and New York
Foundation for the Arts; commissions from the
SFMoMA and Turbulence.org; residencies at
Civitella Ranieri, Harvestworks and the Ma’amuta
Art and Media Center; in 1999, she founded
Upgrade! International.
Michael Kirk
Adjunct Professor
B.F.A., Rutgers University; M.F.A., Pratt
Institute; exhibitions: Norkse Grafikere, Oslo,
Norway; Gimpel and Wietzenhoffer, New York;
and ArtWalk, New York; collections: Brooklyn
Museum, N.Y.; Library of Congress, Washington;
Philadelphia Museum of Art; DeCordova and Dana
Museum, Lincoln, Massachusetts.
Ross Knight
B.F.A., University of Minnesota at Minneapolis;
exhibition venues include: Team Gallery, PS 1/
MoMA, Art Metropole, the Sculpture Center, Apex
Art and Richard Telles Fine Art.
Vivien Knussi
Adjunct Instructor
Ph.D., Columbia University; M.A., B.A., Tufts
University; lectured at MoMA focusing on
photography; also worked for six years as curator
and head of acquisitions for the Dreyfus Mellon
Fund; since completing her Ph.D. Knussi has
begun writing a textbook on photography.
Peter Kruty
B.A., Geography, University of Chicago; M.A.,
M.L.S., Book Arts, Printmaking and Photography,
University of Alabama; founded Kruty Editions
in 1991 in Brooklyn, providing a studio for
collaborative artists’ books, letterpress,
printmaking, typographic design, and fine
commercial letterpress printing.
Alexander Kvares
B.F.A., Painting, University of Kansas; M.F.A.
Printmaking, University of Texas; exhibition venues
include: Mulherin + Pollard, NY, Westbeth Gallery,
NY; Beep Beep Gallery Atlanta, GA; the Atlanta
Contemporary Art Center, GA;
Fine Arts Faculty
215
Benjamin La Rocco
Marc Lepson
Ann Mandelbaum
M.F.A., Pratt Institute; B.A., Middlebury College;
represented by Janet Kurnatowski Gallery in
New York and John Davis Gallery in Hudson; has
exhibited in Europe and America; has been a
visiting professor at Rutgers University and at
Purchase College, and has lectured and been a
visiting critic at Rutgers, Montclair, Hunter, and
PS1 MoMA; currently teaches in the Fine Arts
department of Pratt Institute; participated as a
panelist at “Younger than Pontius Pilate” at The
National Academy Museum, New York; recipient
of a Marie Walsh Sharpe residency (2005–06) and
the S.J. Wallace Truman Fund Award for Painting
from the National Academy of Design Museum; is
a contributing writer and editor at large for The
Brooklyn Rail.
M.F.A., School of the Art Institute of Chicago,
1997; B.A., English Literature, State University of
New York at Albany, 1991; work has been included
in exhibitions in New York; Chicago; San Francisco;
Vienna; Berlin; and Torino, Italy, among others;
recipient of a 2001 grant from the Pollock-Krasner
Foundation; reproductions of his work have
appeared in the September and October 2004
issues of Art in America; www.lepson.info.
Adjunct Professor
M.A., Media Studies, The New School; M.F.A.,
Pratt Institute; photographer, sculptor, and video
artist who has exhibited internationally, including
solo shows at The Grey Art Gallery, New York;
Center for Creative Photography, Tucson, Ariz.;
Galerie Francoise Paviot, Paris; Galerie Anita
Beckers, Frankfurt, Germany; Westfalischer
Kunstverein, Munster, Germany; Fotomuseum,
Munich; Frankfurter Kunstverein, Frankfurt;
Stadtgalerie Saarbruchen; Musée de l’Elysée,
Lausanne, Switzerland; Canal Isabel II, Madrid;
Kunsthalle Goeppingen, Germany; published in
three hard cover monographs: Ann Mandelbaum
(1994), and Ann Mandelbaum, New Work (1999),
both published by Edition Stemmle, and Ann
Mandelbaum, Thin Skin (2005), published by Hatje
Cantz; lives in Costa Rica and New York; www.
annmandelbaum.net.
David Lantow
M.F.A., City University of New York, Brooklyn
College; B.F.A., University of Iowa; exhibition
venues include Exit Art, Ruby Gallery, Nurture Art;
co-founded and curated exhibits at the former
Cold Fish Art Space in Brooklyn, and was the
artist liaison/Muse Fuse coordinator in 2001–02
for NURTUREart Non-Profit Inc.; from 2005–09
served as president of AGAST; since 2003 has
taught printmaking at Brooklyn College; www.
dlantow.com.
Catherine Lecleire
M.F.A., University of Southern California;
M.A.E., Art Education, Philadelphia College of
Art; B.F.A., Philadelphia College of Art; B.A.,
Political Science, Ursinus College; selected
solo and group exhibitions at Montclair Art
Museum, Hunterdon Museum of Art, William
Paterson University, College of New Jersey,
University of Wisconsin, Dana Library, Center for
Contemporary Printmaking, University Council
on the Humanities; has taught at MIT’s Visual Arts
Program, Hunter College, Bennington College,
and Maryland Institute of Art.
Jenny Lee
Adjunct Professor
B.F.A., Sculpture, the Cooper Union for the
Advancement of Science and Art; has exhibited
extensively in galleries, arts organizations and
museums; in fall 2002, had a retrospective at
the Hoboken Historical Museum, sponsored by
the NJ State Council for the Arts and the NJ
Council for the Humanities, National Endowment
for the Humanities; in 2001, her work was featured
in the first-ever historical survey of 20th-century
welded sculpture held at the Neuberger Museum;
work is in public venues such as the Brooklyn
Museum, the Newark Museum, and the Neuberger
Museum of Art; private collections include
DeMenil and Borgenicht-Brandt;
www.ironmite.com.
Frank Lind
Professor
M.F.A., Pratt Institute; B.A., Georgetown
University; selected solo exhibitions: Recent
Paintings, Gallery 210, Brooklyn, N.Y.; Ocean
Paintings from Long Island, Henry Gregg Gallery,
DUMBO, New York; selected group exhibitions:
The New Hudson River School, Riverstone Arts,
Haverstraw, N.Y.; Mermaids, Sideshow Gallery,
Williamsburg, N.Y.; www.lindpaintings.com.
Omar Lopez-Chahoud
M.F.A.,Yale University School of Art; an
independent international curator, recent
exhibitions include: Untitled Art Fair at Art
Basel Miami Beach, NY/Prague6, at Futura
Contemporary Art Center, Prague, Czech
Republic; co-curated Lush Life, which spanned
nine galleries in New York; Salon 94, Invisible
Exports, Lehman Maupin, Eleven Rivington, On
Stellar Rays, Y Gallery, Sue Scott Gallery, and
Collette Blanchard Gallery; and The Pipe and
the Flow at Espacio Minimo in Madrid, Spain; has
written essays for several publications including
the catalogs for Dynasty (2006) and Rewind/ReCast/Review (2005); participated in curatorial
panel discussions at Artists’ Space, Art in General,
MoMA PS1, and The Whitney Museum of American
Art in New York City; was a guest critic at Art Omi
in 2007; exhibitions have been reviewed in The
New York Times, ArtForum, Village Voice, among
many other publications.
Patricia Madeja
Associate Professor
B.F.A., Pratt Institute; recipient of an American
Vision Award, AJDC (American Jewelry Design
Council), Saul Bell Award, Jewelry Arts Award,
and Niche Award and featured in a variety of
periodicals and books including Adorn, 500
Necklaces, Art Jewelry Today, The Art and Craft
of Making Jewelry and American Couture Jewelry,
and most recently The New Jewelers; a strong
advocate for jewelry education, she has been
teaching in the Fine Arts Jewelry department at
Pratt Institute since 1998, was appointed jewelry
coordinator in 2005, and received a full-time
appointment in 2011. www.patriciamadeja.com.
Dennis Masback
Adjunct Professor
B.F.A., M.F.A., Washington University School of
Art; recipient of National Endowment for the Arts
Fellowship; collections: Museum of Art, Rhode
Island School of Design; Emory University; AT&T;
Prudential Insurance Co.; Chemical Bank; and
Fidelity Investments; publications: The New York
Times, Artforum, ARTnews; represented by BerryHill Galleries, New York; www.dennismasback.com.
J. Martin Mazzora
B.F.A., West Virginia University; M.F.A, American
University, DC; co-founder of Cannonball Press;
coordinator of Printmaking at Parsons The New
School of Design, New York; curator/coordinator
of the cross-institutional print exchange
Swaptropolis.
Dennis McNett
M.F.A., Pratt Institute; designer of board graphics
for Anti-Hero skateboards; collaborates with
Cannonball Press; master printer at Brand X
editions; www.howlingprint.com.
Nat Meade
Assistant Chair, Visiting Instructor
M.F.A., Pratt Institute; B.F.A., University of
Oregon; exhibited at Pierogi Gallery, Brooklyn,
N.Y.; Spike Gallery, New York, Rogue Space, New
York, Froelick Gallery, Portland, Ore.; Bernabe
Somoza Fine Art, Houston; Karin Clarke Gallery,
Eugene, Ore.; curated Artists Registries: Pierogi
Flat Files; publications: Berlin Journal, Tin House,
Portland Monthly, Northwest Review;
www.natmeade.com.
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Fine Arts Faculty
Jennifer Melby
John Monti
M.F.A., Pratt Institute; B.F.A., Arcadia University;
has taught at Yale University, LaGuardia
Community College, Fairleigh Dickinson University,
the Lower East Side Printshop, and the Robert
Blackburn Printmaking Workshop, and has been
a guest lecturer at Brandeis University, Rhode
Island School of Design, Lehman College, and The
Cooper Union; currently teaches Printmaking
at Pratt; for more than 25 years has operated
her own studio which specializes in intaglio
editions, and has worked there with many artists,
including Donald Baechler, Brice Marden, Suzanne
McClelland, Sean Scully, Joanne Greenbaum, Joan
Snyder, Julia Jacquette, Red Grooms, and Amy
Kao; prints from her studio have been acquired
by contemporary collections including those
of MoMA, The New York Public Library, Whitney
Museum, Houston Museum of Fine Art, and Tate
Gallery; in 2007 she was in residence at the
American Academy in Rome on a visiting artist
fellowship; www.jennifermelby.com.
Professor
M.F.A., Pratt Institute; B.S., Painting, Portland
State Universit; solo exhibitions include: Synthetic
Pleasures, Bentley Projects, Phoenix, Ariz.; Fancy
and Rondo, Elizabeth Harris Gallery, New York;
Amatory Bodies, Sarah Moody Gallery of Art,
University of Alabama, Tuscaloosa, and many
group exhibitions; public art projects include
Fancy for Boston; Changing Places, Metro Tech
Center Brooklyn, N.Y.; Neuberger Museum of
Art; Munson-Williams-Proctor Institute of Art;
recipient of a Joan Mitchell Foundation Grant, the
Louis Comfort Tiffany Foundation Grant, and New
York Foundation for the Arts Fellowship Grant;
work is included in the collections of AT&T; the
Arkansas Arts Center, the Eli and Edythe Broad
Foundation, the Brooklyn Museum, the Castellini
Art Museum of Niagara University, and Chase,
among others; www.johnmonti.com.
Ann Messner
Adjunct Professor
B.F.A., Pratt Institute; Henry Moore Foundation
Post Graduate Fellow; solo exhibitions: Zilkha
Gallery, Wesleyan University, Conn.; Dorsky
Gallery, New York; Bath International Arts Festival,
UK; Fawbush Gallery, New York; Worcester
Art Museum, Mass.; Shoshana Wayne Gallery,
Los Angeles; numerous public projects and
installations include Eastern State Penitentiary,
Philadelphia; Grey Art Gallery, NYU; Skulptur:
Koln/Ehrenfeld, Cologne; awards: NEA Fellowship,
New York Foundation for the Arts, Henry Moore
International Fellowship; John Simon Guggenheim
Foundation, Anonymous Was a Woman Award;
Gottlieb Foundation Fellowship; Bunting
Fellowship, Radcliffe Institute for Advanced
Studies, Harvard University; www.annmessner.net.
Curtis Mitchell
M.F.A., Sculpture, Yale University School of Art;
M.A. Sculpture, Goddard College; solo exhibitions:
PS1 MoMA Project Room, New York; Mattress
Factory, Pittsburgh; Esso Gallery, New York;
AC Projects, New York; KX Galerie, Hamburg,
Germany; Andrea Rosen Gallery, New York;
Galerie Marc Jancou, Zurich; White Columns,
New York; selected group exhibitions: Modeling
the Photographic: The End(s) of Photography,
McDonough Museum of Art, Youngstown, Ohio;
Leslie Tonkonow Gallery, New York.; Copilandia,
Seville, Spain; Andrew Kreps Gallery, New York;
Paolo Tonin Arte Contemporanea, Turin, Italy;
Feigen Contemporary, New York; Dorsky Gallery
Curatorial Projects, Long Island City, N.Y.;
Contemporary Museum, Baltimore; essays and
article written for: M/E/A/N/I/N/G and Lusitania;
www.curtismitchellart.com.
Donna Moran Professor
M.F.A., Painting/Printmaking, Pratt Institute;
B.A., Art Education, C. W. Post College;
exhibitions include Instituto Cultural Peruano
Norteamericano, Lima, Peru; Taller Galleria Forte,
Spain; McGraw Gallery; the Rabbet Gallery; Art
Source LA; collections include Noyes Museum,
New Jersey State Museum of Art, Bristol-Myers
Squibb, Hyatt Corporation, Johnson & Johnson;
various solo and group shows, corporate and
private collections; represented by the Rabbet
Gallery, Art Source, LA; visiting artist: the Victorian
College of Art, Melbourne, Australia; publications
include Monoprinting (Jackie Newell, A & C Black,
Great Britain); Water-Based Screen Printing (Steve
Hoskins & C. Black, Great Britain); The Complete
Printmaker (John Ross & Clare Romano, Free
Press); www.dlmoran.com.
Robert Morgan
Adjunct Professor
Ph.D., New York University; M.F.A., University of
Massachusetts; E.D.M., Northeastern University;
B.F.A., University of Redlands.
Carlos Motta
M.F.A., Milton Avery Graduate School of the
Arts at Bard College; B.F.A., School of Visual
Arts; multidisciplinary artist whose work draws
upon political history in an attempt to create
counter-narratives that recognize the inclusion of
suppressed histories, communities, and identities.
Work has been presented internationally in venues
such as Tate Modern, London; The New Museum,
the Guggenheim Museum and PS1 MoMA, New
York; Institute of Contemporary Art, Philadelphia;
Museo de Arte del Banco de la República, Bogotá;
Museu Serralves, Porto, Portugal; National Museum of Contemporary Art, Athens, Greece; CCS
Bard Hessel Museum of Art, Annandale-on-Hudson, New York; San Francisco Art Institute, and
Hebbel am Ufer, Berlin. Pprepared a Façade
Project for the Sala de Arte Público Siqueiros
in Mexico City, was an artist in residency at the
Institute for Art, Religion and Social Justice–Union
Theological Seminary in New York in the spring
2013, and had a solo exhibition at Galeria Filomena
Soares in Lisbon, Portugal, in May 2013. Graduate
of the Whitney Independent Study Program, he
was named a Guggenheim Foundation Fellow in
2008, and he received grants from Art Matters in
2008, New York State Council on the Arts in 2010,
and the Creative Capital Foundation in 2012.
Cyrilla Mozenter
Adjunct Professor
M.F.A., B.F.A., Pratt Institute; has exhibited at
The Aldrich Contemporary Art Museum, The
Drawing Center, Brooklyn Academy of Music, and
Neuberger Museum of Art; has been artist-inresidence at Dieu Donné Papermill, the Kohler
Arts Center, and Instituto Municipal de Arte e
Cultura-Rioarte, Rio de Janeiro; recipient of
grants from NYFA and The Fifth Floor Foundation;
represented in collections of the Arkansas Arts
Center, Birmingham Museum of Art, Brooklyn
Museum, Hood Museum of Art, Walker Art Center,
and Yale University Art Gallery;
www.cyrillamozenter.com.
Dominique Nahas
M.A., Art History, Institute of Fine Arts, New
York University; B.F.A., School of Visual Arts;
independent curator and critic; contributor:
Art in America, Flash Art, d’art Int’l, Artnet,
and Trans; co-curator with artist Margaret
Evangeline in upcoming One-to-One
exhibition of contemporary work at the Rose
Art Museum; selected exhibitions curated
include: Inadmissible, HP Garcia Gallery New
York; BROOKLYN!, Palm Beach Institute of
Contemporary Art; ClenchClutchFlinch, Paul
Rodgers, New York; Paradise 8, Exit Art, New
York; Plural Speech, White Box; PopSurrealism,
Aldrich Museum; Open Salvo, White Box, 1998;
Bypass, Kunstmuseum-Bonn, 1997; Nancy Spero:
Retrospective, New Museum of Contemporary
Art; extensive service as resident and guest
critic: RISD, Art OMI, Parsons The New School
of Design; including lectures at Reykjavik
National Museum, Iceland, and the Brooklyn
Museum; selection panelist: ArtOmi International
Residency Program and Henry Street Settlement
Residency Program.
Fine Arts Faculty
217
Mario Naves
Thirwell Nolen
Catherine Redmond
M.F.A., Pratt Institute; B.F.A., University of Utah;
recipient of grants from the National Endowment
for the Arts, the E.D. Foundation, the Sugarman
Foundation, and the Pollock-Krasner Foundation;
his paintings and works-on-paper are represented
by the Elizabeth Harris Gallery in Chelsea and have
been covered by The New York Times, The New
York Sun, the Village Voice, ArtCritical.Com, ArtNet
and other publications; his criticism has been
published in The New York Observer, Slate, The
New Criterion, New Art Examiner, The Wall Street
Journal, and City Arts; lives and works in New York
City; www.mnaves.wordpress.com.
M.Arch., Georgia Institute of Technology;
B.Arch., Auburn University; a studio artist
who trained as a painter and architect, whose
current body of work is composed of sculptural
objects and architectural installations in clay
and other materials; his work has been exhibited
internationally and can be found in numerous
private and public collections including the
Cooper-Hewitt National Design Museum
(Smithsonian), New York; the Newark Museum,
N.J.; the Everson Museum of Art, Syracuse, N.Y.;
the Museum of Fine Arts, Houston, and the De
Young Museum, San Francisco; other awards
include NYFA Fellowship and NEA Fellowship;
www.nolenstudios.com.
Art Students League of New York; Harpur College,
SUNY; Cornell University; selected solo and group
exhibitions at David Findlay Jr., New York; M.B.
Modern, New York; Albright Knox Art Gallery,
Buffalo, N.Y.; Butler Institute of American Art,
Youngstown, Ohio; Babcock Galleries, New
York; Cleveland Museum of Art; Jerry Soloman
Gallery, Los Angeles; Jan Cicero Gallery, Chicago;
collections include: Art Students League of New
York, Butler Museum of American Art, Citibank of
New York, Cleveland Clinic Foundation, Dreyfus
Corporation, Luther College Museum, Progressive
Corporate Collection, and Reading Public
Museum; www.catherineredmond.com.
Ross Neher
Adjunct Professor
M.F.A., Pratt Institute; B.F.A., Washington
University School of Fine Arts; exhibitions
include Mitchell Algus Gallery, New York; Howard
Scott/M-13 Gallery, New York, NY; Through Our
Eyes: Belfast/New York, Belfast, Northern Ireland;
Painting Abstraction, New York Studio School, New
York; Preview, Howard Scott Gallery, New York;
The Fanelli Show, OK Harris Gallery, New York;
Interior Landscapes: Art from the Collection of
Clifford Diver, Delaware Art Museum, Wilmington,
Del.; www.rossneher.com.
Sarah Nicholls
B.A., Sarah Lawrence; a visual artist who makes
pictures with language, books with pictures,
prints with type, and animations with words; often
works with found language, historical research,
and metal type, combining image, visual narrative,
and time; has written a collection of self-help
aphorisms, publishes a series of free informational
pamphlets, and is currently working on a field
guide to extinct birds; ran the studio programs
at the Center for Book Arts in Manhattan for 12
years, organizing programs, publications, talks, and
events; teaching workshops in letterpress; and
running a residency program for emerging artists;
has exhibited her prints and limited-edition artist
books internationally; work is in the collections
of the Brooklyn Museum, Oberlin College, the
University of Pennsylvania, and Stanford University,
among others.
John O’Connor
Skowhegan School of Painting and Sculpture
Skowhegan; M.F.A., Pratt Institute; M.A., Theory,
Criticism, and History of Art, Pratt Institute;
B.A., Graphic Design, Westfield State College;
exhibitions include: Pierogi Gallery, Brooklyn,
NY; Sarah Lawrence College, Bronxville, NY; So
Different, So Appealing, Gramercy Park, New York;
curated by Rachel Churner, The Death Affect,
Artblog, New York; The Way Things Work, Athens
Institute of Contemporary Art, Athens, Ga.; Spiral
Bound, Notebooks from New York to San Diego, UC
San Diego, Calif.; www.johnjoconnor.net
Bethany Pelle
M.F.A., Ceramics, Tyler School of Art;
B.F.A., Ceramics, University of Miami; sculptor
and installation artist whose exhibitions include:
Give the Cat a Name, M.F.A. Thesis Exhibition,
Temple Gallery, Philadelphia; BANG, Power Plant
Productions, Philadelphia; Jumbalaya, Elkins Tyler
Galleries, Philadelphia; Four from Philly, Cedar
Crest College, Allentown, Pa.;
www.bethanypelle.com.
Sheila Pepe
M.F.A, School of the Museum of Fine Arts, Tufts
University; B.F.A., Massachusetts College of Art;
selected solo exhibitions: Istanbul International
Arts Fair; Carroll and Sons, Boston; Dust Gallery,
Las Vegas; Fluent Collaborative, Austin, Texas;
Smith College Museum of Art, Northampton,
Mass.; The Drawing Center and Susan Inglett
Gallery, New York. Selected group exhibitions:
Galleria NOPX, Turino, Italy; Participant, Inc.,
New York; Inman Gallery, Houston; Andrew
Edlin Gallery, New York; Sue Scott Gallery, New
York; Artisterium, Tbilisi, Georgia; Manheim
Kunstverein, Germany; PS1 MoMA, New York;
LACE, Los Angeles; Museum of Arts and Design,
New York; Palm Beach Institute of Contemporary
Art, Lake Worth, Florida. Grants and fellowships:
Anonymous Was a Woman Award; Art Matters
Grant; Joan Mitchell Foundation Artist Grant;
Louis Comfort Tiffany Foundation Award; Mary
Ingraham Bunting Fellowship.
Max Reinhardt
M.F.A., The School of the Art Institute of Chicago;
B.F.A., University of Colorado at Boulder;
www.maxreinhardtart.com.
William Richards
M.F.A., University of New Mexico; M.A., University
of Iowa; B.F.A., Pratt Institute; selected solo
exhibitions: Nancy Hoffman Gallery, New York;
Allen R. Hite Art Institute, University of Louisville,
Ky.; Tomasulo Gallery, Union County College,
Cranford, N.J.; Moravian College Gallery,
Bethlehem, Pa.; selected group exhibitions:
National Academy Museum, New York; Brooklyn
Museum; Virginia Museum of Fine Arts, Richmond,
Va.; Art Institute of Chicago; Pennsylvania
Academy of the Fine Arts, Philadelphia; San
Francisco Museum of Modern Art; Kunsthalle,
Nuremberg, Germany; Salas de Exposiciones
de Bellas Artes, Madrid; NEA Grant and CAPS
Grant; awarded a gold medal by the Society
of Illustrators, 1968; Represented by Nancy
Hoffman Gallery, New York, since 1974; works in
the following public collections, among others:
Whitney Museum of American Art, Art Institute
of Chicago, National Museum of American Art,
Washington; recipient of grants from the National
Endowment for the Arts and the Creative Artists
Public Service Program, New York.
Howard Rosenthal
M.F.A., Pratt Institute; B.F.A., Rhode Island School
of Design; recipient of grants from the National
Endowment for the Arts and the Corporation
for Public Broadcasting; commissions from
Snug Harbor Cultural Center in New York and
Crosby Gardens in Toledo, Ohio; his work has
been the subject of one-person exhibitions in
New York, Los Angeles, San Francisco, Boston,
San Diego, and Tokyo, and has been included in
group exhibitions throughout the United States
and Europe; a documentary film about his work
has been broadcast nationwide by the Public
Broadcasting System, and can currently be viewed
on YouTube; reviews of his work have appeared
in The New York Times, Newsday, Artsmedia, Art
and Space Magazine, The Long Island Traveler
Watchman, The News Review, Cover Magazine, and
L Nine Magazine.
218
Fine Arts Faculty
Mary Beth Rozkewicz
shows, including major exhibitions at the Museum
of Contemporary Art, Chicago; the Hirshhorn
Museum and Sculpture Garden, Washington;
the Virginia Museum of Art, Richmond, Va.; the
Whitney Museum Philip Morris Gallery, New York;
and the Wexner Center for the Arts, Columbus,
Ohio; exhibited large-scale projects in Japan in
1999 and in 2003; more recently, she has been
included in several international shows such as
Sonsbeek 9, Arnhem, Holland; Regarding Beauty
at the Hirshhorn Museum, Washington; Rapture
at the Barbican Museum, London, England, New
Material as New Media at the Fabric Workshop
and Museum, Philadelphia, and Dresscodes,
St. Gallen, Switzerland; participated in a major
survey exhibition called Dirt on Delight organized
by the ICA Philadelphia, which traveled to
the Walker Art Center in Minneapolis; www.
beverlysemmesstudio.com.
B.F.A., State University of New York; a studio
jeweler working in sterling silver and gold
vermeil, who frequently sandblasts intricate
patterns on the surfaces, adding a subtle but
eye-catching detail.
Stuart Sachs
Works in sculpture with metals and other
materials to create work that is sometimes
environmental, sometimes performance, and
often involves a lyrical dance with steel and
stone; also designs and creates furniture and
architectural metalwork.
Analia Segal
M.A., Studio Art, New York University; B.A.,
Graphic Design, University of Buenos Aires;
exhibitions: Gallery Kobo Chika, Tokyo, Japan;
PS1 MoMA, Long Island City, N.Y.; DPM Gallery,
Guayaquil, Ecuador; Galleri Tapper-Popermajer,
Teckomatorp, Sweden; Galeria Alberto Sendros,
Buenos Aires, Argentina; Plus Ultra Gallery,
New York; Museo de Arte Moderno, Buenos
Aires; Finesilver Gallery, San Antonio, Texas;
Weatherspoon Art Museum, Greensboro, N.C.;
Galeria Animal, Santiago, Chile; White Columns,
New York; Dumbo Arts Center, New York; Centre
de Récherche Imaginaire et Création, Chambery,
France; awards: Guggenheim Foundation, PollockKrasner Foundation, New York Foundation for the
Arts; public collections: El Museo del Barrio, New
York; Blanton Museum of Art, Austin, Texas; Museo
de Arte Moderno de Buenos Aires; selected
bibliography: Restroom Design (Loft), Made
for Love (Stichting Kunstboek, Belgium, 2010);
Simply Material (Victionary, Hong Kong, 2008);
published by Die Gestalten Verlag GmbH & Co. KG
Helsingborgs Dagblad; www.analiasegal.com.
Beverly Semmes
Visiting Professor
M.F.A., Yale University School of Art; B.F.A.,
Boston Museum School; B.A., Art History,
Boston Museum School; Skowhegan School of
Art; her first exhibitions were two concurrent
project rooms at PS1 MoMA and Artist’s Space
in New York; other early exhibitions included
a large installation at the Southeastern Center
for Contemporary Art in Winston-Salem, N.C.
and a room-scale work made for the Institute of
Contemporary Art in Philadelphia; by the mid1990s, she was exhibiting work across the United
States and in Europe; European projects at this
time included solo shows at such major venues
as the Camden Arts Centre in London; the Pecci
Museum in Prato, Italy; and the Irish Museum of
Modern Art in Dublin; also included in several
important group shows early in her career, such
as Plastic Fantastic Lover at the Blum Helman
Warehouse in New York, Bad Girls at New York’s
New Museum, and Bad Girls West at the UCLA Art
Museum in Los Angeles; numerous solo museum
Carla Shapiro
International Center of Photography; B.F.A.,
Syracuse University; Central London Polytechnic,
London England; exhibitions include: Timeless
Tasks, Texas Tech University, Lubbock Texas;
Virtual Visits, Delhi Cultural Museum, Delhi, NY;
Virtual Visits, The Eeph Gallery, Arkville, N.Y.;
Obituaries to Prayer Flags, Pace University Gallery;
Catskill Mountain Foundation Gallery, Hunter, N.Y.;
Timeless Tasks, Teahouse Gallery, Rochester, N.Y.;
DRESS, Hudson Opera House, Hudson, N.Y.; Mind/
Full, Working with artists, 910 Art Gallery, Denver;
www.carlashapiro.com.
Jean Shin
B.F.A., M.S., Pratt Institute; Shin’s work has
been widely exhibited in major national and
international museums, including in solo
exhibitions at the Scottsdale Museum of
Contemporary Art in Arizona (2010), Smithsonian
American Art Museum in Washington (2009), the
Fabric Workshop and Museum in Philadelphia
(2006), and Projects at MoMA in New York
(2004); other venues include the New Museum
of Contemporary Art and the Museum of Arts
and Design in New York; the Museum of Fine
Arts, Houston; the Museum of Fine Arts, Boston;
Asia Society and Museum, The Brooklyn Museum,
Sculpture Center, Socrates Sculpture Park, and
Frederieke Taylor Gallery in New York; sitespecific permanent installations have been
commissioned by the U.S. General Services
Administration Art in Architecture Award, New
York’s Percent for the Arts, and MTA Art for
Transit; numerous awards, including the New
York Foundation for the Arts Fellowship in
Architecture/ Environmental Structures (2008)
and Sculpture (2003), Pollock-Krasner Foundation
Grant, and Louis Comfort Tiffany Foundation
Biennial Art Award; works have been featured in
many publications, including Frieze Art, Flash Art,
Tema Celeste, Art in America, Sculpture Magazine,
ARTnews, and The New York Times;
www.jeanshin.com.
Gerald Siciliano
M.S., B.F.A., Pratt Institute; on completion of his
studies at Pratt Institute, he began working in
foundries, marble, and fabrication studios in New
York and Tuscany on both his own work and that
of a broad range of international sculptors; has
maintained an ongoing record of exhibitions, sales,
and commissions as well as pursuing projects in
architecture, design, and sculpture restoration;
has been an honored guest at international
sculpture symposia in Korea and North Africa;
teaching background includes appointments
on all levels of education from elementary to
post-graduate in a broad range of two- and
three-dimensional media; class offerings include
Life Study, Foundry, and Stone Carving; www.
geraldsicilianostudio.com.
Robbin Silverberg
B.A., Sculpture and Art History, Princeton
University; founding director of Dobbin Mill, a
hand-papermaking studio, and Dobbin Books,
a collaborative artist book studio; artwork is
divided between artist books and installations;
the work conceptually focuses on word cognition
and interlinearity, with an emphasis on process
and paper as activated substrate; has exhibited
and taught extensively in the U.S., Canada, South
Africa, South Korea, Mexico, and Europe; her
artwork is found in numerous collections, such as
the Museum Meermanno, The Hague, Bibliothèque
Nationale de France, and Yale University’s Art
of the Book; on the boards of the Center for
Book Arts, Ampersand Foundation, Brooklyn
Artist Alliance; and Alma on Dobbin; www.
robbinamisilverberg.com.
Keith Simpson
Ceramics Technician, Visiting Instructor
B.F.A., Kansas City Art Institute; M.F.A., the Ohio
State University; awarded a residency at the
Archie Bray Foundation for the Ceramic Arts;
his work is about craft, material consciousness,
and taste; he contrasts fired ceramic materials
with synthetic media, allowing them to play off
one another as a type of warm-hearted cultural
critique, which works with and against his own
taste; www.keithwhitecloud.com.
Joseph Smith
Professor
M.F.A., Painting, New York University; B.F.A.,
Graphic Arts and Illustration/Fine Arts, Pratt
Institute; 1965–66: Drawing, Wagner College;
1969–71: Painting. Workshop, Art Alliance of Cent.
Pa.; 1975: Visualization Workshop, Wainwright
Center, Rye, NY; 1984: Painting, Richmond College,
London; 1987–91: Painting and Drawing, ATI,
Stocton State College, N.J.; 1990: Art Institute
of Chicago, Oxbow, Mich.; 1992–98: Painting:
MS Art Colony 2000; 2001: University of Rio
Grande, graduate Children’s Book Illustrating,
Visualization, Drawing; 1962 to present: Pratt
Institute, Undergraduate: Painting, Drawing, Figure
Drawing, Sculpture, Illustration and Symbolic
Imagery; Sr. Ind. Proj. Graduate: Drawing Seminar,
MFA Thesis Painting. 2007: Walter Gropius Master
Artist, Huntington Museum of Art W. Va.; 22 solo
exhibitions and over 100 group exhibitions around
the U.S.; collections: Rutgers University, University
of Mississippi; New York Stock Exchange; PAFA,
Lauren Rogers Museum, Laurel MS; Library of
Congress; Kassel Documenta Archive; Koln Ludwig
Museum; Stuttgart Staatsgalerie, Huntington
Museum of Art, W. Va.; author: The Pen & Ink Book
(Watson-Guptill); Circus Train (Abrams); The Train
a work in series, Watercolor Magazine, Spring
2006; illustrated 27 children’s books, (Hon. Men.
Orbis Pictus Award 2007); editorial illustrator for
Time, Newsweek, Harper’s, The New York Times;
Watergate courtroom artist for Newsweek; www.
josasmith.com.
Judith Solodkin
Solodkin was the first woman to graduate from
the Tamarind Institute as a Master Lithographer;
she founded Solo Impression, a publisher and
printer of fine art multiples; works published
have appeared in museums and exhibitions
throughout the world, and can be found in
private and public collections such as MoMA,
the Metropolitan Museum, the Whitney Museum,
the New York Public Library Print Collection,
the Boston Museum of Fine Arts, the Library
of Congress, the National Gallery of Art, the
Bibliothèque Nationale, Paris, and the Tate
Gallery, London.
Jane South
B.A. Theater Set and Costume Design, School
of Art, London; M.F.A. Painting and Sculpture,
University of North Carolina at Greensboro;
exhibiton venues include: Spencer Brownstone
Gallery, The Aldrich Museum of Art, Sue Scott
Gallery, The Drawing Center; received grants
from the Joan Mitchelle Foundation, New York
Foundation for the Arts, and Pollock Krasner
Foundation; has been an artist in residence at
the MacDowell Colony, Dieu Donné Workspace,
and the Carmago Foundation.
Tim Spelios
B.F.A., University of Illinois at Urbana-Champaign;
Brooklynite Spelios takes photos, assembles
collage, plays drums, cuts up sounds, makes
sculptures, and builds cabinets; has shown his
collage and installations at Exit Art, The Drawing
Center, Sculpture Center, Smack Mellon Studios,
Long Island University, Pierogi Gallery, and
Parkers Box among others; has also taught at the
University of Illinois, at the Phillips Collection in
Washington; as part of the Friday Gallery Talks at
the Hirshhorn Museum Spelios discussed Bruce
Nauman; has played drums internationally with the
bands No Safety and Chunk; during the burgeoning
Williamsburg art scene of the ’90s Spelios, with
Caroline Cox, co-founded and ran Flipside
Gallery from 1996–2001, showing a wide range of
innovative art forms; www.timspelios.com.
Fine Arts Faculty
219
Joseph Stauber
Christopher Verstegen
M.F.A., SUNY at Purchase; B.F.A., Pratt Institute;
master printer and chromiste at Brand-X Editions,
N.Y., in collaboration with artists including: Chuck
Close, Howard Hodgkin, Robert Motherwell, and
Helen Frankenthaler; his mail art objects and
collaborations have been sent around the world.
Studio and Gallery Supervisor, Visiting Instructor
B.A., The College of Wooster; M.F.A., Pratt
Institute; current work is mostly sculptural and
often consists of machines that perform simple
tasks; the tasks are conceived from thoughts/
observations on the role(s) of mundane repetition
in the human condition; currently lives and works
in Brooklyn, N.Y.; www.christopherverstegen.com.
Jason Stopa
B.F.A., Indiana University; M.F.A., Pratt Institute;
a painter, writer and curator living in Brooklyn,
NY; recent exhibitions include Junction at Ed
Thorp Gallery (New York) and The Brooklyn Zoo at
Novella Gallery (New York; contributing writer to
Art in America, Hyperallergic, Whitewall and The
Brooklyn Rail; teaches at the School of Visual Arts
and Pratt Institute.
Anthony Tammaro
M.F.A., Tyler School of Art; M.I.D., Domus
Academy, Milan; B.F.A., The University of the
Arts; a new media artist who works at the
intersection of art, design, and craft; Tammaro’s
most recognizable work leverages his expertise
with 3-D software and additive manufacturing
processes. He creates novel solutions to design
problems related to the body as site. Selected
exhibitions: Gallery Noel Guyomarch, Montreal;
Friends of Carlotta Gallery, Zurich; Alliance,
Philadelphia; Mulvane Art Museum, Topeka, Kan.;
Sungkok Art Museum, Seoul, Korea; Facere Gallery,
Seattle; Wexler Gallery, Philadelphia; CraftLand,
Providence, R.I.; Quirk Gallery, Richmond, Va.;
Velvet da Vinci Gallery, San Francisco; Sienna
Gallery, Lenox, Mass.; Luke & Elroy Gallery,
Pittsburgh, Pa.; State Museum of Pennsylvania,
Harrisburg, Pa.
Irvin Tepper
Adjunct Professor
M.F.A., University of Washington; B.F.A., Kansas
City Art Institute; NEA artist fellowship and Agnes
Bourne Fellowship Award in sculpture from the
Djerassi Foundation; exhibitions: St. Louis Art
Museum; Museum of Contemporary Art, Los
Angeles; Los Angeles County Museum of Art; and
Victoria and Albert Museum; collections: Victoria
and Albert Museum; Museum of Contemporary
Art, Los Angeles; Kunstmuseum, Bern,
Switzerland; www.irvintepper.com.
Emily Weiner
M.F.A., School of Visual Arts; B.A., Studio Art,
Barnard College; a painter and a writer whose art
reviews have appeared in Artforum.com, Time Out
New York, Domus, ArtSlant, ARTnews, ducts.org,
MUSEO, RES Art World/World Art (Turkey), Setup
(Vancouver), and The Visual Arts Journal, among
other publications; a guest instructor at Barnard
College, and a workshop leader at Dia:Beacon;
in 2012, she was a recipient of the Cooper Union
Teaching Artist Residency, and has been an
artist-in-residence at The Banff Centre in Alberta,
Canada, and Camac Centre D’Art in Marnay-surSeine, France; www.emilyweiner.com.
Dina Weiss
Assistant Chair, Visiting Instructor
M.F.A., Parsons The New School for Design;
B.S., Studio Art, New York University; Weiss has
held many positions in non profit arts education
and museum education, as well as teaching and
lecturing at universities and museums such as
the Dia Art Foundation, The Drawing Center, the
New Museum, Museum of Arts and Design, and
Parsons The New School for Design; professional
practice is in a variety of media with works in the
Viewing Program slide registry at The Drawing
Center; exhibition venues include the James
Gallery at CUNY Graduate Center, New York;
San Diego Contemporary Museum of Art; Mixed
Greens Gallery, New York; City Without Walls,
Newark, N.J.; Hudson Valley Contemporary Center
for Art, Peekskill, N.Y.; The LAB, San Francisco;
Untitled Space, New Haven, Conn.; Art in General,
New York; artworks included in selected public
collections at the Brooklyn Museum and the New
York Public Library; www.dinaweiss.com.
Christopher White
B.A., Harvard University; numerous solo gallery
and museum exhibitions; works in major public
collections: Guggenheim Museum, Johnson Art
Museum, and others; honors include Tiffany
Award for Painting; nominee, National Artists
Award; visiting artist, American Academy in Rome;
criticism published in national arts journals;
instructor/lecturer, Metropolitan Museum of Art;
represented by Andre Zarre Gallery, New York;
www.kitwhiteart.com.
220
Rachel Wiecking
M.A., Art History, Purchase College, New York;
M.F.A., Studio Art, Purchase College, New York;
B.F.A., Book Arts, Oregon College of Art and
Craft, Portland, Ore.; B.A., American Studies,
Literature, University of California, Santa Cruz;
www.rachelwiecking.com/home.html.
Martha Wilson
Wilson is a pioneering feminist artist and gallery
director, who over the past four decades created
innovative photographic and video works that
explore her female subjectivity through roleplaying, costume transformations, and “invasions”
of other people’s personae; she began making
these videos and photo/text works in the early
1970s while in Halifax, Nova Scotia, and further
developed her performative and video-based
practice after moving in 1974 to New York,
embarking on a long career that would see her
gain attention across the U.S. for her provocative
appearances and works; in 1976 she also founded
and continues to direct Franklin Furnace, an
artist-run space that champions the exploration,
promotion, and preservation of artists’ books,
installation art, and video, online and performance
art, further challenging institutional norms, the
roles artists play within society, and expectations
about what constitutes acceptable art media;
www.marthawilson.com.
Chris Wright
M.F.A., Pratt Institute; B.F.A., Pacific NW College
of Art; exhibitions: Hunter College; Martin Art
Gallery, Muhlenberg College; New York University;
Phillips de Pury and Company; Swiss InstituteContemporary Art; published: Contemporary
American Oil Painting (Jillin Fine Arts Publishing
House, Changchun, China); New American
Paintings (Northeastern Edition) gallery affiliation:
George Billis Gallery, New York;
www.chriswrightpaintings.com.
Robert Zakarian
Professor
B.F.A., M.F.A., Pratt Institute; exhibitions:
Brooklyn Museum; Riverside Museum; Alan Stone
Gallery, New York; Royal Mark.
Katrin Zimmerman
M.A. Chinese Art and Korean Art, School of
Oriental and African Studies, London, UK; B.A.
Chinese Art and Archaelogy (Cum Laude), School
of Oriental and African Studies, London, UK; A.A.S.
Jewelry Design, Fashion Institute of Technology;
founder and CEO of Ex Ovo Inc., a jewelry
brand which has been shown at the Museum of
Modern Art, the Guggenheim Museum, and the
Contemporary Museum of Art, Chicago.
Photography Faculty
Tyler Coburn
B.A. in Comparative Literature,Yale University;
M.F.A., University of Southern California, Los
Angeles. New York-based artist and writer,
publications include Frieze, e-flux journal, ArtAgenda, Art & Education, Metropolis M, Spike,
Art Papers, and Rhizome. Contributing editor to
ArtReview. Art performances, sound works, and
installations have been presented at numerous
institutions, including the Whitney Museum of
American Art, New York; South London Gallery;
Objectif Exhibitions, Antwerp; CCA Glasgow; CAC
Vilnius; Kunstverein Munich; Grazer Kunstverein;
LAXART, Los Angeles; and Sculpture Center,
New York.
James Costanzo
M.A, M.F.A., The University of Iowa; his
interdisciplinary, socially engaged artworks have
been shown in the 2012 Berlin Biennale and
the 2006 Whitney Biennial; his photograph Our
Grief Is Not A Cry For War is in the 9/11 Memorial
Museum and NO MORE: A Gallery of Protests and
Demonstrations, a historical compilation from the
Library of Congress’ photographs and posters;
he was part of Occupy Wall Street and continues
to work with groups that emerged from OWS;
he was founding member of the artist collective
REPOhistory and currently the founding director
of the Aaron Burr Society.
Ernst Fischer
M.F.A. Visual Arts, Columbia University School of
the Arts, New York; London Film School, London;
Hochschule der Künste, Zürich; exhibitions
include The Photographer’s Gallery, London;
Victoria and Albert Museum, London; Malraux’s
Place, Brooklyn; 247365, Brooklyn; Wake, Detroit;
Brett Wesley Gallery, Las Vegas; Liangzhou Photo
Festival, Liangzhou; Lodz Photo Festival, Lodz
and Fotografie Forum Frankfurt, Frankfurt.
Publications include Artforum, Frieze, The
Guardian, Colors, Dazed and Confused, Creative
Review, The British Journal of Photography, and
Rhizome.org.
Dominica Paige Giglio
B.F.A., Pratt Institute; M.F.A., Parsons The New
School for Design; exhibitions include United
Photo Industries, 25 CPW, Tyler School of Art,
LACDA, Photoville, The Geffen Contemporary at
MOCA, Aronson Gallery, and Mana Contemporary;
publications include Conveyor Magazine, Unless
You Will, PDN, and Monthly Photo.
Thierry Gourjon
Adjunct Instructor
B.F.A., Pratt Institute; photographs published in
Sports Illustrated, Harvard magazine, ESPN, New
York Daily News, and Boxing Digest.
Stephen Hilger
Chair
B.A. and M.F.A. Columbia University; participated
in the Whitney Museum of American Art’s
Independent Study Program; exhibited at the
Contemporary Arts Center New Orleans, Los
Angeles Contemporary Exhibitions and the Muse
Center for Photography and the Moving Image;
work is included in permanent collection at
New Orleans Museum of Art; former Director of
Photography at Tulane University’s Newcomb Art
Department.
George Hirose
B.A., Bard College; M.F.A., Pratt Institute;
exhibited in United States and Japan, including
Lower Manhattan Cultural Council, Henry Street
Settlement, DTW Gallery, Multimedia Gallery,
N.Y. Historical Society, and Ernden Fine Art
Gallery, Mass.
Peter Kayafas
B.F.A., New York University; photographer,
publisher, curator, and teacher; Director of the
Eakins Press Foundation; publisher and coeditor of the book ‘O, Write My Name’: American
Portraits, Harlem Heroes, Photographs by Carl Van
Vechten (Eakins, Feb. 2015); his photographs have
been widely exhibited and are in the collections
of the Museum of Modern Art, the Brooklyn
Museum of Art, the New Orleans Museum of Art,
and the DeCordova Museum, among others; Vice
Chairman of the Board of the Corporation of
Yaddo. In addition to two other monographs (The
Merry Cemetery of Sapanta and O Public Roads!
Photographs of America), his book Totems, with
an essay by Jed Pearl, is available from the Purple
Martin Press.
Robert Kozma
B.F.A., State University of New York at Purchase;
John Simon Guggenheim Fellowship; DCAC
Individual Artist Fellowship; work is included in
numerous private and public collections including
the permanent collections of the Museum of
Modern Art, the Metropolitan Museum of Art and
the Brooklyn Museum; published by Rockport
Publications (Manifest Visions).
Photography Faculty
221
John Lehr
Julie Pochron
Anna Shteynshleyger
Assistant Professor
B.F.A., Maryland Institute College of Art; M.F.A.,
Yale University School of Art; exhibitions include
Kate Werble Gallery, M+B Gallery, Hagedorn
Foundation Gallery, the Morgan Library and
Museum, Walker Art Center, Carnegie Museum
of Art, Museum of Modern Art, and Corcoran
Gallery of Art; permanent collections include
the Metropolitan Museum of Art, the Museum
of Modern Art, the Morgan Library and Museum,
Corcoran Gallery of Art, and the Yale University Art
Gallery; publications include Artforum, The New
York Times, The New Yorker, Art in America, ArtInfo,
ArtNews, New York Magazine, The Washington
Post, and The New York Photo Review.
B.F.A., Pratt Institute; exhibitions include Barrett
House, Soho Photography, and Peter Madero
Gallery, New York City, Safe-T Gallery, N.Y.C.;
owner of Pochron Studios.
Assistant Professor
B.F.A., Maryland Institute College of Art; M.F.A.,
Yale University School of Art; exhibitions include
International Center of Photography, New York;
the Renaissance Society at the University of
Chicago; Dvir Gallery, Tel Aviv, Israel; Museum
of Contemporary Art, Chicago; Moti Hasson
Gallery, New York; Murray Guy Gallery, New York;
collections include the Jewish Museum, New York;
Museum of Contemporary Photography, Chicago;
Milwaukee Art Museum; Nelson Atkins Museum
of Art, Kansas City, Mo; awards include John
Simon Guggenheim Foundation Fellowship, Louis
Comfort Tiffany Foundation Award, Blair Dickinson
Memorial Prize.
Ann Mandelbaum
Adjunct Professor
M.A., The New School; M.F.A., Pratt Institute.
three hard cover monographs: Ann Mandelbaum
[1994], and Ann Mandelbaum, New Work [1999],
both published by Edition Stemmle and Ann
Mandelbaum, Thin Skin [2005], published by
Hatje Cantz. Exhibited internationally, including
solo shows at Grey Art Gallery, N.Y.; Center for
Creative Photogaphy, Tucson; Ubu Gallery; Galerie
Francoise Paviot, Paris; Galerie Anita Beckers,
Frankfurt; Westfalischer Kunstverein, Munster
Germany; Fotomuseum, Munich; Franfurter
Kunstverein, Frankfurt; Stadtgalerie Saarbruchen;
Musee de l’Elysee, Lausanne; Canal Isabel II,
Madrid: Kunsthalle Goeppingen, Germany.
Paul McDonough
New England School of Art; exhibited at
Massachusetts Institute of Technology and
Rochester Institute of Technology; staff
photographer for JCOA Records; work held in
Museum of Modern Art Permanent Collection;
recipient of Guggenheim and NEA awards.
Sarah Palmer
Brooklyn-based artist; B.A. English and Italian,
Vassar College; M.F.A. in Photography, Video and
Related Media, School of Visual Arts, New York,
NY; exhibitions include Aperture Gallery, Foam
Amsterdam, Vox Populi Gallery, the Invisible Dog
Art Center, Center for Photography at Woodstock,
Irish Museum of Contemporary Art, SmackMellon
Gallery, among others; permanent collection
of Foam Amsterdam; publications include The
Photographer’s Playbook, Conveyor Magazine,
Foam Album 11, Culturehall, among others.
Stephanie Powell
B.F.A. University of Oregon; M.F.A. School of the
Art Institute of Chicago; exhibitions include Primo
Piano Livin Gallery, Lecce, Italy; Daniel Cooney
Fine Art, New York; Artists Space, New York; Raid
Projects L.A. for the Armory Show. Grants and
residencies include apexart resident in Phnom
Penh Cambodia; Jerome Foundation Research
Grant to Yokosuka, Japan; Illinois Arts Coucil Arts
Assistance Grant; Marion Parry Foundation for the
Arts Grant.
Tori Purcell
Assistant Chair
B.A., Vanderbilt University; M.F.A., Savannah
College of Art and Design; exhibitions include
NARS Foundation, Brooklyn; Leu Center for the
Visual Arts, Nashville; Seigfred Gallery at Ohio
University; and Root Division, San Francisco.
Aura Rosenberg
Adjunct Professor
B.A., Sarah Lawrence College; M.A., Hunter College;
Whitney Museum, Independent Study Program;
exhibitions include The European Month of
Photography 2014, Martin Gropius Bau, Berlin, MUSA,
Vienna and Art Center Casino Luxembourg; Museum
der Moderne, Salzburg; Institute of Contemporary
Art, Philapdelphia; KW Institute for Contemporary
Art, Berlin; Deichtorhallen, Hamburg; the Sculpture
Center, Long Island City; Le Magasin, Centre D’art
Contemporain, Grenoble; Musée d’art Moderne et
Contemporain, Geneva; Martos Gallery, New York,
Metro Pictures Gallery, New York, Meliksetian Briggs
Gallery, Los Angeles; OHWOW Gallery, Los Angeles;
public collections include the Guggenheim Museum,
Bard College Center for Curatorial Studies Museum,
Bass Museum of Art, Miami, Cincinnati Museum of Art,
New Museum, New York, Lhoist Collection, Brussels,
the Norton Foundation, Los Angeles, Kemper
Museum of Contemporary Art and Design, Kansas
City; publications include Head Shots (1996) Stop
Over Press, Berlin Childhood (2002) Steidl, and Who
Am I? What Am I? Where Am I? (2008) Hatje Cantz.
Anne Turyn
Adjunct Professor
B.F.A., Antioch College; M.A., City University of
New York Graduate Center; M.F.A., State University
of New York at Buffalo; photographs in the
collections of the Museum of Modern Art (NYC),
the Metropolitan Museum of Art (NYC), the Walker
Art Center, the George Eastman House, Center for
Creative Photography, Los Angeles County Museum
of Art, the San Francisco Museum of Modern Art,
and others.
Sarah van Ouwerkerk
Professor
B.A., B.S., University of Wisconsin; M.F.A., Pratt
Institute; Emmy Award recipient; work has
appeared on CNN, Channel 13, National German
TV, NBC and in Architectural Digest, Vogue,
and The New York Times; has exhibited at New
Museum, the Brooklyn Museum, and the Whitney
Museum of American Art.
Ellen Wallenstein
Adjunct Professor
B.A., Stony Brook University; M.F.A. Pratt
Institute; NYFA Fellowship, United States Artists
project grant, Women’s Studio Workshop book
grant. Work has been exhibited at Bienal de Arte
Contemporaneo, Madrid; the Brooklyn Museum;
Henry Street Settlement; Lenscratch. Writings
published in PDNedu and Fraction magazines.
Ofer Wolberger
B.A., State University of New York at Binghamton;
M.F.A., The School of Visual Arts; exhibitions
include Stene Projects, Stockholm, Sweden; VU,
Quebec, Canada; C/O Berlin, Germany; Michael
Hoppen Contemporary, London, England; Printed
Matter, New York; the Cleveland Museum of
Art, Ohio; collections include the Museum of
Modern Art Library, the Cleveland Institute of
Art Library, San Francisco Museum of Modern
Art Library, Royal Monceau Hotel, Paris, France;
awards include Light Work Artist Residency,
Printed Matter Award for Artists, Foundation
for Contemporary Arts Grant, AIM; Artist in the
Market Place Residency.
222
Faculty
Donn Albright
Professor
The Art Center College of Design, Los Angeles,
CA; illustrator, editor and teacher who loves
to tell stories with pictures; illustrations have
appeared in Scholastic Books, Boy’s Life, Scouting,
Nation’s Business, Cavalier, Children’s Digest,
Scott Foresman, Allyn and Bacon, Little, Brown
and Company, Macmillan and Company, Simon
and Schuster, Scribner’s, Ginn, Blue Cross/
Blue Shield, Gauntlet Press, and PS Publishing;
has worked with the New York Municipal Bond
Authority and the City of Los Angeles; as Ray
Bradbury’s authorized archivist/bibliographer,
develops, designs and illustrates limited editions
of Bradbury’s unpublished work; his archive is
the prime authoritative resource for Bradbury
scholars worldwide.
Cecilia Almeida
Assistant Chair
M.F.A., Pratt Institute; B.F.A., University of
Florida; a Brooklyn-based artist originally from
Sao Paolo, Brazil; exhibitions in the US, Italy and
Mexico; her sculptures, installations, paintings and
drawings are in permanent collections in the US,
Italy and Mexico.
Andre Andreev
B.F.A., California College of the Arts; from Pernik,
Bulgaria, partner (with Dan Covert) in dress code,
a firm specializing in branding and design, motion
graphics and direction, strategy and naming,
and Web production and development; awardwinning work has appeared in magazines, coffee
table books, and museums; worked at MTV; Never
Sleep, a book about transitioning from school
to work in graphic design, is available through
de.MO; has numerous amateur soccer trophies;
often appears on late-night Bulgarian television.
Audrey Arbeeny
New York University, Carnegie Hall Vocal Studies;
founder and Executive Producer of Audiobrain, a
global leader in sonic branding based in Manhattan;
research in the areas of psychoacoustics,
biomusicology, and sensory branding; clients
include Microsoft (including the Xbox 360 and
Unified Communications), Virgin Mobile USA,
IBM, NBC, HBO, and Holland America Cruise
Lines; Music Supervisor for four NBC Olympics
Broadcasts; awards include Emmy nomination
for 2010 Vancouver Olympics Games, 2008 Emmy
AwardTM for NBC Beijing Olympics Broadcast,
Emmy 2008 Communicator Award Best Audio
Production Corporate Image Virgin Mobile USA,
and Communication Arts Interactive Annual for
IBM Thinklets; professional affiliations include the
National Academy of Television Arts and Sciences,
The Recording Academy, and Design Management
Institute; publications Include Design Management
Institute Vol. 20, number 4/2009 Design For
a Holistic Customer Experience; featured in
publications including Fast Company, Variety, The
New York Times, Ad Age, Forbes, and Post Magazine;
speaking engagements include Design Management
Institute, Brand ManageCamp, Manhattan College
of Music, Alberta College of Art and Design,
Thunderbird School of Global Management, and
Tribeca Film Institute.
Christopher Calderhead
Ricardo Armas
Megan Cash
Visiting Instructor
General Studies Program at the International
Center of Photography; born in Caracas,
Venezuela; lives in Brooklyn, NY; photographer
since 1970 and visual artist; photographic work
includes portraits of visual artists and writers
and personal explorations of urban landscapes;
has been exhibited in the United States, South
America and Europe; has been included in several
international art collections and published in
catalogs and books.
Pooja Badlani
Visiting Instructor
M.S., Communications Design, Pratt Institute;
worked at Sundance Channel in Digital Media; lead
designer on the network’s homepage rebrand;
heavily involved in relaunch of Full Frontal Fashion
as an online magazine; recipient of Pixel award,
twice selected as Webby Honoree; teaches
Typography in GradComD at Pratt; clients include:
Decker Design, Sundance Channel, Massachusetts
General Hospital and fashion, food, nonprofit, and
science organizations.
George Bates
Visiting Instructor
Principal in George Bates Studio since 1990;
provided a diverse array of clients with an
equally diverse array of solutions for projects
and campaigns; the basis for all the studio’s
work has been sketchbooks and the relentless
interest in the potential for their use; favorite
quote: “A harmony of colors in whose particular
delicate details the eye turns to dreaming and
forgets itself.”—Arthur C. Danto; secret talent is
making a killer lasagna.
Max Bode
Visiting Instructor
B.A., Illustration, Pratt Institute; a born and bred
New Yorker; published in The New Yorker, where
he was formerly art director, and in The New York
Times and many other publications; clients include
MTV, Vibe, High Times, Nickelodeon magazine, The
Financial Times, Paste magazine, St. Martin’s Press,
Fischer Verlag, and many more; work shown in
galleries in Brooklyn, the East Village, DUMBO, and
Chelsea; published a three-book, 150-page comic
epic (Rotabene) printed in German, Japanese, and
English; has lectured at the Society of Illustrators,
SVA, Parsons The New School for Design, and Pratt
Institute; a judge for the American Illustrations
annual and the Society of Illustrators annual.
B.A., Art History, Princeton University; Certificate
with Merit in Calligraphy and Bookbinding, the
Roehampton Institute, London; M.Div.; editor
and designer of Letter Arts Review, a quarterly
magazine dedicated to typography, original
lettering, calligraphy, and text-based art; created
the book series Letters from New York; author of
The World Encyclopedia of Calligraphy with Holly
Cohen; lives and works in New York City.
Visiting Instructor
B.F.A., Communications Design, Pratt Institute;
has designed books for Houghton Mifflin,
Harcourt, and Scholastic; logos for L’Oréal
and Nickelodeon on-air; ads for Elektra
Entertainment and WNYC; identities for retail
stores, restaurants and performance spaces;
clients include: Disney, Barnes & Noble, Simon
& Schuster, Pfizer, American Express, Fortune,
Connecticut Science Center, Brooklyn Children’s
Museum; illustrations have appeared on toys,
products, packages, and posters, in numerous
magazines, and in children’s museum exhibits;
illustrated a number of children’s books including
Bow-Wow Bugs a Bug (co-created with cartoonist
Mark Newgarden), which received many honors
including the Society of Illustrators Original Gold
Medal; authored/co-authored nine children’s
books; designed die-cut cards for MOMA and
paper activities for Nickelodeon.
Ellie Clayman
Visiting Instructor
Brooklyn-based graphic designer who has
worked with clients including Glamour, United
Airline’s Hemispheres, Metropolis, and Umbrage
Editions; work has been recognized for Print
Magazine’s 2009 Regional Design Annual, I.D.’s
Annual Design Review for 2008 and 2009, HOW’s
International Design Competition in 2009, and
CMYK’s 2009 issue.
G. Dan Covert
Ohio native; partner (with Andre Andreev)
in dress code, a firm specializing in branding
and design, motion graphics and direction,
strategy and naming, and Web production and
development; award-winning work has appeared
in magazines, coffee table books, and three
museums; worked at MTV; Never Sleep, a book
about transitioning from school to work in
graphic design, is available through de.MO; works
at Best Buy; is an amateur magician.
Communications Design Faculty
223
Kathleen Creighton
Andrew Degraff
Gary Fogelson
Chair
Studied photography and graphic design, Pratt
Institute; has produced work for the editorial,
publishing, and entertainment markets as well as
exhibiting her work; chair of the Communications
Design department for the past eight years;
oversees and develops curricula for Advertising,
Graphic Design and Illustration; has taught
for 19 years as associate professor in the
Communications Design Department; subjects
include Photography for Advertising, NonTraditional Images, and Professional Practices,
including extensive research on copyright law; was
formerly Associate Director of Career Services at
Pratt; co-published, art-directed and designed
promotion for RSVP, the Directory of Illustration
and Design; a lifelong resident of Brooklyn, she is
at work on a book of her photographs.
Visiting Instructor
B.F.A., Illustration, Pratt Institute; born in Albany,
NY; lives in Brooklyn; work has been featured in
Communication Arts, American Illustration and
Society of Illustrators Annual; clients include
The New York Times, PC World, Go Magazine,
Los Angeles Magazine, Time Out Chicago, Leo
Burnett, The Deal LLC, American Medical News,
National Real Estate Investor, Retail Traffic, GAP
Kids, Runner’s World, Merge Records, Visa, and
Bed, Bath & Beyond; exhibitions in New York, San
Francisco, Los Angeles, Calgary, and Honolulu.
Visiting Instructor
B.F.A., Pratt Institute; born and raised in New
Jersey; partner at Other Means, an independent
graphic design firm; clients include The New York
Times, Bloomberg View, ICA Philadelphia, Emeco,
Creative Capital, Columbia University, Richard
Nash, and Good magazine; formerly a partner at
Fogelson-Lubliner and designer at Open; co-runs
Primetime, a non-commercial project space in
Carroll Gardens; pursues self-initiated research
and publishing projects.
Pat Cummings
B.A., Pratt Institute; Assistant Professor, Parsons,
the New School for Design; creator of over 30
books for children, including titles that have
won the Coretta Scott King Award, the Horn
Book-Boston Globe Award, and the Orbis Pictus
Award for nonfiction; received the NAACP Image
Award for Outstanding Literary Work: Children as
one of the illustrators for Our Children Can Soar
(Bloomsbury 2009); worked as a producer and
writer for Gullah Gullah Island, a Nickelodeon
children’s show; cohosts Cover to Cover, a cable
TV talk show about children’s books and the
people who create them that airs on BCAT, a Time
Warner channel; serves as National Secretary
of the Authors Guild; sits on the boards of the
Authors Guild Foundation, the Authors League
Fund, the Society of Children’s Book Writers and
Illustrators (SCBWI) and the Eric Carle Museum
of Picture Book Art; member of the Writer’s
Guild; teaches children’s book illustration at Pratt
and Parsons The New School for Design; wellpublished former students include Julian Hector,
Hiroe Nakata and David Ezra Stein, recipient of the
2011 Caldecott Honor Award.
Jim Debarros
Visiting Instructor
Illustration and Graphic Design, Pratt Institute,
worked for 10 years in the music industry designing
CD packaging and related materials for Island
Records, Sony Music and Elektra Entertainment;
projects included recording artists Branford
Marsalis, Pantera, Bob Dylan, AC/DC, Better Than
Ezra, Mercury Rev and many others; formerly
Senior Art Director at Elektra Entertainment;
worked at RDA Int’l, a boutique advertising agency
whose clients included Korg, Sony, Acclaim
Entertainment, and Infogrames Entertainment;
worked at MTV on the annual Video Music Awards
promotional campaign for 2000; served as VP of
Off Air Creative and oversaw event projects such
as Movie Awards, series campaigns for Hard Times,
SKINS, The Buried Life, and the launch of sister
channels MTV2, mtvU, and MTV Tr3s; personal
interests include watercolor painting, Japanese
culture, and comic books; received awards from
Communication Arts and Print.
Frank Derose
Visiting Instructor
B.A., English, Skidmore College; M.A.,
Communications Design, Pratt Institute; native
of Douglaston, Queens; formerly worked at
karlssonwilker studio; principal and founder of Zut
Alors! studio; clients include The New York Times,
Microsoft, and Christie’s; essays published in
Never Sleep; work featured in I.D. Magazine and
Creative Review.
Bruce Duhan
Adjunct Professor
B.F.A., Pratt Institute; President/Creative Director
of Duhan Creative; formerly EVP, Creative Director
at OgilvyAction and EVP, General Manager of the
concept think tank of BEN Marketing Group; as
a founding partner and Chief Creative Officer of
BEN, led a creative team that produced awardwinning design for world-renowned clients such
as Coca-Cola, HBO, Holiday Inn, IBM, DuPont,
and others; worked with with Creative Playthings
designing toys and toy packaging; was Senior Art
Director with the Pepsi-Cola Company for 11 years,
creating corporate graphics, packaging, exhibits,
POP, and consumer promotions; awards include
Art Directors Club Pinnacles, Promo Magazine Pro
Award, CSPA Best Trail program, KidScreen Golden
Marble, and the PMAA Reggie Award; “Good design
is attention to small things, but good design is no
small thing.”
Lee Epstein
Adjunct Professor
B.B.A., City University of New York; B.F.A., The
Cooper Union; worked at legendary Doyle Dane
Bernbach for 20 years creating award-winning ads
and campaigns for major clients; president and
creative director, Epstein & Walker Advertising;
won over 100 creative awards; judged over 50
advertising events; wrote or featured in many
industry magazine articles; has been teaching
his approach to conceptual advertising and art
direction at Pratt since 1975.
Lynne Foster
M.F.A, School of Visual Arts; B.F.A., Pratt Institute;
painter and illustrator; solo and group exhibitions
at galleries including the Williamsburg Cultural
Center, Holland Tunnel, Ben Shaun Galleries, and
The Gallery of South Orange; illustration clients
include Delaware Today, Congregations, Main
Line Today and other publications; teaches part
time at Pratt Institute and City College, NYC; “I
create work that approaches transformation
through process. An internal investigation and its
relationship to color, texture and surface opens
up new possibilities in order to achieve emotional
content. This combination of surface building
allows me to translate raw emotion into a visual
image. The process of layering and blending
gradually yields a final composition. Being an
artist based in New York, I find I cannot help being
influenced by the raw energy permeating the
streets. My work is inspired by the environment
I live in, an interest in portraying the emotional
depth of human existence, and my documentation
of the city.”
Frank Franca
Visiting Instructor
B.F.A., Filmmaking, NYU Tisch School of the Arts;
photographer; published in ArtForum, Art in
America, Vogue, Details, W, The New York Times
Magazine, The Village Voice, Le Monde (Paris), The
African Sun (Cairo), The Guardian (London), Photo
(Japan), Die Ziet (Germany); exhibitions: Royal
Festival Hall (London), Studio Galleria (Budapest),
Institutes for Contemporary Art: Kaliningrad
and Ekaterinberg (Russia), The International
Center of Photography, Hamburg House of
Photography; was a member of the Visual AIDS
Artist Caucus—creators of The Red Ribbon
international symbol of AIDS awareness, and
Electric Blanket, a public art installation displayed
throughout the world (MOMA, High Museum of
Art in Atlanta, Philadelphia Museum of Art, and
others); faculty member at the International
Center of Photography; founding faculty of ICP @
The Point; recipient of the President’s Committee
on the Arts Award presented by First Lady
Laura Bush at the White House in 2006; grants:
Citizen’s Exchange Council, Arts Link, The British
Council; lectured at the School of Visual Arts, the
Cooper Union, the Studio (Moscow), Dumb Type
(Japan), and Milch (London); formerly London
Correspondent for Fairchild; a native of Havana,
Cuba, he grew up there, in Spain, and in the U.S.;
fluent in Spanish.
224
David Frisco
Michael Gerbino
Brendan Griffiths
M.F.A., Graphic Design Studies, Yale University
School of Art; B.F.A., Graphic Design, School of
Art and Design, University of Illinois at Chicago;
designer and educator, with a professional
studio practice; teaches in both the Graduate
and Undergraduate Communications Design
departments; co-directs Design Corps, a studio
course that provides pro bono design work for
nonprofit organizations; received (with Michael
Kelly) the Sappi Paper 2010 Ideas That Matter Grant
on behalf of Design Corps; received a 2009 Faculty
Development grant for a cross-disciplinary course
with the School of Architecture called Brooklyn
Exchanges: Development in Downtown Brooklyn;
in his independent studio practice, works with a
variety of clients in the art, architectural, cultural,
and nonprofit sectors, including: the Institute for
Humanities Research: UCSC, Glynwood Center,
the College Art Association, the Metropolitan
Exchange, CUNY at Kingsborough, Routledge Press,
Pratt Institute, Pace/MacGill Gallery, Yale School of
Architecture, TASC: The After-School Corporation;
has designed for a number of independent films
and documentaries such as: Summer Pasture,
Plastic Bag, Goodbye Solo, Chop Shop, Man Push
Cart, The Situation, Lumo, and Fully Awake: Black
Mountain College.
Adjunct Professor
Studied Graphic Design and Photography at Pratt
Institute; was director of publications at Graphis;
Principal and Creative Director of Archigrafika
Inc, whose many prominent projects include
the branding and signage of the newly renamed
Willis Tower (formerly the Sears Tower), and the
architectural graphics program for Trinity Church
Wall Street, and Myrtle Hall at Pratt Institute; his
images and design programs are known for their
simplicity and clarity and are typically influenced
by Modernism and Pop Art, but have a hard
graphic twist; designs are large and playful while
discreetly blending into the urban landscape
and architecture; work encompasses a wide
variety of assignments and media, including
identities, environmental graphics, exhibitions,
and communications design for a broad range of
international clients, institutions, public agencies,
and cultural organizations; has taught Graphic
Design and Senior Project at Pratt since 1985.
Visiting Instructor
M.F.A., Graphic Design, Yale University; a graphic
and interaction designer living and working in New
York City; a partner in the design practice Zut
Alors! where he has worked with various clients
including Bloomberg View, Creative Time, The New
York Times, Time Magazine, Condé Nast, Performa,
Print Magazine, Socrates Sculpture Park, and
Johnson & Johnson; selected as one of Print
Magazine’s New Visual Artists in 2012, included in
the exhibition Graphic Design: Now in Production
at the Walker Art Center.
Bobby Genalo
Visiting Instructor
Degrees from Maryland Institute College of
Art and the Interactive Telecommunications
program at New York University; a designer whose
enthusiasm for creative problem solving has
resulted in a body of work that bridges ideas in
art, technology and education; teaches design
courses at Pratt Institute; owns an 1898 Steinway
upright piano.
Lawrence Gendron
Visiting Instructor
Attended Windham College, Putney, Vermont; born
in Claremont, New Hampshire; lives in Tribeca;
studied painting, printmaking and art history; spent
a year painting on the Connecticut coast; joined
Rodgers Studio, a small graphic design firm where
he worked directly with advertising agencies on
large accounts, including Goodyear, 7-Up, DuPont,
and Eastman Kodak; moved to Sports Illustrated to
design the annual Year in Sports issue; remained
with SI as an art director for eight years, building
a close relationship with scores of illustrators;
served as Art Director and Creative Director at
Financial World; founding Art and Design Director
of The Deal LLC.; has worked with hundreds of
illustrators and photographers; commissioned work
has won awards from the Society of Illustrators,
Art Direction, Print, Creativity, and Folio; he has a
painting studio in Washington, Conn.
Cheryl Gross
Visiting Instructor
Freelance art director; life-long New Yorker;
throughout her advertising career, has created
a diverse portfolio of work including TV, print,
outdoor, and digital campaigns, fashion shows,
documentaries, paintings, and t-shirt designs;
five years at Mother New York, her work for K-Y,
Target, and Stella Artois was awarded by every
major award show and secured her place as an
Art Director’s Club Young Gun in 2010; personal
interests include doing nothing and watching
pretty much everything on TV.
Adjunct Professor
B.F.A., Communications Design, M.F.A., New
Forms/Fine Art, Pratt Institute; “When asked
about my work, I always equate it with creating an
environment transforming my inner thoughts into
reality. Much like an architect or urban planner,
that reality and humor becomes the foundation
of the work. Beginning with the physical process,
I work in layers. I am involved in solving visual and
verbal complexities such as design and narrative.
The result: mini documentaries that are based on
the absurdities of life. Born and raised in Brooklyn,
New York, my urban influence has indeed added
an ‘edge’ to my work.” Currently working on a
large project titled: The Z Factor, which includes
text and hundreds of drawings depicting a new
race of people who are being persecuted,
which will eventually spark the third civil rights
movement; although it is metaphorically induced,
the influence behind the work is authentic,
straightforward, and poignant.
Tom Graham
Rudy Gutierrez
Christine Gignac
Professor
M.F.A., Painting, Pratt Institute; B.F.A., Illustration,
School of Visual Arts, CUNY; contributed to The
New York Times for 10 years, as well as many
other national and regional publications; active in
publishing; has written and illustrated many books
for children; Mr. Bear’s Chair (Dutton Children’s
Books), his first, was one of the top Children’s
Choices by the International Reading Council and
Children’s Book Council; Day Breaks, written by
Bethea VerDorn (Arcade), was selected by the
Society of Illustrators for inclusion in Originals: The
Best of Children’s Book Illustration; his latest book is
Five Little Firefighters (Henry Holt & Co.).
Philip Graziano
“Well, Art is Art, isn’t it? Still, on the other hand,
water is water. And east is east and west is west
and if you take cranberries and stew them like
applesauce they taste much more like prunes than
rhubarb does. Now you tell me what you know.”—
Groucho Marx, 1930
Professor
B.F.A., Pratt Institute; born in the Bronx, New
York, grew up in Teaneck, NJ.; his work for various
periodicals, book covers, CDs, and children’s
books, as well as his paintings, has appeared
worldwide; honors include the Dean Cornwell Hall
of Fame Award, Distinguished Educator in the Arts
Award, and a Gold Medal from the NY Society of
Illustrators; his children’s books have garnered a
Pura Belpré Honor, Américas Book Award, and a
New York Book Award; work has been featured
by Communication Arts, Step by Step, Society of
Illustrators, Art News, American Artist and Art
Direction magazine; exhibited internationally,
including at the World Conference Against Racism
in South Africa; performed as a guest artist with
Def Dance Jam Workshop doing live “painting
performances” with the company that featured
hearing-impaired and physically challenged kids;
also “performed” with Dance, Music, and Kids on
stage with performers of the Broadway shows The
Lion King and Bring in da Noise, Bring in da Funk;
believes that the highest honor is to inspire and
uplift; lectured at various colleges and institutions,
including workshops on the Rosebud Reservation
in South Dakota and UNIVA (Universidad del Valle
de Atemajac), Guadalajara, Mexico.
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Duncan Hamilton
Jim Hoston
Jordin Isip
Assistant Professor
B.F.A., University of Hull, U.K.; M.A., Manchester
University, U.K.; designer, publisher and editor
based in NYC; senior art director at Urban
Outfitters; works with regular collaborators on
art, design and print projects under the title
“The Uses of Literacy”; lectures and discussion
panels at the Tate Gallery (Liverpool), Center of
Contemporary Arts (Glasgow), and the Youth
Salon (Zagreb, Croatia); organized art projects
and exhibitions for the Arts Council of England,
Frieze Art Fair, Cubitt Gallery in London, the
Musée d’Art Moderne de Ville de Paris, and the
Liverpool Biennial.
B.F.A., Illustration, Pratt Institute; M.F.A., New
York Academy of Art; adjunct professor in the
Graduate Program of figurative art at the New
York Academy; exhibitions at the Hirschl and
Adler Modern gallery in Manhattan, The Studio
Museum in Harlem, the Copley Society in Boston
and the Grenning Gallery in Sag Harbor, Long
Island; illustrations exhibited at the Society of
Illustrators, the Pennsylvania Academy of Art, and
venues all across the United States; extensive work
experience with the fine artist Jeff Koons, the
Marvel Entertainment Group, and the Evergreene
Painting Studios in Manhattan; Illustration clients
include Sony Music Entertainment, Uniworld
Advertising Group, the Sands Casino and Hotels,
MacMillan publishing, McGraw-Hill publishing, the
Weekly Reader, and Scholastic, Inc.; he resides
and maintains a studio in Brooklyn, New York.
Visiting Instructor
B.F.A., Rhode Island School of Design; native
of Queens, NY; lives in Brooklyn; exhibited
internationally in galleries in Boston, Los
Angeles, New York, Philadelphia, San Francisco,
Berlin, Kilkenny, London, Manila, Paris, and
Rome; illustrations have appeared in numerous
publications including The Atlantic Monthly,
BusinessWeek, The Los Angeles Times, The New
York Times, Newsweek, Rolling Stone, and Time,
and on book covers, posters, records and CDs;
teaches at Parsons The New School for Design and
Pratt Institute.
Patrick Hegarty
Visiting Instructor
Brooklyn-based Art Director with experience
working in the music and entertainment industry;
clients include Island Records, Def Jam Records,
Elektra Records, MTV, and Rolling Stone; 360
campaigns include work with Jay-Z, Ghostface
Killah, Sum 41. and MOBY among others; currently
working in the fashion industry with the rebranding of Marc Ecko’s “Ecko Unltd” clothing
line; co-teaches Senior Project: Convergence
with Jim Debarros; “Teaching is a very rewarding
and humbling experience for me. I think we are all
perpetual students and I am honored to be able to
teach. There is so much that I can learn from the
students and the students can learn from me... and
I’m really looking forward to it.”
William Hilson
B.A., M.S., New York Institute of Technology
Kenichi Hoshine
Visiting Instructor
B.F.A., School of Visual Arts, New York, NY;
exhibited and collected worldwide; selected by
London’s Saatchi Gallery to show at their booth at
the Pulse Art Fair in New York City; semi-finalist
in the Outwin Boochever Portrait Competition
for the Smithsonian Institution’s National Portrait
Gallery; commercial clients include: Barnes &
Noble, Chase Bank, Ford Motors, Prevention,
and More; lectures and critiques at the School
of Visual Arts and Parsons The New School for
Design; represented by J. Cacciola Gallery in New
York City; lives and works in Brooklyn.
Floyd Hughes
Attended William Morris School, London; born
in the Twilight Zone (London’s East End) to
Guyanese parents, now based in New York; a
comic book artist, special effects technician,
and film and television storyboard/production
illustrator; worked on such films as Highlander
and Hellraiser (and his Sweetheart); work for
British and American comic publishers such as
Marvel, DC, Image, and Heavy Metal; has produced
graphic novels; designed for MTV’s “Celebrity
Death Match” and “Downtown,” and produced
storyboards for Arm & Hammer, T-Mobile, Burger
King, The NBA, MSNBC and R. Kelly; produced
CD art for rock icons AC/DC and for movies
including Anti-Trust and I Am Legend; serving as
visual consultant for the Spike Lee movie Nagasaki
Deadline (in production for James Cameron’s
Alcon Entertainment); published writer; has
exhibited his fine art paintings in several galleries.
Margaret Hurst
Adjunct Professor
B.A., Literature, Boston University; B.F.A.,
Illustration, Parsons School of Design; a native
of the Virgin Islands, professor at Parsons The
New School for Design; conducted an illustration
reportage workshop at the University of Alaska;
member and Vice President of Studio 1482;
cofounder of live2lime; correspondent on the
blog Urban Sketchers, member of Studio 1482’s
blog, onedrawingaday.com; author/illustrator
of award-winning book Grannie and the Jumbie;
featured in Teaching Artist Journal with Eric Carle,
Faith Ringgold, and David Myers; artwork has been
featured in New York Living and Latitudes; work
is cited in the book Early Childhood Education
Today by George S. Morrison; clients include
AT&T, Neurex, Anthology/Preface, Roche, DuPont,
E&J Gallo, Knorr, DDB Canada, MasterCard,
Stuart Tabori and Chang, Harper Collins (Laura
Geringer Books), St. Martin’s Press, MedicusNY,
and Thomas Nelson Publishing; exhibitions:
the Society of Illustrators, the Rx Club, AT&T
headquarters, Neurex headquarters, Messiah
College, Montserrat College of Art Galleries,
Shafler Gallery, Tres Gallery, the Puck Gallery, and
private collections.
Sebastian Kaupert
B.F.A., M.S., Hochschule Pforzheim University,
Germany; Executive Program, Business for
Design Leaders, Harvard Business School; has
worked across media and practices, with a
focus on branding and business; developed
identities, consumer advertising, editorial design,
online advertising, corporate sites, application
interfaces, and intranets for brands such as
American Express, BMW, Condé Nast, Evian, IBM,
Mastercard, MSNBC, Nickelodeon, Novartis, Pfizer,
Simon & Schuster, Verizon, Viacom, Volvo, and
UPS; formerly Creative Director at Interactive
Bureau, Euro RSCG Worldwide, and Condé Nast;
partner at theoandsebastian; served on the board
of AIGA’s New York Chapter; teaching at Pratt for
over 13 years, including classes on social media
and design practice.
Andrew Kay
Visiting Instructor
Brooklyn-based graphic designer, originally
hailing from Washington, D.C.; Art Director at
MRY, an integrated advertising agency; clients
include Burton Snowboards, Taco Bell, CocaCola, Kraft, Dos Equis, Jaguar, Volvo, Toyota
Scion, Prismacolor, and Sharpie; work has been
featured in I.D. Magazine, Print Magazine’s Regional
Design Annual, CMYK Magazine, and the HOW
International Design Awards; personal interests
include fried chicken and maintaining homeostasis.
Elizabeth Kellogg
B.F.A., Pratt Institute; award-winning SVP Creative
Director with an extensive global advertising and
marketing background; has worked for the past
25 years at renowned agencies such as BBDO,
Deutsch, Lowe, and JWT on a wide range of major
brands from Mitsubishi, to Tommy Hilfiger, to
IKEA; developed and designed launch campaigns
for Mercedes-Benz, Snapple, The Neighborhood
for MCI; created successful, unique, and
breakthrough relationship marketing programs
for clients such as Pfizer, American Express,
and Sprint; her concepts and designs have won
dozens of advertising and marketing awards;
currently working in the industry, primarily on
TV assignments; married to Robert Kellogg, a
principal at HOK, also a Pratt graduate.
226
Michael Kelly
Veronica Lawlor
Richard Luna
B.F.A., Pratt Institute; taught both when he was in
high school and when he was a student at Pratt;
balances his teaching with design work for clients
such as Weleda North America, Pratt Institute,
M&M Environmental, and Art Off the Main;
published writings on design and other topics;
recipient of the Pratt Distinguished Teacher Award.
Adjunct Professor
B.A., Parsons The New School for Design; M.A.,
The New School; native New Yorker; illustrator for
a diverse group of editorial, publishing and corporate clients, including the 3M Corporation, for
whom she completed a reportage mural of New
York City; fashion illustration includes advertising
for Lord & Taylor and editorial work; freelance
illustrator with Studio 1482; assistant editor, Marvel
Comics; art director, DC Comics; honors and
exhibits: Society of Illustrators, Art of Digital Show;
American Illustration, the Rx Club, United Nations,
9/11 reportage in Newseum permanent collection;
books: I Was Dreaming to Come to America, Memories of the Ellis Island Oral History Project (Viking
Press), One Drawing A Day: A Six-Week Course Exploring Creativity with Illustration and Mixed Media
(Quarry Books); articles: Step-by-Step, Communication Arts, World Association of Newspapers;
correspondent on the Urban Sketchers international blog; believes in drawing as the primary tool
of the graphic communicator.
Formerly a medical and technical writer/editor;
worked in book, magazine, and advertising
typesetting; perfected his typographic skills at
Photo-Lettering, the finest type studio in its day;
began his electronic publishing career when he
bought his first computer, a MacPlus, in 1985
while working as a CSR in a type shop; in 1987
he produced the largest product created in
QuarkXPress in the country, a history of the First
Unitarian Church of Brooklyn; was manager of
Mac applications at a large prepress organization,
where he advised and trained company staff
and customers on how to take advantage of
the electronic publishing revolution; founded
LunaGraphics Associates, a consulting and training
company working with magazines, ad agencies,
and design firms; he estimates that he has taught
Quark, InDesign, Photoshop and electronic
typography to more than 2,000 people.
Bill Kontzias
Has specialized in location corporate photography
for over 25 years; commissioned by corporations,
graphic designers and magazines; travels
throughout the USA and Europe photographing
people, places, and products; formerly a studio
assistant for Francesco Scavullo; expertise in
celebrity portraiture and fashion photography,
lighting, and studio operations; clients include
Gretchen Bellinger Inc., Bronx Museum, DuPont,
DUX, Emigrant Savings Bank, Portland Seadogs
Baseball, Formica Corporation, Gilbert Paper,
Guilford of Maine, Brazilian Consulate, Rizzoli
Publications/Michael Graves, SunarHauserman,
Vignelli Associates.
Tom La Padula
Adjunct Professor
B.F.A., Parsons The New School for Design; M.F.A.,
Syracuse University; illustrations for national and
international magazines, advertising agencies,
and publishing houses; lectures nationwide on
the History of Illustration; exhibited in numerous
group shows throughout the country; paintings
and drawings included in many private collections;
joined the Communications Design faculty in 1986;
Illustration Coordinator for Pratt ComD.
Anthony Lauricella
Visiting Instructor
B.F.A., University of Louisiana; graduate, Portfolio
Center, Atlanta; native of New Orleans, LA.; VP,
Associate Creative Director at the global ad
agency Grey in NYC; has created memorable
ads for many iconic global brands, such as Tide,
Pepto-Bismol, Folgers, Post-it, Scotch Tape,
Safeguard, Head and Shoulders, Kellogg’s, General
Mills, Kmart, Ethan Allen, Bridgestone, Tropicana,
and the Catholic Communication Campaign; won
awards from the International Festivals of New
York (Best of Show), the Art Directors Club, Clio
Print finalist, Gabriel Award for public service, and
an Effie; previous agencies include Leo Burnett,
Saatchi & Saatchi, D’Arcy, and BBDO.
Phil Lubliner
Visiting Instructor
Partner at Other Means, an independent
graphic design studio; print, animation, and
digital work primarily for cultural and nonprofit clients such as Bloomberg, The New York
Times, Good Magazine, Emeco, The Van Alen
Institute, Recyclebank.; formerly a partner in
design studio Fogelson-Lubliner; honors and
publications include; Graphic Magazine—Small
Studios Feature, Print Magazine—2008 New Visual
Artists, 2009 Sappi “Ideas that Matter” grant, 2011
DesigNYC participant; worked as an art director,
designer, and illustrator at R/GA, FraM.F.A.b
Copenhagen, Honest, and Brand New School;
awards include Cannes Lions, One Show, Clio,
AIGA Design Archives.
Luba Lukova
Doctor of Fine Arts (honorary), Lesley University;
internationally recognized, New York-based, one
of the most distinctive image-makers working
today; awards include Grand Prix Savignac at
the International Poster Salon, Paris, France; the
Golden Pencil Award at the One Club, New York;
ICOGRADA Excellence Award at the Poster Festival
in Chaumont, France; and Honor Laureate at the
International Poster Exhibition in Fort Collins, CO;
solo exhibitions UNESCO, Paris; DDD Gallery, Osaka,
Japan; La MaMa, New York, and the Art Institute
of Boston; received commissions from Adobe
Systems, Sony Music, Canon, The New York Times,
Time, Harvard University, the Cultural Ministry
of France, and the War Resisters League; her
evocative theatre posters have graced numerous
stage productions in the U.S. and Europe; work
is included in the permanent collections of the
Museum of Modern Art, New York; the Library of
Congress; and Bibliothèque Nationale de France;
author of the critically acclaimed Social Justice
poster portfolio, which has been exhibited around
the world and at the Inauguration of President
Obama in Washington, DC.
Jamie Massam
Visiting Instructor
B.A., Graphic Design and Advertising, the
University of Salford, Manchester, UK; after
growing up in the most uncreative town in the
north of England, worked in London as a junior
designer; joined M&C Saatchi in Sydney, Australia,
as an art director from 2001–2006; moved to New
York City to join Y&R as a senior art director; now
Associate Creative Director at McGarryBowen;
created global campaigns for clients such as
Audi, British Airways, Virgin, Chevron, and Martini;
awards include a Cannes Lion, ADMA Gold, Asia
AdFest Silver; has worked at McCann’s, Nitro,
The Brooklyn Brothers, and most recently R/
GA, helping to win the $40MM Centrum business;
holds three passports.
Kyle McDonald
Visiting Instructor
B.F.A., California College of the Arts; worked
for IDEO before moving to New York as a senior
designer in the On Air Graphics department at
MTV; opened studio, A Minor Variant, specializing
in motion graphics and direction; works as the
design director for Deutsch NY, working with
clients from Microsoft to Milk and Direct TV;
career has spanned the worlds of branding, print,
digital, motion graphics, live-action direction and
advertising; work combines theory and form to
communicate stories in any medium; recognized
by the ADC, Print Magazine, the One Club;
published in James Victore’s book Lust; personal
interests include driving motorcycles in India,
snowboarding in Lake Tahoe, surfing in Puerto
Rico, and walking the dog in Greenpoint.
227
Lorraine McNeill-Popper
Anita Merk
Tim O’Brien
Has worked more than 30 years in advertising,
work has included Pepsi commercials with artists
ranging from Michael Jackson to Wyclef Jean, Life
cereal’s beloved “Mikey” campaign, commercials
for Gardasil, Merck’s vaccine against human
papilloma virus, innovative anti-drug PSAs for the
White House’s Office of National Drug-Control
Policy (ONDCP), a new recruitment campaign for
the Marine Special Operations Command, and
the 2010 Census; serves as a leading member of
The Partnership at drugfree.org’s national Parent
Advisory Board, a group of parents from around
the country who—in collaboration with the top
research and medical scientists in their field—help
develop, evaluate, and expand the information,
tools and support for parents available through
drugfree.org; serves on The Partnership’s Creative
Review Committee which oversees and reviews
all advertising and PSAs created by advertising
agencies around the country.
B.F.A. Hon., Fashion Institute of Technology;
owner of Flyleaf Creative, Inc.; clients include
arts presenters, theaters, festivals, member
organizations, and foundations; branding efforts
have encompassed all print media and awardwinning websites that cultivate a client’s memberdriven community needs, grantees, and/or
distinct ticket-buying public; her firm has been
recognized by Adobe in 2008 and by the Council
on Foundations in 2009; Herzog Award finalist for
her design of My Life in the Gulag, a hand-sewn,
letterpress memoir of World War II, archived
in the Marshall Military History Collection at the
University of Texas at El Paso; at Pratt she has taught
Communications Design, Graphic Design 1 and 2,
and Senior Project; founding partner in Beam Camp,
a summer camp in New Hampshire where young
people acquire and refine their problem-solving
skills through a creative education.
Adjunct Professor
B.A., Paier College of Art; awards and recognitions
from the Society of Illustrators in New York and
Los Angeles, Graphis, Print, Communication Arts
Magazine, the Society of Publication Designers,
American Illustration, and the Art Directors Club;
has over a dozen paintings in the National Gallery,
Washington, DC.; winner of the 2009 Hamilton
King Award from the Society of Illustrators;
Executive VP and Museum Chairman at the Society
of Illustrators; numerous speaking engagements
including The Norman Rockwell Museum, the
Society of Illustrators, Syracuse University,
SVA, Pratt, RISD, CCA, and the University of the
Arts; professor at the University of the Arts in
Philadelphia and Pratt Institute in Brooklyn;
lectures frequently across the country.
Scott Meadows
Visiting Instructor
Professional photographer with an extensive
background in creative development and
graphic design; specializes in commercial
photography for online, iPad, print, in-store and
out-of-home media for clients such as Weleda
and HarperCollins; has developed an environment
that provides students with portfolio-building
assignments which incorporate opportunities
to work with clients, concepts, and using
photography to solve design problems.
Scott Menchin
Adjunct Instructor
Studied at Pratt Institute and Arts Students
League; children’s book author; illustrator, graphic
designer, and art director; lives in Woodstock
and New York, NY; worked for How Magazine and
Seven Days; ran his own design studio; has worked
for Ford, Intel, Pfizer, Toyota, Time, Esquire, Wired,
Sports Illustrated, Smart Money, Rolling Stone, The
New York Times and The Washington Post; work has
appeared in American Illustration, Print Magazine,
The Society of Illustrators, and the Society of
Publication Designers; books illustrated: Man
Gave Names to All the Animals, an award-winning
children’s book with text by Bob Dylan (Harcourt
Children’s Books); a series of children’s books
for best-selling author Doreen Cronin (Wiggle,
Bounce, Stretch and Rescue Bunnies), Riding in My
Car (Little Brown), based on the famous Woody
Guthrie children’s song; books authored and
illustrated: Taking a Bath with the Dog and Other
Things That Make Me Happy (Candlewick Press),
which was awarded the Christopher Award and
listed as a best children’s book of the year by
Bank Street College, Harry Goes to Dog School
(HarperCollins).
Taso Mouhteros
Co-founder, president and creative leader
at PLUM Agency, a New York City-based full
service advertising and entertainment agency;
successfully led and managed award-winning
campaigns for a broad range of government and
global clients, including award-winning work for
the largest ever campaign—the U.S. 2010 Census;
as executive producer of PLUM’s entertainment
division—PLUMP—leads the development
of entertainment content for clients and a
scripted TV drama; Mouhteros is most proud
of work which benefits the lives of Americans,
from campaigns recruiting our military (Marines
Special Ops), to curbing teen drug use (Above the
Influence/Partnership at Drugfree.org), to health
improvement (Merck); awards include: Two David
Ogilvy Gold Awards, American Association of
National Advertisers Award, DTC Award.
Christopher Silas Neal
Visiting Instructor
B.S., University of Colorado; born in Texas and
raised in Florida and Colorado; work has been
published by a variety of magazines and book
publishers; recognized by Communication Arts,
American Illustration, AIGA, Society of Illustrators,
Society of Publication Designers, Type Directors
Club, Print Magazine, and Society of News
Designers; exhibits drawings at various galleries
across the country; shares a studio in an old
pencil factory in Greenpoint, Brooklyn.
Marjorie Oetting
Visiting Instructor
B.S., Journalism, University of Colorado; studied
at School of Visual Arts; a freelance associate
creative director, Oetting has worked for many
notable and well-respected creative agencies
including DDB, Arnold, The Concept Farm, and
The Martin Agency; she has run multi-million
dollar brands like Hershey’s Kisses, Payday, and
Nicorette Gum, and created memorable, awardwinning campaigns for Payday and Reese’s Peanut
Butter Cups; as a copywriter who is very talented
at writing very short sentences, she has worked
on brands including BudLight, Diet Pepsi, Dixie,
McDonald’s, the New York Lottery, Spike TV,
Subaru, and too many more to mention; she grew
up just outside of Boulder, Colorado, where she
wasn’t as interested in the breathtaking mountain
views or world-class skiing as she was in writing
and watching TV.
Kyle Olmon
Visiting Instructor
B.F.A., Painting, Art History, University of Illinois
at Urbana-Champaign; children’s pop-up book
creator and author; born outside Chicago,
Illinois; first major project was Celebration, a
collaborative pop-up book sponsored by the
Movable Book Society; worked with Robert
Sabuda and Matthew Reinhart for eight years;
author and designer of the New York Times
bestselling pop-up book, Castle: Medieval Days
and Knights (Sabuda and Reinhart) and Baby
Signs: A Pop-Up Book (Sabuda and Reinhart),
which focuses on teaching sign language to
preverbal children; partners with individuals and
organizations on pop-up projects and exhibitions,
both artistic and commercial; board member of
the Movable Book Society; has taught at Pratt
since 2005.
228
Isaac Paris
and articles about architecture, interior design,
and graphic design, the occasional movie star,
and film directors have appeared in Advertising
Age, Child, Details, Elle, Elle Decor, How, Harper’s
Bazaar, Metropolitan Home, The Daily News,
and The New York Post; graphic design portfolio
includes work for clients such as Interior Design,
DesignTex, Bernhardt Furniture, Metropolitan
Life, Ameriprize, Strathmore Paper, Independent
Curators Inc., Merce Cunningham Dance
Company, RedTop Architects, Duce Construction,
The Carpenter Group, and Outdoor Life; designs
clocks for Soho ClockWorks; “Between thinking
about graphic design solutions, my enthusiastic
students, and my burgeoning new business, my
work life is very full and very satisfying.”
B.F.A. Hon., Parsons The New School of Design;
Principal at I Paris Design; clients include Alvin
Ailey American Dance Theater, Amistad Press, Inc.,
Anti-Violence Project, NYC, Brooklyn Academy
of Music, Authentic Hair Care Systems, Harlingen
Veterinary Clinic, Essence, Foscarini Lighting,
Italiana Luce International, Juilliard University
of Music, Dance, and Drama, the New York Law
School BLSA New Journal, RCA Records, Shang
Records, Rory Sparrow Foundation, and Shaka
King Menswear; works as a Senior Art Director/
Designer at SGNET Solutions, LLC.; clients include
CAREGAIN Management of Health Care Benefits,
The Diversity Advancement Project, Focustream,
Global Business Intelligence, Harlem Community
Development Corporation, Heavy Hitters Music,
The New England Journal of Medicine, Thinking
Planet Productions, TIAA-CREF’s College Savings
Plans, 1199 SEIU’s Child Care Fund, and the Greater
New York Child Care Fund; featured in The Artist
Magazine, Rockport’s Letterhead & Logo Design
7, Rockport’s Letterhead & Logo Design 8 (Top
Design Studios), and several Carter’s Corporate
Identity Books.
Chang Park
Attended Art Center College of Design, Los
Angeles; freelance illustrator and painter based
in New York; clients include TIME, The New York
Times, BusinessWeek, The Village Voice, Warner
Bros. Records, Elektra Records, Penguin Books
and the Criterion Collection; paintings have been
exhibited in numerous group shows on the east
coast; teaches at Pratt Institute and Parsons The
New School for Design in New York City.
Yuliya Parshina
Visiting Instructor
B.F.A., Computer Art, School of Visual Arts; born
in Moscow, Russia; a motion graphics animator,
3-D artist, illustrator, and prop-maker; using both
digital and traditional mediums, she has worked
on commercial, cultural, and children’s television
projects; museum contributions include work
on a projection for the Guggenheim Museum
(New York), a Muse award-winning interactive
installation for the American Museum of Natural
History’s Horse exhibition, and a permanent
projection for the National Museum of American
Jewish Culture (Philadelphia); worked with studios
and agencies such as Brand New School, Stardust
and Euro RSCG; created props and background
art for the first season of the Nick Jr. television
series The Wonderpets.
Alexander Polakov
Visiting Instructor
Furniture designer, a journalist writing primarily
about design-related subjects, and a graphic
designer; furniture designs have been featured in
publications such as The New York Times, Vogue,
Metropolitan Home, and Elle Decor; profiles
Jesse Ragan
Visiting Instructor
B.F.A., Rhode Island School of Design; studied
both modern digital techniques and the
fundamentals of punchcutting—one craft
is relatively young, one endured for four
centuries after the invention of movable metal
type—this experience cultivated his belief
that artisanship should transcend technology;
designed typefaces at Hoefler & Frere-Jones,
where he had a hand in Gotham, Archer, and
many other families; since 2005, he has worked
independently in Brooklyn, developing typefaces
and lettering for a variety of clients; work can
be found in the retail libraries of Font Bureau,
House Industries, and Darden Studio; teaches
typeface design at The Cooper Union.
Jon Santos
Visiting Instructor
B.F.A., California College of the Arts; principal
of Common Space, a multidisciplinary design
and art studio based in NYC; each project is
a collaborative effort with equal emphasis on
concept and design; frequently partners with Web
developers, creative agencies, and artists to create
print, Web, and video media; a visiting artist and
lecturer at Sint-Lukas Academy in Brussels, the
American Institute of Graphic Arts in Washington,
DC, Cesun Universidad in Tijuana, Mexico, and
Third Ward in Brooklyn; work has appeared in
Paper, Casa Vogue, City Magazine, Tokion, Bidoun,
the Fader, Casa Brutus, Communication Arts, +81,
I.D., and Nylon; personal interests include creating
video and installation art.
Haggai Shamir
Professor
Fashion Illustration, School of Visual Arts; principal
of Klauber/Roberts; work has included corporate identification programs, annual reports and
financial literature, retail store visual merchandising,
trade advertising, publication design, and publicity
campaigns for AT&T, Ortho Pharmaceuticals, CIGNA,
AIG, SuperStructures, Abrams Publishers, Aperture,
Yale University Press, and the Josef and Anne Albers
Foundation; leads courses at all levels of the Undergraduate Communications Design program; served
as chair of the department from 1994 to 2005, and as
President of the Academic Senate from 1997 to 2001.
Studied at Bezalel Academy of Art & Design,
Jerusalem; a graphic designer and typographer
for 25 years; original member of the independent
firm Dsn°Provisions, which specializes in branding,
typeface design, and academic publications;
companies and organizations that have sought his
services include the manufacturer LP Percussions,
the Columbia University music department, many
filmmakers, members of the music industry,
coffee producers, jewelry distributors and small
businesses; Shamir values clarity in the service
of flights of imagination; his work is both clean
and resonant: crisp in line and layered with
association; at the heart of the work is the play of
type and image—at times type as image; influences
include the early 20th-century political designs
of John Heartfield and the culture production
of Gert Dumbar—in both cases, provocative
work marked by ingenuity; hired by the Michael
Peters Group of London, the firm responsible for
rebranding Shell, Tropicana, Phillips, Seagram’s,
and Knoll; worked with Chermayeff & Geismar
Associates designing corporate identity systems;
taught graphic design and typography in New York
and abroad for 15 years, his purpose as a teacher
is to encourage student independence and
initiative in exploring, in a workshop setting, their
creative ideas, providing the tools and inspiration
to best realize them.
Scott Santoro
Kelly Shea
M.F.A., Cranbrook Academy of Art; principal of
the graphic design studio Worksight; in a live-andwork loft on Great Jones Street in Manhattan, he
has crafted designs for large and small companies
for over 20 years; has served as vice-president of
the AIGA NY, and as design committee member
for the Fulbright program; speaks internationally
on design; taught at NYU, Parsons, SVA, and The
Cooper Union; at Pratt Institute, teaches Graphic
Design 1 and 2 and Graphic Design Senior Project.
M.F.A., Computer Art, School of Visual Arts; B.S.,
Graphic Design, Hofstra University; freelance
visual designer at The Onion; works closely with
the editorial and Web development team to
generate ideas and develop design strategies
for various digital projects—from the wireframe
stage through to the final design comps; she
is responsible for translating the needs of The
Onion, its users, and advertisers into effective
design solutions; projects include: the complete
redesign of The Onion’s website, including Onion
News Network and Onion Radio News, the design
of the Onion iPhone application, the Onion News
Joe Roberts
Network’s IFC show website, the design of the
China Takeover special issue, the War for the
White House website, 1783 Special Archive Edition,
the Onion Store: both Web and mobile, and the
News Surge Daily Calendar. Other clients include:
Ride the City, Howcast Media, Bare Necessities,
Realty Collective, Wise Elephant, Frankies
Brooklyn, Canine Companions for Independence.
Samuel Shenova
M.F.A., Painting, New York Academy of Art; B.F.A.,
Graphic Design, Pratt Institute; teaching at Pratt
since 2006; a lover of all kinds of visual arts;
brings to his classrooms his diverse experiences
as a graphic designer, illustrator, and painter; as a
designer, has worked with such agencies as C&G
Partners and Ralph Appelbaum Associates on
large scale exhibition projects; works freelance
on a variety of Web and print projects for special
clients and friends; as an illustrator and painter, he
explores new and traditional media, from comics
and graphic novels to figure painting and drawing;
his classes are hands-on and real-world relevant;
projects are focused on technical proficiency,
conceptual development, and growth of each
student’s individual style and creative point of view.
Max Shuppert
Child of a family of painters, photographers and
musicians, Shuppert has pursued his career
as both a photographer and director of
photography (DoP)/director since 1987, creating
imagery, both still and moving, for Fortune
500 companies, major retailers, and charitable
organizations throughout the United States; DoP
on four recent feature-length films; directed and/
or worked as DoP on a dozen short films and two
branding films for major corporations; in 2007, his
short film True Love was an official selection in
the Woodstock Film Festival, the Miami Short Film
Festival, and the New York Independent Film and
Video Festival; as a DoP he was awarded two 2008
Telly Awards for Cinematography for the short
film Bulletproof; recent projects include working
as director, DoP, and editor on a series of videos
for a major premium vodka brand, art director/
editor of an online psychology course, and as DoP/
associate producer on two television projects;
background includes working as type director of
a major advertising agency in Dallas, Texas, and 16
years of experience as a professional advertising
photographer; was first assistant to Art Center
College of Design 1982 magna cum laude graduate
Stephen E. Seeger; lectured at Texas A&M from
1988-1990.
229
Alexander Smith
Matthew Strong
Visiting Instructor
B.F.A., Communications Design, Pratt Institute,
M.I.D. candidate, Pratt Institute; CEO of Graphient,
a software startup working on data visualization
products; prior to founding Graphient, he worked
as a freelance designer, animator and illustrator
on a wide variety of print, television and Web
projects for clients ranging from MTV to Walmart;
he believes that there are identifiable intellectual
methods in the practice of graphic design, and
that by identifying those methods the students can
synthesize their own theories of what it means to
be a designer; experience has led him to define
how these methods can be applied as broadly as
possible, often crossing traditional boundaries
between disciplines.
Visiting Instructor
B.A., B.F.A. Hon., Communications Design, Pratt
Institute; principal of Strong Studio NYC LLC;
creates identities, branding, editorial, packaging,
environmental and Web design for a variety
of clients including The New York Times, ESPN,
NYU, Starwood Hotels, American Express and
Hasbro; formerly served as the Creative Director
for Madison Square Garden, which involved
overseeing and creating season identities for
the New York Knicks, the New York Rangers, and
Radio City Music Hall; previously worked at SME
Branding, establishing a prominent print division
to complement the identity side of the company;
clients included the NBA, NFL, MLB, NHL, and
NCAA sports teams.
Claudia Sohrens
Thaddeus Szumilas
Visiting Instructor
B.F.A., Communications Design, IN.D, Hamburg,
Germany; M.A., Ph.D. candidate, Media and
Communications, European Graduate School,
Saas-Fee, Switzerland; a German-born visual artist
and educator who lives and works in New York;
recipient of several artist grants, such as the 2010
NYFA fellowship in Photography; artist residencies
include the Bronx Museum in New York; work has
been included in exhibitions at the Bronx Museum,
the Brooklyn Museum, and at the Artists’ Space in
New York, as well as international art venues and
festivals, such as the Electronic Language Festival
in Sao Paulo, the Project Space at Kunsthalle
Wien, KW–the Institute for Contemporary Art
in Berlin, as well as Kampnagel KX in Hamburg;
teaches in the Full-Time General Studies Program
at the International Center of Photography, in the
Photography Department at Parsons The New
School for Design, and in the Communications
Design Department at Pratt Institute.
Graphic Design, Parsons The New School for
Design; attended Haaren High School; came to
the US in 1966, became a U.S. citizen in 1975;
typographer, type designer, teacher, corporate
identity consultant; practical experience under
John Pistilli at the Sudler & Hennessey ad agency
and Tom Carnase at Lubalin, Smith and Carnase
prepared him for the real world of typographic
design in a wide range of projects including
book jackets, packaging, corporate identity,
entertainment, and television; his experience
and portfolio gained him popularity among art
directors, whose inspirations and suggestions
resulted in creating text and display typefaces.
James Spahr
User experience designer; designing interfaces
for human/computer interactions and using
computers to visualize data for 20 years; Vice
President at Morgan Stanley, where he helps
the investment bank create user interfaces
for authoring and distributing its investment
research products; previous clients include: The
Economist, Ford Motor Company, Mercedes USA,
Columbia Sportswear, and International Paper;
teaching at Pratt Institute since 2001.
Lindsay Stadig
Visiting Instructor
manages the Display Production studio at Barneys
New York, where she oversees the production
of display elements for Barneys stores nationwide and manages the installation in their
landmark Madison Avenue store; she also runs a
freelance letterpress and design business, Acme
Letterpress, out of her Brooklyn studio; clients
include NBC, Girl Scouts of America, Agent
Provocateur, and Brooklyn Underground Film
Festival; illustrated the book How to Make Books
(Random House, 2007).
K.C. Tagliarini
Visiting Instructor
Partner in digital branding agency Shadow
Works, offering clients solutions through use
of information, motion, and interactive design;
having worked with some of the industry’s leading
talent and clients, he will share his experience
through approaches that are grounded in strategy
and branding; this awareness has become more
important as the marketing communications field
has evolved over the past 10 years.
Josh Tavlin
McGill University, Montreal; Executive Creative
Director of the New York office of Momentum,
a premier “experiential” agency; formerly with
Ogilvy & Mather as copywriter and as Sr. V.P.,
Group Creative Director; led both digital and
traditional campaigns, spearheading efforts on
American Express, IBM, SAP, the NY Mets, Hershey,
Delta Airlines, Sara Lee, Miller Beer, and Kraft,
among others; was instrumental in introducing
IBM e-business to the world and integral in putting
Mr. Met on America’s Funniest Commercials; work
has appeared in CA, D&AD, the One Show, the
Obies, and the Addies, among others; in order to
remain relevant and nurture the next generation
of talent, decided to teach; at Pratt currently
teaches Advertising in New Media; though born
and raised in New York City, he lives in Hoboken,
NJ with his wife and two sons.
230
Jessica Tice-Gilbert
Joel Tretin
Dan Weber
Visiting Instructor
B.F.A., Illustration, Pratt Institute; creates popup books—she discovered pop-up books while
studying at Pratt and never looked back; her
designs range from holiday cards at the Museum
of Modern Art, to books and giant pop-up
window displays; collaborated with renowned
paper engineers and children’s book authors
Matthew Reinhart, Robert Sabuda, Kyle Olmon,
and Tomie dePaola.
Former stand-up comedian, a copywriter by
trade, and an amateur developer—an unlikely
combination, but hey, that’s life; clients include:
Microsoft, IBM, HP, Citibank, Chase, Panasonic,
Samsung, Xerox, Pfizer Drugs, Wyeth, General
Foods, Wonder Bread, and Twinkies; specializes
in the interactive channel; certified Flash
Actionscript Developer; has taken numerous
courses in IA, user experience, and heuristics; also
a student of computer gaming and viral marketing;
worked for numerous interactive agencies, some
with strange names like Wavelink 21 (what were
they thinking?), Modem Media, Wunderman
Interactive; currently Group Creative Director
at Ogilvy handling MetLife, Mount Gay Rum, and
International Hotel Group.
Visiting Instructor
B.A., Cornell University; VP, Associate Creative
Director at the global ad agency Publicis in New
York; he has written award-winning ads for some
of America’s most popular brands including
Folgers, Pillsbury, Pampers, Burger King, Hawaiian
Punch, Crest and Scope; work has been published
in Archives and named a finalist at Cannes; worked
with some of the great creative directors of the
industry including Lee Garfinkle, Tony Granger,
and Gerry Graf; previous agencies include N.W.
Ayer, D’Arcy, and Saatchi & Saatchi; he is also an
award-winning playwright and was a semifinalist
for the prestigious 2011 Eugene O’Neill playwriting
conference; born and raised in NYC; lives in Great
Neck, NY with his wife, three children, and a
teacup Maltese.
James Tung
Jon Weiman
Visiting Instructor
Graduated from School of Visual Arts with honors;
completed an internship at Pentagram, NY under
Paula Scher; worked with notable companies and
firms including Sony Music Entertainment, Arnell
Group, Eric Baker Design Associates, and Indika
Entertainment Advertising; in 2002 partnered
with Dai Ushiyama to form First Person Singular
to offer boutique design solutions for companies
in New York and Tokyo, including Mazda Japan,
Brooklyn Industries, the Criterion Collection, the
Friedmutter Group, Domini Social Investments,
and the Asia Society; previously with the
advertising agency BBH NY, where he worked on
accounts for Google, Unilever Axe and Vaseline,
Miller Brewing Co, NYC & Co, Johnnie Walker,
Levis, Ally Bank, VitaminWater, Sprite, Westin, LG,
and British Airways; currently a senior graphic
designer with Y&R, where he oversees the design
department; accounts include Dell Computers,
Goldman Sachs, Accenture, MPA, Office Depot,
Conrad Hotels, LG, The Pit, and Bayer Group.
Adjunct Professor
B.F.A., Graphic Design, Tyler School of Art; a
graphic designer/illustrator/Web designer;
owner/principal of Weiman Design, located in
Randolph, NJ; serves on the Board of Directors
of the Art Directors Club of New Jersey and
as Chair of the Education Council; formerly
National Vice President of the Graphic Artists
Guild; served on the Board of Directors of the
Society of Illustrators as the Chair of Professional
Practices and Legislation, Fund Development,
and Editor in Chief of The Bulletin; designed
and illustrated over 400 book covers and four
children’s books; awards include 2010 and 2007
American Graphic Design Awards and a 2010
Award of Design Excellence from the ADCNJ;
exhibited internationally; work is in the permanent
collection of the United States Air Force.
Matt Tragesser
Visiting Instructor
Artist and designer based in New York; currently
exploring various illustrated and animated projects
while working as a freelance creative director; one
of two founding creative directors of Convert,
where he redesigned the graphic identity for TNT
and co-directed the video for Common’s single,
“Go”; spent five years at Imaginary Forces, where
he created the Marvel theatrical logo as well as
the main title sequence for One Hour Photo; work
has been recognized by the Type Directors Club,
Promax/BDA, Adobe, Stash, Step, Creative Review,
and Émigré; was included in Print Magazine’s New
Visual Artists Review 2004; his work has received
gold and silver awards from the Art Directors Club.
Ron Travisano
Visiting Instructor
B.A., Advertising Design, Pratt Institute; he started
his career at Young & Rubicam in the supply
room; within two years he became an assistant
art director; in 1963 he moved to Marschalk
Advertising as an art director, then to Delehanty
Kurnit and Geller as an art supervisor; in 1966,
was mentioned on the front page of the Wall
Street Newspaper as one of the “rich kids making
it big” in the advertising world; in 1967 along with
Jerry Della Femina, he started his own agency
which became one of the best-known creative
agencies for the next 18 years; in 1985 he sold
his half of the agency back to his partner and
started his own film production company called
Travisano DiGiacomo Films; spent the next 18
years producing and directing TV commercials and
documentaries; awards as an art director include
15 Clios and several Gold and Silver awards at the
One Show; as a DGA Film Director he was awarded
the Gold & Silver Lions at the Cannes Film Festival
for his commercial work; in 1999 he was awarded
the Pratt Institute Alumni Achievement Award
for professional accomplishment and leadership
in communications design; teaching Advertising
Design and Concept classes at Pratt Institute
for the past eight years; also taught at School of
Visual Arts for 18 years.
Jan Uretsky
Visiting Instructor
B.A., Vassar Collage; B.F.A., Parsons The New
School for Design; born and raised in New
York City; principal of Uretsky & Co., a small
multi-disciplinary graphic design studio based
in Hoboken with over 20 years of experience
helping corporate and individual clients create
a full range of graphic design—everything from
complete brand identity, packaging, logos,
stationery and brochures to websites, book
covers, and publication design; clients include
AIGA/NY, Columbia University Press, Def Jam
Records, HarperCollins, Hope & Heroes Children’s
Cancer Fund, Human Rights Watch, KPMG Peat
Marwick, March of Dimes, The New School, New
York University, Strickman-Ripps Inc, Screentalk
Magazine, and Tor Books; teaches Graphic Design
Senior Project; honored by awards from AGFA,
PDN, Print, and How; published in Print, How,
Graphis, PDN Identity, Business Cards 7, American
Corporate Identity, and 1000 Music Graphics.
David Weinstock
Visiting Instructor
Studied Anthropology at the University of Chicago;
“neither fish nor fowl” due to the circuitous route
he took into advertising via programming, writing
and finally being a creative director; has worked
for clients including Dos Equis, Wendy’s, Kohl’s, the
Ad Council, Frank’s RedHot Sauce, Guinness, and
Maybelline; recognized by the Cannes Advertising
Festival, the One Show, the Andys, AICP, D&AD,
and many others.
Parker Weintz
Visiting Instructor
B.A., Cornell University; a graphic designer and
art director who specializes in both print and
online media; clients include Y&R Brands,
Wunderman, Dell, Reebok, AT&T, Nat Nast, North
American Power, AIG, Blue Cross/Blue Shield,
and many others
231
Anthony Williams
B.F.A., Tyler School of Art, Temple University;
over 24 years of experience in identity and
communications design; from 1989 to 1991
he honed his skills at Chermayeff & Geismar
Associates, where he was principal designer
on signage projects that included the JFK
International Airport 2000 Redevelopment
Program, the Times Square Redevelopment
Project, and the Tempozan Marketplace in
Osaka, Japan; as a senior designer he also
worked on the identity standards for Harper
Collins and Merck Pharmaceuticals; launched
Williams & Short Associates, where he developed
numerous projects, such as a new logotype
and comprehensive usage standards for The
Switzer Group, Inc., an award-winning interior
design firm, and design of a marketable graphic
symbol and accompanying graphic standards for
the Babies and Children’s Hospital of New York;
another notable identity project was research and
development of both the name and corporate
brand for Orissa, Inc., an expanding company
specializing in custom computer networking and
applications software development; at the helm
of The Williams Group, he produced advertising
and collateral material for a wide range of clients
such as Price Waterhouse Corporate Recovery
Group and Lifetime Television Studios; currently
the Creative Director of Zko, LLC and an associate
professor at Pratt Institute.
Pirco Wolfframm
Diploma, Visual Communication, Hochschule
für Gestaltung, Offenbach (Germany); M.F.A.,
Graphic Design, Cal Arts (USA); worked in diverse
professional environments, for clients ranging
from global juggernauts to niche brands; has
honed her skills for 15 years spanning three
continents; while her solid footing lies in brand
and identity development across platforms, she
happily indulges in research-based methodologies
that form the basis of her senior-level classes in
Undergraduate ComD; she also teaches Thesis II
classes in the M.F.A. program; her work and design
writings have been published internationally; she is
the recipient of several grants.
Christopher Zaccone
Visiting Instructor
Freelance illustrator and graphic designer with
a focus on youth, culture and education; clients
include several cultural institutions; illustrations
have been featured in the New York Historical
Society, most recently in the exhibition Lincoln
and New York; designed and illustrated numerous
educational materials for the New York Hall of
Science; illustrated educational books including
First Black Autos and Learning to Swim; he is the
illustrator behind the comic book After School
Agent, created with his friend and collaborator
Scott Weinstein.
Fashion Faculty
Susan Cianciolo
Assistant Professor
B.F.A., Parsons School of Design; an accomplished
illustrator and fashion designer, her designs are
regularly shown on the New York fashion calendar
and in galleries and museums around the world.
After studying fashion design at Parsons The New
School for Design and painting at Winchester
School of Art, she began interning at Geoffrey
Beene under Alber Elbaz. Susan worked as a
production manager for Kim Gordon’s line X-Girl,
and then moved on as an assistant collection
designer at Badgley Mischka. She then produced
her critically and commercially successful RUN
Collection from 1995–2001. Her other credits
include a collaboration with Cone Denim in 2005,
the 2007 film 1960s Butterfly Girl (which featured
many of her designs), and teaching positions at
both Pratt and Parsons The New School for Design.
Rose DePasquale
Professor
Owner/designer; yoga wear and accessories line;
OM SWEET OM LLC; member: Fashion Group and
Underfashion Association.
Olivia Eaton
Visiting Instructor
B.F.A., Rhode Island School of Design; Fashion
Institute of Technology; Eaton has over 20
years’ experience in the knitwear market as
both a designer and production manager. She
is currently teaching courses in knitwear in the
Fashion department.
Roxanne Eklund
B.A., Iowa State University; M.S., University
of Kentucky; over 25 years in the footwear
and accessory industry as a designer and
entrepreneur; companies include Timberland,
Genesco, Rockport, Coach, LB Evans, Dan
Post, Acme Boot, Sperry, Rocky Boot, Eureka
Outdoors, Hanes and others; owner/designer
of a national jewelry company for 15 years;
owner/designer of national brand companies
including Beadz sneakers and Ruff Hewn footwear
and accessories; three industrial patents and
publications in textiles and footwear.
Gabriela Galvan
B.F.A., Fashion Design, California College of the
Arts; a patternmaker for contemporary ready-towear and connection designers, her background
in design, production, and development have
included projects and practice with such brands
as Carlton Hall, Axiom Apparel, Uluru, Velasco
Couture, Cushnie et Ochs, Ralph Lauren Collection,
Derek Lam, Rogan, Laila Azhar, and ADAM; presently
the head patternmaker for Foley + Corinna; has
been an educator and curriculum developer at the
Glassell Junior School: Museum of Fine Arts
in Houston, Texas, and ArtEsteem School in
Oakland, California.
Liz Goldberg
B.F.A. with Honors, York University, Toronto;
M.F.A., Painting and Drawing, Pratt Institute;
post-graduate study: Film, Temple University;
teaches Fashion Design and Illustration at Pratt
Institute, Drexel University, Philadelphia University;
Architecture Drawing, Foundation Art and Design,
and Figure Drawing II at Philadelphia University;
2003 fellowship recipient of the Pennsylvania
Council on the Arts and Media Arts; animated
films include Drumba, Puppets’ Cabal, Strings,
Beatbox Philly (exhibited on public television),
Cocktail Couture, and Devils’ Waltz. Paintings and
graphic work represented by Amsterdam Whitney
Gallery, N.Y.C.; Gallerie Chiz, Pittsburgh; Intimate/
Inanimate—The Art of Contemporary Puppet
Theater showcased in exhibition at the Katonah
Museum of Art, 2010.
Kelly Horrigan
B.F.A., Fashion Design, Pratt Institute; fashion
designer and educator; owner/designer of
Kelly Horrigan Handmade, creating one-of-akind leather designs that combine old-world
techniques with a modern aesthetic; her work has
been featured in the pages of the Fader, Surface,
and Velvetpark Magazine, Style.com, and The New
York Times and seen on Here! and Bravo TV; design
consultant for J. Crew, Old Navy, Aeropostale,
American Eagle Outfitters, Playboy, and Fila USA;
her costume designs have been featured at
Dance Theater Workshop, Context Studios, and
Galapagos Art Space. Specializes in leather, textile
print design, and handmade commissions.
W. Christopher Hunte
A.A.S., LaGuardia Community College; B.F.A.
Fashion Design, Pratt Institute; started career
in Men’s Furnishing Saks Fifth Avenue before
venturing into his custom couture design;
designed for diplomats, former Governor of
Barbados, Consul Generals to Barbados and
Jamaica; talk show host Rolonda Watts, As the
World Turns, All My Children, and the Metropolitan
Opera; recipient of the Black Retailers Action
Group Entrepreneurs Award, Outstanding Young
Men of America, and a New York State Assembly
Citation for Community Service.
Elmaz Huseyin
Kim Jenkins
B.A., Cultural Anthropology and Art History,
University of Texas at Arlington; M.A., Fashion
Studies, Parsons; as a graduate of the emerging
field of Fashion Studies, Jenkins analyzes fashion
as both object and theory in the shaping of
culture and identity. During her time at Parsons,
Jenkins co-curated New York’s first-ever fashion
exhibition on the work of designer Giorgio di
Sant’Angelo and co-founded a student-run
fashion publication entitled BIAS: The Journal of
Dress Practice. In May 2013, Jenkins presented
her master’s thesis, “That Was My Veil”: Sartorial
232
Fashion Faculty
and Cosmetic Constructions of Resilience in
Divorced Women, which investigated the role
clothing and cosmetics play in transforming the
self in efforts to attain the psychological trait of
resilience.
Jacqueline Lamont
Alnea Miskiv
A.A.S., Fashion Institute of Technology, Fashion
Design, couture specialization; studied couture
millinery under Janine Galimard; owner/designer
Jacqueline Lamont LLC specializing in hats that are
sold nationally and internationally in upscale stores
and boutiques such as Barneys, Fred Segal, and
Estination, Japan; her private labels have included
J. Crew and Burberrys; a special selection of her
couture hats was available at the Philadelphia
Museum of Art in honor of the retrospective Ahead
of Fashion: Hats of the 20th Century.
A.A. Business Administration, University of San
Francisco; B.F.A. Fashion Design, California
College of the Arts; lectures on fashion design
across Asia, in countries including Japan, Malaysia,
and Vietnam. As many artists and designers use
their environment to feed their cravings, she uses
her time as a design lecturer overseas as part of
her fashion research and gained new expertise
on an international scale. Miskiv has worked with
various garment manufacturers from India, Japan,
Italy, Korea, China, and Hong Kong, and consulted
for designers from Asia to Europe. Her experience
abroad includes launching her contemporary
women’s brand, Farahbella, in Japan.
Adrienne A. Jones
Professor
A.A., Fashion Design, Fashion Institute of
Technology; B.S., Art Education, College of New
Rochelle; M.S., Art Therapy; instructor at Pratt for
over 20 years; also teaches adult education and
pre-college for the School of Professional Studies;
serves as the faculty advisor for the Fashion
Society and volunteers with America Reads;
designs sportswear and leatherwear for private
clientele as well as produces fashion events and
provides fashion styling services.
Rose M. Kampert
B.F.A., Pratt Institute; Drawing and Painting
with Honors, Fashion Institute of Technology;
continuing education courses in technical
apparel; from 1990–2000, headed her
own operation, LOVE NYC, specializing in
contemporary juniors’ sportswear; currently
designs and makes patterns for scores of
companies while teaching at several New York
institutions; in addition to her connection to
the current industry through freelance work,
Kampert continues to be active and inspired by
fine art, music, and film and consistently brings
this into her classroom.
David J. Krause
Visiting Instructor
B.F.A., Fashion Design, Pratt Institute; co-owner
and co-designer of the new brand label Alder, his
company crafts responsibly made ready-to-wear
accessories and beauty products produced in
New York City; Krause’s work has been featured
in several notable publications, such as Women’s
Wear Daily, Surface, Essence, and Elle. He is
a member of the Pratt Design Incubator for
Sustainable Innovation.
Gene Lakin
B.F.A., University of North Carolina at WinstonSalem; M.F.A., Yale University; Certification in
Arts Therapies, The New School; taught summer
program in Johannesburg, South Africa with the
Parsons School of Design; started the high school
fashion studies program at Studio Place Arts in
Barre, Vt.; mentored Pratt ’09 Junior class for
CFDA and Geoffrey Beene competitions with one
student receiving an honorable mention.
Van Lupu
Professor
B.F.A., Rhode Island School of Design; owner and
designer of Van Lupu, Ltd., a freelance design
consultancy with over 30 years experience in
fashion; full-time professor conducting classes
for students of all levels; supervises the CFDA
and YMA/ FSF student scholarship competitions;
member of the Fashion Group International and
the Fashion/Trends Workshop.
Emily Mader
B.A., Comparative Literature and Romance
Languages, University of Oregon. After years in
the publishing industry handling marketing and PR
management for independent, design-focused
publishing houses, segued into managing publicity
and events for touring authors both as an events
director and a publicity liaison for authors such as
Joyce Carol Oates, Garrison Keillor, Alice Walker
and other literary giants. Upon moving to NYC
in 2010, she transitioned from the book world
to the world of design academia; she joined the
Pratt Fashion administration to provide support
for the program’s students, faculty and the
writing, management and implementation of core
curriculum. She oversees the annual fashion show
operations and planning as well as workshops,
lectures, industry outreach and other major
departmental events.
Jennifer Minniti
Chair
B.S. Fashion Design, Philadelphia University; M.A.
Costume Studies, New York University; designer,
curator, scholar, and academic administrator;
formerly associate chair and associate dean,
California College of the Arts, where she taught
in the Fashion Design department (1997–2011);
other recent teaching appointments have
included visiting professorships in Fashion at
CEDIM University in Monterrey, Mexico, and at the
School of the Art Institute of Chicago; industry
experience includes working for Donna Karan in
Manhattan, and helping to launch a sustainable
collection, titled Clothespin; her curatorial
work includes appointments as a research
consultant in ethnographic textiles and modern
fashion at the DeYoung Museum and as a
curatorial consultant to the Wattis Institute,
both in San Francisco, California.
Robin Mollicone
Visiting Instructor
B.F.A., Fine Arts/Fibers, Syracuse University; artist
and jewelry designer with more than 20 years
in the fashion jewelry industry; since 2006 has
taught Pratt classes in fashion jewelry design,
sustainable practices, and served as an internship
advisor for fashion students; currently exhibits her
work in galleries in New York City.
Luigi Montesano
Fashion Institute of Technology; Parsons The
New School for Design; Kingsboro College;
over 30 years’ experience in the handbag and
leather goods accessory market. He currently
works at Coach Leatherware as a senior product
engineering manager.
Rebeccah Pailes-Friedman
B.F.A., Fashion Design, Pratt Institute; M.I.D.,
Industrial Design, Pratt Institute; Computer
Graphics and Graphic Design, School of Visual
Arts; Millinery Design, Fashion Institute of
Technology; experience as design director of
Starter for Nike; Champion Athletic Apparel; C-9
by Champion for Target; Fila USA; accessories
designer for Liz Claiborne, art director, Everlast,
BUM Equipment, and Nautica kids; freelance
product, graphic, and interior designer; has
taught fashion and industrial design at Pratt
since 1998.
Fashion Faculty
233
Martin Price
Emily Putterman Handler
Beverly Semmes
Primary assistant to legendary American fashion
designer Giorgio di Sant’Angelo for more than
11 years, acting as the designer’s liaison with
fashion editors and journalists, communicating
design ideas to the sample room director, and
orchestrating runway presentations; after Sant’
Angelo’s death (1989), Price continued as designer
for the house until its closure (1992); in the late
1990s, Price donated the extensive Sant’Angelo
Archive to the Metropolitan Museum of Art’s
Costume Institute and remains devoted to the
historical documentation of the designer’s work as
a consultant to museums and libraries across the
country; since 2004, assistant professor at top art
and design colleges; mentors junior and senioryear classes in collection and design philosophy
development, fostering the students’ discovery
of their individual point of view and unique
creative vision, while drawing upon his extensive
experience in the fashion industry to guide them
towards understanding the many roles of the 21stcentury fashion designer.
Visiting Instructor
A.A.S., Fashion Institute of Technology; Certificate
1989, Cordwainers Technical College, England;
assistant adjunct professor at FIT for 21 years;
teaches shoe design and shoemaking also at
Hunter College; started a shoemaking program at
the Jewish Community Center of Manhattan five
years ago; taught at Make workshop, Craft Student
League, Nippon Club; has appeared on NY1 News,
Fox 5 Eyewitness News, Japanese television; Daily
Candy; articles in The Sun, Village Voice.
B.A. Art History/B.F.A. Fine Art, Boston Museum
School/Skowhegan; M.F.A. Sculpture, Yale
University; an internationally recognized artist who
has been showing her work since 1990, Semmes
has had solo exhibitions at the Hirshhorn Museum
and Sculpture Garden (Washington, D.C.), the
Kunsthallen Brandts (Odense, Denmark), the
Kunstverein Ulm (Ulm, Germany), the Camden
Arts Centre (London), the Neuberger Museum
of Art (Purchase, N.Y.), P.S.1/MoMA (Long Island
City, N.Y.), Sculpture Center (New York City), the
Institute of Contemporary Art (Philadelphia),
and the Museum of Contemporary Art (Chicago).
Semmes has received numerous grants and
awards, including an Alice Kimball English Award
from Yale (1997), a grant from Art Matters (1998),
an Artist’s Space Grant (1989), an NEA Fellowship
(1994–95), a New York Foundation for the Arts
Fellowship (1997), and the Art Critics International
Association (AICA USA, 2001). Her work is held
in the permanent collections of many important
museums, such as the Albright Knox Art Gallery
(Buffalo, NY) the Hirshhorn Museum and Sculpture
Garden (Washington D.C.), the Whitney Museum
of American Art (New York, NY), the Denver Art
Museum (Denver, Colo.) and the Los Angeles
Museum of Contemporary Art (Calif.). She has
completed three major commissioned works for
public lobby spaces: an installation for Microsoft
Corp. headquarters in Redmond, Wash., a large
wall work for the Progressive Corp. in Mayfield
Village, Ohio, and a grand entry sculpture for
Musachino Art University Library in Tokyo, Japan.
Shannon Price
Assistant Chair
B.A., Anthropology, University of California,
Berkeley; M.A. Visual Culture, New York University;
M.Phil., Decorative Arts, Design History, Material
Culture, Bard Graduate Center. After a decade
in music industry management, costume design,
and fashion styling, entered academia through the
Costume Institute at the Metropolitan Museum
of Art. As Associate Research Curator, she
collaborated with Harold Koda, Curator in Charge,
and Andrew Bolton, Curator, on exhibitions,
publications, acquisitions, and education. In
addition to co-authoring Wild: Fashion Untamed,
she has contributed to the Encyclopedia of
Clothing and Fashion (2004) and the Met’s awardwinning Timeline of Art History. She served as
co-editor for the inaugural issue of the journal
Luxury: History, Culture, Consumption, published
by Bloomsbury in 2014, and serves as an editorial
board member for the Fashion, Style and Popular
Culture Journal (PCA/ACA, Intellect Books). She
has taught and lectured at New York University
and Parsons, with research interest areas that
include 20th-century avant-garde fashion and
sub-cultural style, non-western costume as it
relates to contemporary fashion practice, issues of
sustainability and diversity, and postwar decorative
arts and design history.
Karen Pritchett-Neuman
Adjunct Professor
A.A.S., Fashion Illustration, Art Institute of
Pittsburgh; freelance illustrator; clients
include Bill Blass, major department stores,
and children’s books.
Karen Rippy
B.F.A., Fashion Institute of Technology; Assistant
Professor at F.I.T.; The New School; Freelance
intimate apparel designer; teaches classes in
draping, patternmaking, sewing, body contour,
knitwear design, lingerie design.
Dean Sidaway
Assistant Professor
M.A., Central St Martins, London; His
breakthrough collection grabbed the industry’s
attention. A designer and consultant with
experience gained from working internationally
with Calvin Klein and Clements Ribeiro, among
others. His “The Revenge” collection (2011) was
shown at the London Fashion Week’s official fall
runway presentations. Recent publications to
feature the collections have included Vogue Italia,
W magazine, and i-D magazine, with commissions
photographed by Sebastian Feana and Sarah
Moon. Prior to a tenure-track appointment
as assistant professor with the Department
of Fashion at Pratt Institute, Sidaway secured
teaching positions at Central Saint Martins and
University for the Creative Arts, relocating in 2011
to the U.S. to teach at Savannah College of Art
and Design.
Melanie Schmidt
Adjunct Professor
B.F.A. Fashion Design, Pratt Institute; M.F.A.
Costume Design, Brooklyn College; more than
15 years of experience as a costume designer,
specializing in theater and dance performances;
costume design work has appeared in shows for
Disney, Alces Productions, The Sackett Group, and
choreographer Katie Langan; costume production
work in dance performances for Juilliard, Alvin
Ailey, and the Radio City Rockettes; in television
for the CBS Evening News with Katie Couric, The
Sopranos, One Life to Live, Guiding Light, and
Fashion Rocks; and for numerous Broadway shows
including Memphis, Wonderland, The Wedding
Singer, and Cat on a Hot Tin Roof as well as the
New York Philharmonic’s productions of Camelot
and Company; member of I.A.T.S.E.; custom
jewelry designer for private clients; judge for
Daytime Emmy Awards; work listed in The New
York Times.
Erica Simon
Visiting Instructor
B.F.A., Reed College; Simon works as a designer
in New York City for two accomplished jewelry
companies. Simultaneously, she is happily growing
her company to get her jewelry out to the
fabulous women of the world who are missing that
one commanding item from their wardrobe.
Emily Spivack
Emily Spivack’s work spans culture, fashion,
and social innovation. She has spent five years
collecting stories about clothing and memory
from eBay posts for a website she curates,
Sentimental Value. In 2010, Spivack launched
Worn Stories, a collection of stories she edits
from interesting people about clothing and
memory. Worn Stories was published by Princeton
Architectural Press in 2014. Spivack is the creator
and writer of the Smithsonian’s only blog about
fashion history called Threaded. Currently, she
consults for SustainAbility, a think tank focused on
the future of sustainable development. Spivack
and her work have been featured in The New York
Times, The Wall Street Journal, The Washington
Post, Fast Company’s Co.Design, Brain Pickings,
Lucky, Glamour, and Ecouterre, among other
publications.
234
Drake Stutesman
B.A, Literature, Bard College; M.A., Cultural Studies,
University of London; Ph.D., American Studies,
University of Sussex; Drake Stutesman teaches Film
Costume Design at New York University and Pratt
Institute. She’s writing a cultural history of hats
(Reaktion Press), biography of milliner/couturier,
Mr. John, and screenplay of Djuna Barnes’s
Nightwood. She writes experimental fiction. Since
2000, she’s edited the peer-reviewed journal
Framework. She’s on the board of Central Saint
Martins–based Fashion in Film Festival and PEN
Prison Writing committee. She taught Literature
and Cinema Studies in London colleges/universities
for a decade and Creative Writing in Holloway
Prison. Her work has been published by, among
others, the British Film Institute, the Museum of
Modern Art and Bookforum.
Karin S. Yngvesdotter
Studentexamen Science, Polhem, Sweden;
A.A., Fashion Institute of Technology, NY;
owner: K.Yngvesdotter, Inc., bridal; head
designer: Wondermaid, Christian Dior Daywear;
design manager: GJM, V.S. sleep- and daywear,
Lane Bryant Sleepwear; designer: Natori;
freelance: Leigh Bantivoglio, Passion Bait,
Christina Stott, Aerin Rose, Lisa Marie Fernandez,
Studio Rouge, Juliara.
Foundation Faculty
Luis Alonso
B.F.A., M.F.A., Rhode Island School of Design;
B.F.A., M.F.A., Rutgers University. Attended the
Skowhegan School of Painting and Sculpture.
Philip Ayers
Assistant Professor
B.F.A., Massachusetts College of Art and Design;
summer, Skowhegan School of Painting and
Sculpture; M.F.A., Rutgers University, New
Brunswick; exhibitions include the Queens
Museum of Art, Chrysler Museum of Art,
Indianapolis Museum of Art, New Jersey State
Museum of Art, Indiana University Art Museum,
Florida International University Art Museum,
Koplin Gallery, Los Angeles, Semaphore Gallery,
New York, Ruth Segal Gallery, New York; grantsfellowships include, National Endowment for the
Arts, the Pollack-Krasner Foundation, New Jersey
Council on the Arts; collections include, Chrysler
Museum of Art, Norfolk, Va., Chase Manhattan
Collection, New York, Museum of Fine Arts,
Boston; publications include Arts Magazine, The
New York Times, Artforum, Los Angeles Times.
Todd Ayoung
M.F.A., Yale University; B.F.A., School of Visual
Arts; exhibited in museums and galleries in
Denmark, Austria, Belgium, England, Holland,
Colombia, Costa Rica, and throughout the United
States; work has been published in Third Text,
Bomb Magazine, New Observations.
Cathey Billian
Adjunct Professor
M.F.A., Pratt Institute; large-scale projects, at
the intersection of public art and environmental
interpretation, for the National Park Service,
the California Rivers and Trails Div., the City
of Phoenix, the Whitney Museum Sculpture
Court, Art Omi, et al; collections: Smithsonian,
Library of Congress, Philadelphia Museum of
Art, Norton Simon Inc., Chase Manhattan Bank,
former Vice President Al Gore; awards: National
Endowment for the Arts Fellowship, Mid-Atlantic
Arts Foundation, New Jersey State Arts Council,
National Park Service Residencies (6), the NY
Experimental Glass Workshop, NY State Council on
the Arts (4). Writer/Board: Public Art Review.
Brian Brooks
B.F.A, Pratt Institute; M.S.E., Queens College;
M.F.A., Brooklyn College.
David Brown
Professor
B.F.A., North Carolina State College, M.F.A.,
Cranbrook Academy of Art, Sculpture, Design
Sculptor, exhibitions Detroit Institute of Art,
Arts Club Chicago, DeCordova Museum, Grace
Borgenicht Gallery 1970/1990 Guild Hall, East
Hampton, New York; gallery representation:
Hammer Gallery New York; design consulting:
Walt Disney Imagineering, National Bill of Rights
Tour, ABC Television Times Square Studio.
Kye Carbone
Adjunct Professor
B.F.A., School of Visual Arts; M.F.A., Brooklyn
College; an illustrator from 1979 to 1992, work
appeared on The New York Times op-ed page,
on the covers of many book jackets, in national
magazines, and was featured in major advertising
campaigns. In 1992 he returned to his first passion:
painting; his abstract works have been exhibited
widely and are held in many private and corporate
collections.
Paul Carrellas
B.F.A., Swain School of Design; M.F.A., Queens
College of the State University of New York.
Myrel Chernick
B.A., Rutgers University; M.F.A., School of the
Art Institute of Chicago.
Pier Consagra
B.A., Brown University; born in Rome, Italy;
teaches at the Metropolitan Museum of Art
Education Program; professor of drawing.
Aaron Davidson
Adjunct Instructor
B.F.A., University of New Mexico.
Hank DeRicco
Adjunct Professor
B.F.A., SUNY/Empire State College; M.F.A., School
of Visual Arts.
Carol Diamond
B.F.A., Cornell University; Purchase Prize,
American Academy of Arts and Letters; Edwin
Palmer Prize, National Academy Museum;
collection of Portland, Oregon Museum of
Art; Instructor Chautauqua Institute, and City
Foundation Faculty
235
William Fasolino
Sabrina Lovell
Patrick Webb
Associate Professor
B.F.A., M.F.A., Pratt Institute; Title III Grant, Mellon
Grant, Communication Arts Magazine, Society of
Illustrators; acting dean 1992–1996, School of Art
and Design, Pratt Institute; chair Foundation Art
and Design 1996–2011.
Deryck Fraser
Sung No
M.F.A., B.F.A., Pratt Institute;
A.A., Monroe Community College.
Associate Professor
M.F.A., Yale University; B.F.A., Maryland Institute
College of Art; has shown his paintings in
numerous venues throughout the United States;
his work is repesented in many museums and
corporate collections. Grants and awards:
National Endowment for the Arts, The Ingram
Merrill Foundation, Art Matters, and the National
Academy of Art; he has taught at numerous art
schools and universities.
Reeva Potoff
David Weinrib
B.F.A., M.F.A., Pratt Institute.
Iona Fromboluti
Associate Professor
Yechiam Gal
Adjunct Professor
B.F.A., School of Visual Arts; A.S., Haddassah
College of Technology.
Jane Haimes
B.F.A., Cornell University; paintings shown
in numerous exhibitions, public and private
collections in New York and Europe; former
senior art director at Grey N.Y., on national print
and television advertising campaigns for Canon
U.S.A, General Foods/Kraft, Phillip Morris; NY Art
Directors’ Club, Effy, Andy awards.
William Hochhausen
Professor
Associate Degree, The Cooper Union; B.F.A.,
M.F.A., Yale University; Exhibits in New York.
Mimi Kim
B.A., Smith College; M.F.A., University of
Pennsylvania.
Ellen Kozak
B.F.A., Massachusetts College Art; M.S.,
Massachusetts Institute of Technology; selected
solo exhibitions: Hudson River Museum, 2000;
Katharina Rich Perlow Gallery, NYC; Elizabeth
Harris Gallery, NYC; Nina Freudenheim Gallery,
Buffalo, NY; Osaka Contemporary Art Center.
Publications: “Orpheus, Eurydice, Hermes:
Notations on a Landscape,” (Cross Cultural
Communications) 1996; “Tree of Names and a
River,” Dieu Donné Papermill, 2005. Grants:
George Sugarman Foundation 2005; NYFA Artists’
New Works Program, 1995; selected collections:
Metropolitan Museum of Art, MoMA, Smithsonian
Inst., Fogg Art Museum.
Andrew Lenaghan
Visiting Instructor
B.F.A., Cornell University; M.F.A., Brooklyn
College.
James Lipovac
B.F.A., Maryland Institute College of Art;
M.F.A., Indiana University.
Jennifer McNutt
M.F.A., Yale School of Art.
Associate Professor
B.A., Yale University; M.F.A., Queens College, City
Adjunct Professor
B.F.A., Alfred University; Grants: NEA,
Guggenheim, Fulbright, NYSCA. Collections:
Whitney, Los Angeles Museum, Walker Art Center,
Sao Paolo Museum, Jewish Museum; shows:
Howard Wise, Royal Marks, Frumkin Adams,
Bernice Steinbaum, Thorpe Intermedia, Blue Hill.
Christopher Sanderson
Rebecca Welz
Adjunct Professor
B.F.A., Pratt Institute; M.F.A., Yale University.
Leslie Roberts
Associate Professor
B.F.A, Leeds College of Art; M.F.A., Slade School
of Fine Art.
Adjunct Professor
B.F.A., School of the Museum of Fine Art, Boston.
Kimberly Sloane
Associate Professor
B.F.A., Tyler College of Fine Art; Awards include;
Laufman Award for Drawing and the Isador Medal
for Painting, both from the National Academy of
Design, Distinguished Professor, Pratt institute,
2007; work is represented in the collections of the
Pennsylvania State Museum, the Butler Institute of
American Art and the New Jersey State Museum.
Acting Chair
B.A., Yale University; M.F.A., Parsons the New
School for Design; has shown his drawings and
paintings in and out at the National Academy,
New York Studio School, Maurice Arlos Fine Arts,
and Dartmouth College, among other places; he
received both the Mikhail and Ekateryna Shatalov
Prize and the Samuel F. B. Morse Medal for
Drawing in 2002 from the National Academy and
received an Ingram-Merrill Foundation Award.
Migiwa Spiller (Watanabe)
B.F.A., Kansas City Art Institute; M.F.A, Ohio
State University.
Vadis Turner
Adjunct Instructor
B.F.A., M.F.A., Boston University; represented
by: Vanina Holasek Gallery, NY; solo and group
exhibitions: Tag Art Gallery, TN, Gallery Nulu,
KY, Holasek Weir Gallery, NY, Gallerie Reflex,
FR, WeAr Lounge, JP, Block Gallery, NJ, Vanina
Holasek Gallery, NY, National Gallery, CZ, Egon
Schiele Art Centrum, CZ, Lehman College, NY,
Glowlab, NY, Kathleen Cullen Fine Arts, NY,
Remy Toledo Gallery, NY, Nurture Art, NY, the
Copley Society of Boston, MA; residencies:
Emergency Arts, NY, Egon Schiele Art Centrum,
CZ; publications: ReadyMade Magazine, CourierJournal, Velocity Weekly, Prague Post, The New
York Times, Artnet, Palm Beach Daily News.
Beth Warshafsky
M.F.A, Columbia University; B.F.A, Antioch
College.
Doug Wirls
Christopher Wynter
B.F.A., Empire State College; Certificate, National
Academy of Design; Solo exhibitions: Barbara
Greene, Studio Museum in Harlem, Goebelkunst,
Luz Verde, others; public works: MTA/New York
City; Hualein, Taiwan; Aibetsu, Japan; La Romana,
Dominican Republic; University of Connecticut,
others. Collections: Merrill-Lynch, Studio Museum
in Harlem, Mitsubishi, SBA America, others;
awards: Arts International/Lila-Wallace, West
Africa; Asian Cultural Council, Taiwan and Japan;
Altos de Chavon, Dominican Republic.
Stanley Wysocki
B.I.D., M.F.A., Pratt Institute; Freelance designer.
Alice Zinnes
B.A., Swarthmore College; Cert. 3, New York
Studio School; B.A., Swarthmore College;
M.F.A., Queens College; Skowhegan School; NY
Studio School; solo exhibitions: Gallery Janet
Kurnatowski, Greenpoint; Queens College Art
Center; Tribes Gallery, NYC; Dartmouth College;
Delaware Arts Center Gallery, Narrowsburg, NY;
represented: Ch’i Gallery, Williamsburg; Galeria
Janet Kurnatowski, Greenpoint; MFI Fine Art,
Soho; fellowships: VCCA; Cummington Center;
collections: Alliance Capitol Financial; First Albany
Corporation; Frederic R. Harris; Kaye Insurance;
Moore Capital Management.
236
Industrial Design Faculty
Harvey Bernstein
Adjunct Professor, CCE
B.F.A., M.S., Pratt Institute; design consultant
whose practice spans the disciplines of interior,
industrial, graphic, exhibit, and retail design;
clients include JCPenney, Sony, Hallmark,
Knoll, Chase, Calvin Klein, Speedo; recipient of
numerous design awards: Gold and Silver Awards
from IDSA and ID Magazine for product design,
as well as awards for lighting design, retail, office,
exhibit, and graphic design; exhibited at MoMA,
Cooper-Hewitt National Design Museum, and
more; published in Architectural Record, Domus,
Abitare, International Design, ID, The New York
Times, Forbes, Journal, BusinessWeek, Metropolis,
and the Design Encyclopedia of MoMA.
Jobe Bobee
Visiting Instructor
B.F.A., University of Michigan; M.I.D., Pratt
Institute; worked at IMG-Mercedes Fashion Week
in New York for several years, and also has worked
with leather products at BBDW in Brooklyn;
participated in various exhibitions, including Model
Citizens at the Chelsea Museum; currently teaches
the 3-D Design course for sophomore students.
Linda Celentano
B.I.D., Pratt Institute; studies in Denmark;
awards: IDEA Award was featured in BusinessWeek
magazine, the ID Annual Design Review Awards,
the Chicago Athenaeum Good Design Awards,
and the Metropolitan Home 2003 and 2004
Modernism Award; publications include Crain’s
NY Business, the cover of ID magazine’s Annual
Design Review, The New York Times, Time Out New
York and internationally acclaimed design books;
work includes designing table top, eyewear,
housewares, consumer products, cosmetic and
surgical devices and instrumentation for Nambe,
Rosenthal, Alessi, Salton, Corning, Dansk, Copco,
Estée Lauder, Knoll, Oxo, Prescriptives, Donna
Karan, Black and Decker, Stryker Corporation,
and Ace Orthopedics; holds numerous patents
and was instrumental in creating The Rowena
Reed Kostellow Fund as well as the book,
Elements of Design (2002) by Gail Greet Hannah;
prior to becoming an independent designer,
employed by Smart Design in NYC; currently
teaches 3-D Design.
Gihyun Cho
Patrick Fenton
Adjunct Professor
M.I.D., Syracuse University; industrial design educator,
professional, and writer; has held the position of
chief industrial designer at Bell Labs and Lucent
Technologies and has served as a design consultant
for Goldstar, Samsung America, Ken Carter, Loveland
Toy, and the Kohl Group; during his time at Bell
Labs he was awarded the AT Excellence Award,
Distinguished Member of Technical Staff, Quality
Award, and the Golden Thread Award; Cho has been
a visiting professor and lecturer at Korea National
University of Art, Pratt Institute, CIDA in Taiwan, and
The New School; holds seven design patents.
Visiting Instructor
B.A., Visual Communications, UCLA; M.F.A.,
Design, Stanford University; partner at Swayspace,
a design studio that tackles a diverse array of
design projects for a wide variety of clients;
Swayspace collaborates with technology
companies, nonprofit organizations, hospitals,
fashion designers, musicians, professors, artists,
and publishers; portfolio includes design logos,
marketing collateral, websites, user interfaces,
books, CD cases, software packaging, tradeshow
booths and building signage.
Kevin Crowley
B.I.D., Pratt Institute; Lowell Technical Institute,
polymer chemistry; has 40 years of experience in
the design and manufacturing of deep-sea diving
equipment, high-level radiation suits, proximity
and approach fire suits as well as chemical
protective clothing; is also a lifelong shoe designer
having designed both performance and fashion
shoes for such companies as Converse, FILA,
Wilson, Prince, and Keds in the U.S. and Geox and
Block in Europe.
Lucia DeRespinis
B.I.D., Pratt Institute; academic appointments:
adjunct professor, since 1995; selected
awards, recognition, and published works:
Metropolis magazine, Vitra Design Book Cold
War Confrontations, Women Designers in the USA
1900–2000, ID Magazine Annual Review, Pratt
Manhattan and Schafler Gallery, 20 Women in
Design; Rowena Reed Kostellow Award (2007) for
excellence in teaching; Three-Dimensional Design,
Vitra Museum exhibition on George Nelson Office;
Women Designers in the USA Exhibition, High
Style: 20th Century American Designers in the USA;
and High Style: 20th Century American Design,
Whitney Museum Exhibition (aluminum clock).
Peter Erickson
Visiting Instructor
A professional prop builder who lives in New York
City, Erickson works out of a garage workspace
in Brooklyn; is a professional maker of all sorts;
freelance work includes the fabrication of custom
furniture and props for advertising; teaches
model-making processes at Pratt.
Kathryn Filla
M.I.D., B.I.D., Pratt Institute; post-graduate
work, Bank Street College Graduate School of
Education, M.I.T. Advanced Visual Design Center;
educator, artist, designer with professional
work in museum education, exhibit, interior,
and architectural design; student of Rowena
Reed Kostellow, founder of the Industrial Design
Department, and Dr. William Fogler, recipient of
the Distinguished Teacher Award.
Colin Gentle
B. Eng., University of Connecticut; has worked
with firms like SolidWorks Corporation, Martha
Stewart Living Omnimedia, CADD Edge Inc.,
SA Baxter Architectural Hardware, and Hutzler
Manufacturing; comprehensive background
in 3-D CAD modeling technology, rendering
expertise, and mechanical processes; serves
as ProductSpark’s lead designer, where he is
instrumental in developing new product lines,
and providing SolidWorks 3-D CAD consulting
services; work has been published in a variety
of publications, including Array Magazine, House
Beautiful, Dwell, Interior Design, Forbes Life, and
CNBC; Certified SolidWorks Professional and a
Certified SolidWorks Instructor.
Kate Hixon
Adjunct Associate Professor, CCE
Design principal of Hixon Design Consultants,
Hixon teaches 3-D design fundamentals and
studio classes at Pratt; her consultancy specializes
in architectural branding, environmental design,
exhibit and event design, editorial design, and
graphic design, and has had a diverse body of
clients, including Pfizer, FAO Schwarz, Eziba, Ernst
& Young, GT Interactive, and the United Nations.
237
Yen Yu (Gary) Hou
Robert Langhorn
Frank Millero
B.S. Industrial Design, Wentworth Institute of
Technology; served as wood shop technician at
Pratt Institute since 2007; experience managing
carpentry projects, brings a comfort and fluency
with shop machines and model construction; helps
students with modeling techniques and design
solutions; teaches required shop safety course to
train students on machines and tools, and to follow
safe procedures when working in the shops; during
free time, designs and fabricates furniture.
Middlesex Polytechnic; Royal College of Art,
London (Design Products); lectured in the
Industrial Design Department of the Arts
Institute of Bournemouth before moving to New
York in 2003; currently teaches Senior Studio
as well as Portfolio and Professional Practice
to undergraduates; as design director to the
Center for Sustainable Design Studies, he leads
interdisciplinary teams of students and alumni on
live, industry-led projects developing sustainable
products and systems.
B.S. Molecular Cell Biology, University of California
at Berkeley; M.I.D., Pratt Institute; has worked
at the Exploratorium museum in San Francisco
(1991–2001) where he developed numerous
biology-based exhibits and programs, similar
to the way his graduate thesis explored ways
of connecting people to the natural world; has
taught courses on color and ecological design
since 2004; now a practicing designer currently
focusing on tableware and table linens.
Jeffrey Kapec
B.I.D., Pratt Institute; School of Visual Arts
(studied space analysis, wire problem,
relationships in abstraction); principal and
executive vice president of Tanaka Kapec Design
Group, Inc.; from 1980 to present time his
work focused on surgical instruments, medical
diagnostic equipment, pharmaceutical packaging,
drug delivery systems, technical instruments,
office equipment, office furniture, and consumer
products; he logged hundreds of hours in the OR,
viewing surgery with the most renowned surgeons
in neuro, ENT, gastro, orthopedic, cardio, open
heart, OBGYN laparoscopic, minimally invasive,
and coronary interventional; engaged in new
product development and industrial design
for over 35 years; responsible for design and
development of more than 500 products of which
60 percent are medical/surgical; experience
also includes extensive work on new consumer
products and equipment design; primary inventor
and co-inventor on 35 U.S. utility patents, six
patents currently pending, 10 international utility
patents; recipient of international design awards
and publications; primary goals are: identifying
new opportunities for clients; developing new
technology, design, and features that enable
the product to perform admirably, benefit the
user, and connect with realistic manufacturing
technology that makes production feasible and
cost effective; personal goal is to make beautiful
objects that are a joy to look at, touch, and use.
Meret Lenzlinger
B.A., University of California at Berkeley; M.Arch.,
Harvard University; originally from Switzerland, she
has worked for offices in Boston, San Francisco,
and New York, as well as for Herzog & De Meuron
in Basel, Switzerland; prior to co-founding LOCAL
she was a partner in L+C Studios with Charlie
Cannon; has also worked for a boat builder,
cabinetmaker, and contractor; teaches Integrative
Design at Parsons The New School for Design and
Portfolio Design at Pratt Institute.
Jong S. (Mark) Lim
B.F.A., Seoul National University; M.F.A. with
distinction, Pratt Institute; Jong S. Lim (a.k.a. Mark
Lim); “Glomar Explorer” ship project; First Place
Award, Orange County Engineering Council
(1977/1978); engineering specialist at Holmes and
Narver Inc.; manager of industrial design research
and development and author of design patents (U.S.
and Europe) at the Conair Corporation; has
exhibited at Gallery Korea; Hyundai Art Gallery.
Scott Lundberg
Chair; Adjunct Associate Professor, CCE
B.S., B.Arch., North Dakota State University;
M.I.D., Pratt Institute; a designer and educator
who teaches industrial design at Pratt Institute
and exhibit design at the Fashion Institute of
Technology, he recently became IDSA section vice
chair for communicative environments; designed
the Gossner College Campanile in Bihar Ranchi,
India; a shower shelf based on DARPA technology
for Shelfworks; and a display-driven, wine-finding
experience for Bottlerocket Wine & Spirit that got
an A+ from Zagat.
Katrin Mueller-Russo
Associate Professor
Dipl Des, Industrial Design, Hochschule für
Bildende Künste Hamburg, Germany; has
practiced with Hoberman Associates as a design
director, working on the Hoberman Sphere
toy line, on educational applications; and as a
consultant collaborating on foldable products
for a major children‘s product manufacturer;
in 1997, she founded Specific Objects Inc., an
interdisciplinary, sustainability-oriented design
practice in New York; her work has been exhibited
internationally and her awards include the
Ideas Competition Design Plus at the Frankfurt
International Fair Ambiente for her hearing aid
design; with her partner, she was chosen as a
finalist for the Newark Visitors Center competition
in 2009.
Judith Nylen
B.A., Scripps College; M.L.S., M.F.A., Pratt Institute;
has taught Portfolio and Professional Practices
since 2005; has more than 30 years’ experience
reviewing Industrial Design portfolios in her
capacity as Director of Career Services, in which
she has helped launch and track the successful
careers of hundreds of students and alumni;
exhibiting photographer and printmaker who has
worked in the field of educational exhibition design.
Rebeccah Pailes-Friedman
B.F.A. Fashion Design; M.I.D., Pratt Institute;
Computer Graphics and Graphic Design, School
of Visual Arts; Millinery Design, Fashion Institute
of Technology; experience as design director of
Starter for Nike; Champion Athletic Apparel; C-9
by Champion for Target; Fila U.S.A.; accessories
designer for Liz Claiborne, art director, Everlast,
BUM Equipment, and Nautica kids; freelance
product, graphic, and interior designer; has taught
fashion and industrial design at Pratt since 1998.
238
Jeanne Pfordresher
Martin Skalski
Irvin Tepper
B.F.A., Industrial Design, B.F.A., Sculpture,
Cleveland Institute of Art; experienced in teaching
product studios in the undergraduate, graduate,
and design research classes; a founding partner
of Hybrid Product Design and Development, her
projects have included housewares, consumer
electronics, personal care, medical devices, and
sustainable transportation systems.
Professor
B.A., University of Toledo; M.I.D., Pratt Institute;
director of Pratt’s Transportation Design Program;
teaches transportation design, color theory,
three-dimensional design and drawing; received
grants from NEA, Ford, General Motors, Honda,
Mitsubishi, Subaru, and Daimler Chrysler; directed
design projects for Northrup Grumman, BASF/
Mearl, Black and Decker, NASA, NEC, Corning,
Nissan, Ford, and GM.
B.F.A., Kansas City Art Institute; M.F.A., University
of Washington; works held in many museum
collections around the world including the
Victoria and Albert Museum, London Museum
of Contemporary Art, Kunstmuseum Bern,
Switzerland, and the Los Angeles County Museum
of Art; his work is the subject of a book, When
Cups Speak: Life with the Cup—A Twenty-Five Year
Survey (San Jose State University, 2002).
Kimberly Snyder
Jonathan Thayer
B.F.A., B.S., Art Education, Indiana University
of Pennsylvania; M.F.A., Rhode Island School
of Design; has taught in the undergraduate
department in both Prototypes/Drafting and
Furniture Design at Pratt since 2001; her fine
art studio work blends furniture with sculpture;
exhibitions and awards include Carnegie Museum,
Leon Arkus Award for Outstanding Emerging
Artist, Erie Museum, Long Gallery at West
Chester University, Madelon Powers Gallery at
East Stroudsburg University, Harrisburg Galleries
Sculpture and Crafts.
Associate Professor
B.I.D., Pratt Institute; in his professional design
work, he has developed projects in lighting,
furniture, and housewares but remains focused
in the field of structural packaging, where he
has been awarded nine U.S. utility patents for
technology developed on behalf of the New
Venture Packaging Department of the Estée Lauder
Corporation, where he has held a position for well
over a decade and is the recipient of international
awards for innovation in cosmetic packaging; in
his capacity as full-time professor, he has taught a
range of classes including Drafting and Prototypes,
Production Methods, 3-D Abstraction, Solidworks,
and Sophomore, Junior, and Senior Studio; named
one of the country’s most admired educators by
DesignIntelligence magazine (2006); has stewarded
numerous industry projects at Pratt and is currently
developing collaborative internship opportunities
between corporations and the ID department.
Timothy Richartz
B.I.D., Pratt Institute; professional career includes
design for award-winning seating, tables, and
case goods, as well as several conceptual design
programs; has collaborated with a wide range
of contract furniture companies, including
Herman Miller, ICF, and Bernhardt; along with his
manufactured work, his portfolio contains custom
design and fabrication for corporate and private
clients, including conceptual seating for Ford
Motor Co.’s THINK vehicle and set design for the
Sci-Fi Channel.
Willy Schwenzfeier
Visiting Instructor
B.S., Stanford, Product Design; partner at
Swayspace, who anchors his design process by
lending organizational and conceptual clarity to
the projects that come through the studio.
Arthur Sempliner
B.S. Industrial Design; M.B.A. Marketing,
University of Michigan at Ann Arbor; has taught
the Production Methods classes in the Industrial
Design department for more than 15 years; varied
work experiences early on in his career include
being a designer at Dorwin Teague and later rising
to the position of vice president; president of
Construciones Sempliner in Spain for three years,
before founding Chelsea Design Associates in
New York; relationship with Pratt Institute began
in 1969 when he was the assistant to Professor
Gerald Gulotta, a visual literacy instructor; in 1995
developed and taught two Production Methods
courses for the Industrial Design department; is
recognized for his vast knowledge and experience
in all areas of design and manufacturing; holds over
35 U.S. patents; winner of several awards including
first prize at the Popai Show for his Vacuum Coffee
Dispensing System; has worked on a large variety
of projects in several different fields, including
architecture, packaging design, exhibit design,
point of purchase, and industrial design.
Karen Stone
Adjunct Associate Professor, CCE
B.S., Ohio State University; M.I.D., Pratt Institute;
studied at Oxford University, England; director
of design for Knoll, Inc., with responsibility for
the design of Knoll Showrooms, exhibits, and
trade shows worldwide; brought sustainable
design, new materials, and technologies to Knoll
product design and established direction for new
finishes for Knoll products, where she began her
career in 1991; her award-winning work with Knoll
has been noted in ID, Domus, Interiors, Inside
Design Now, and other publications; previously
senior designer at Bonnell Design Associates
(New York) where she worked on showroom
designs, exhibits, interiors, and signage for clients,
including Interface, Guilford, Teknion, Steelcase,
Design Tex, ModernAge, Shearson Lehman Hutton
Plaza, and Mellon Bank; showroom designer
for SunarHauserman (1984 to 1988), working
with consultants such as Frank Gehry, Sottsass
Associati, and Michael Graves Architects; began
her career as an interior designer with Dyer/
Brown (Boston) and Symmes, Maini and McKee
(Cambridge, Mass.); has worked on the design of
stage sets for regional theater and enjoys abstract
painting; her formal training in music and music
performance throughout her childhood has had
a tremendous influence on her current work in
design; her passion for experimenting with spatial
relationships and objects in space developed at
an early age.
William Jeffrey Tolbert
B.S. Biology, Millsaps College; B.F.A., Museum Art
School; M.F.A., Yale University; a visual artist living
in Brooklyn, N.Y. who has taught at Marylhurst
College, Yale University, Parsons The New School
for Design, Pratt Institute, and The Cooper Union;
from 1993–2000, was the president and owner of
ArtPanel Inc., which manufactured high-quality
wood supports for fine artists; since 2006, has
been project manager for the Way2Go tandem
car project, a revolutionary, lightweight, fuelefficient vehicle for the transportation industry;
has exhibited his work in New York and across the
country; in 2010, worked with Philip Riley at Skink
Ink Editions to create a portfolio of Giclée prints,
which were featured in a group exhibition at Skink
Ink Editions.
239
Ignacio Urbina Polo
Rebecca Welz
Associate Professor
M.S., Product Engineering, Universidad Federal
de Santa Catarina, Brazil; Venezuelan industrial
designer with over 20 years of experience
specializing in the field of bionics: he has
worked on consumer products, street furniture,
signage systems, exhibition design, and visual
communication systems for many companies,
manufacturers, institutions, and government
agencies; in the late 1980s worked at the
prestigious Brazilian Laboratory of Industrial
Design on Florianopolis Island where he had
the opportunity to work in many different and
diverse product design projects, as well as
support his passion of surfing the waves; in 1999,
while living in Caracas, he co-founded Metaplug,
a multidisciplinary design firm and workshop;
worked as an industrial designer in the foundation
of La Estancia Art Center in Venezuela and the
Andean Amazon Pavilion at the Aichi World Expo
2005 in Japan; formerly associate professor
and director of Prodiseño, School of Visual
Communication and Design in Caracas, where he
was involved in academic projects and research in
minimal structures, consumer products, interface
and information design, and thesis projects;
co-publisher of Objetual, a website focusing on
design issues in Venezuela, he has published
design articles in both national newspapers and
specialized magazines; participates in projects
and activities as advisor member of the IberoAmerican Design Biennial in Madrid.
Boston Museum School; B.A., Empire State College;
Welz is a sculptor represented by June Kelly
Gallery in New York and galleries on the west coast;
recipient of Pollock Krasner and ED Foundation
grants; recipient of a fellowship at Urban Glass;
founder of Association of Women Industrial
Designers (AWID), mounted first exhibition of
product design by women in the U.S., Goddess in
the Details; published book on exhibition.
Scott VanderVoort
B.I.D., Pratt Institute; teaches IND 3-D I, II, III,
IV and Space Analysis I and II courses to both
undergraduate and graduate students; has
served as a guest lecturer on 3-D abstraction at
the Samsung Art and Design Institute in Seoul,
South Korea, and given presentations on the
benefits and applications of this design theory;
his professional experience is complemented by
senior design director positions with clients like
Coca-Cola, FAO Schwarz, Mercedes-Benz, Ernst
& Young, and Pfizer Pharmaceuticals; founded
LIFTnewyork project, which closely collaborates
with architects, developers, artists, and designers
to engage viewers in a larger dialogue about our
sense of space, motion, and meaning.
Julia Wheeler
B.S. Industrial Design, Pratt Institute; has
worked with students, staff, and faculty at Pratt
since 2002; supervises the ID Furniture Shop;
teaches shop safety for industrial and interior
design students; previously taught sophomore
Prototypes course; has an interest in lighting
design, ceramics, and jewelry making; design
inspiration comes from global travels, the natural
environment, and forms and objects found in our
modern world; favorite tool is the table saw.
Henry Yoo
B.B.A., University of Wisconsin at Madison; M.I.D.,
Pratt Institute; has worked for BMW, Boeing,
Chrysler, Pepsi, Proctor and Gamble, General
Mills, Gucci, Herman Miller, McNeil Associates,
Philip-Morris, Samsung, Timex, Victoria’s Secret,
Warner Brothers, YSL, and Zegna.
Interior Design Faculty
Virna Abraham
M.F.A. Lighting Design, Parsons The New School
for Design; B.S. Interior Architecture, minor in
Textiles Design, University of California at Davis;
Architecture, Instituto Toulouse Lautrec.
Doreen Adengo
B.S., Catholic University; M.Arch., Yale University;
RA; project architect, Gruzen Samton
Architects, currently working on the design and
construction of affordable housing, educational,
and government projects; one of her projects
recently won a design excellence award from the
U.S. General Services Administration; previously
worked for Robert A.M. Stern Architects of New
York City, Adjaye Associates of London, and
Ellerbe Becket of Washington, D.C. Goil Amornvivat
B.Arch., Carnegie Mellon University; M.Arch.,
Yale University.
Brook Anderson
B.F.A., University of Kansas.
Eric Ansel
B.F.A., Rhode Island School of Design;
M.Arch., Pratt Institute; has worked as an
architect at Cooper Robertson and Partners
and at Selldorf Architects; as project architect,
recently completed a two-year renovation of
a historic two-family building in lower Manhattan;
his paintings have been exhibited in New York
and Atlanta.
Tarek Ashkar
B.A., University of California at Berkeley; M.Arch.,
Harvard University; principal, Tarek Ashkar Studio.
Francesca Bastianini
Visiting Assistant Instructor
B.A., Smith College; M.S., Lesley University; M.F.A.,
Parsons The New School for Design.
Tania Branquinho
B.F.A., New York School of Interior Design;
M.Arch., Pratt Institute.
240
Mary Burke
Melissa Cicetti
Ron Eng
B.A., Fordham University; M.S. Columbia
University; B.Arch., City College School
of Architecture; RA; directs Burke Design
& Architecture PLLC in a broad range of
architecturally based residential, hospitality,
and commercial projects; registered architect
who has practiced in the field of interior design
and architecture for over 35 years; previously
held leadership roles in prominent architecture
firms including Cetra Ruddy, Gruzen Samton
LLP, HOK, Swanke Hayden Connell, and Tihany
International; led KPF Interior Architects’
Singapore office, designing major interior spaces
for the headquarters of United Overseas Bank,
designed by Kenzo Tange; then set up her own
Singapore practice, Burke Design, providing
interior architecture services throughout Asia
and Australia; serves as vice president for design
excellence of the AIA New York Chapter, after
a five-year stint as the chair of the chapter’s
Interiors Committee; former board member of
the New York Chapter of IIDA, and 2012 chair of
the Advisory Group for the Interior Architecture
Knowledge Community of the AIA; serves annually
as a juror in the Best of NeoCon competition in
Chicago, and is a frequent contributor to
design publications.
B.A., M.Arch., University of Pennsylvania; RA;
principal, studio Cicetti architect pc; noteworthy
projects include the Reece Murphy Residence in
Cutchogue, N.Y., various projects for Richard and
Clara Weyergraf Serra, and the Brant Foundation
Art Study Center in Greenwich, Conn. (in
conjunction with Gluckman Mayner Architects),
where she was a project manager; former lead
architect on all retail projects for fashion designer
Helmut Lang, many of which won multiple awards;
also a successful photographer/artist, whose
book Marking the Land 1 (University of New Mexico
Press, 2005) is a photographic essay exploring the
interaction between land forms in the Southwest
and the human-made interventions upon
them; photographic works have been exhibited
internationally, including at Ryerson University in
Toronto and Go Fish Gallery in New York City.
B.S.A.D., M.Arch., Massachusetts Institute of
Technology; RA; director of design at Formactiv:
Architecture.Design.Technology. P.C. since 1999,
completing projects at scales ranging from retail
boutiques, galleries, and townhouses to large
mixed-use and institutional projects primarily in
the New York City area, though other sites have
ranged from the Hollywood Hills to the Bund in
Shanghai; prior to founding Formactiv, he worked
in the offices of Rafael Vinoly Architects, Davis,
Brody, Bond and Greenberg-Farrow Architects.
Tania Chau
B.A., University of Chicago; M.S., Pratt Institute;
graduate of the Pratt Interior Design MS
program; practicing Interior Design since 2005;
currently a freelance designer providing design
services directly to clients, as well as consulting
with architecture firms; prior to working
independently, was an interior designer and
project manager with 212box Architecture in
New York City, where she worked on a variety
of high-end residential, commercial and retail
projects; besides interior design, professional
experience includes custom furniture, fixture
and material design as well as construction
administration and management.
Der Sean Chou
M.S., New York University; M.S. Interior Design,
Pratt Institute; New York-based designer with
professional experience in hospitality and highend residential projects; currently working as
a designer at Jeffery Beers International; past
design experience includes work at Ajemian
Design and Plan Architecture; in addition, worked
for several years in the film industry as a 3-D and
visual effects artist; graduate of Vancouver Film
School, where his work received honors and
appeared in film festivals around the world.
James Conti
B.F.A., Youngstown State University; M.F.A., Ohio
State University; principal, Jim Conti Lightworks;
clients include the N.Y.C. Department of
Transportation, Battery Park Conservancy, Alliance
for Downtown New York, and Great Park in Orange
County, California; awards include the IES Lumen
Award, Glowing Topiary Garden, IALD, IES, AIA
award for Bronx Charter School for the Arts.
James Counts Jr.
B.Arch., Kansas State University; M.S.,
Annie Coggan
B.A., Bennington College; M.Arch., Southern
California Institute of Architecture.
Wendy Cronk
B.A., Washington University; M.Arch., Harvard
University, RA; the work of Wendy Cronk Architect
includes new construction, interior design,
custom furniture design, and graphic design; her
award-winning graphic design work was published
in HOW magazine and Two-Color Graphics,
and her design for a lighting fixture made out
of a re-used industrial object was featured in
the exhibition Artists Create Light; previously
worked predominantly in the offices of Tsao &
McKown and Toshiko Mori Architect; her design
contributions were most notably recognized in
A+U for the Taghkanic Residence for Toshiko
Mori Architect.
Philip Farrell
Adjunct Professor
B.F.A., M.S., Pratt Institute; in practice since
1978 with Farrell Design Associates, a firm that
offers a broad range of professional services in
both residential and commercial design; major
organizations that have commissioned his firm
include Citibank, Warner/Amex Communications,
MCTV, Intelligent Office Franchise, Air France,
Sony, Revlon, and AT&T; illustrated or contributed
to a number of books, including Construction
Materials for Interior Design (Watson-Guptill,
1989), Commonsense Design (Charles Scribner),
Interiors for the Handicapped Pantheon Press,
Putting It All Together (Charles Scribner), and
Space Planning Basics (John Wiley and Sons, 1992).
David C. Foley
Visiting Professor
B.A., University of Pittsburgh; M.A., University
of Illinois, Chicago; M.Arch., University of Notre
Dame; RA; registered architect with expertise in
the luxury retail and residential markets, whose
studio, UR Design, also provides urban design
services for urban and rural communities.
Pavlina Gantcheva
B. Civil Eng., University of Architecture and
Civil Engineering, Sofia, Bulgaria; B.Arch., Pratt
Institute; M.S., Columbia University.
Nicolas Guillin
M.F.A., École Supérieure de Création Industrielle
Adam Hayes
Visiting Instructor
B.A., B.Arch, Rice University
John Heida
B.S., University of Montana; B.Arch., California
College of the Arts.
Claudia Hernandez
B.Arch., California State Polytechnical; M.S.,
Columbia University; Plain Space Inc., Architecture
and Design.
241
Sarah Hill
Ted Kilcommons
Jennifer Logun
B.F.A., Parsons School of Design; M.S.,
Pratt Institute
Visiting Instructor
B.A., University of Texas; designer, builder and
teacher in New York City; founded Ted K Design
(www.tedkdesign.com) in 2008 as a platform
for thought-provoking design and timeless
craftsmanship; work has appeared in Interior
Design and Popular Mechanics magazines,
where he is a contributing writer, and has been
featured on numerous Best Of lists and blogs
around the intertube; currently sits on the
Board of Directors at Yestermorrow Design/
Build School (www.yestermorrow.org) and works
as project supervisor for MG and Company
(www.mgandcompany.com), a design-savvy
construction firm that has served the NYC
hospitality industry since 1918.
B.A., Gettysburg College; M.Arch.,
University of Florida.
Lindsay Homer
B.A., Bates College; M.S., Pratt Institute.
Ben Howes
B.Arch., Pratt Institute; M.S., Stevens Institute
of Technology.
Latoya Nelson Kamdang
B.S. Business Administration, Georgetown
University; M.F.A., George Washington
Univeersity; M.Arch. Real Estate Development,
University of Pennsylvania; has been exploring
different typologies within the interior design
and architecture profession since 2000; has
worked on projects in commercial, government,
technology, institutional, retail, residential,
exhibit, and museum design; major projects
include U.S. Embassies Overseas, National
Museum of African American History and
Culture, and Marc Jacobs International retail
stores; intermediate architect for Jaklitsch
Gardner Architects PC; coursework taught
includes Colors and Materials; Structures; Digital
Applications; Space, Tectonics, and Surfaces; and
Design Studio; Certified Interior Designer (CID),
NCIDQ Certified, and LEED AP BD+C.
Sheryl Kasak
B.F.A., B.Arch., Rhode Island School of Design;
M.S., Columbia University; founder, Interim Design,
an architecture and interior design practice
based upon her undergraduate thesis “An Interim
Architecture,” which addressed the 15-Year War
in Lebanon and the proceeding redevelopment
of the center of Beirut; her practice focuses
on the communication of information through
spatial design and the notion that we are all
living in an interim state, one which is constantly
evolving and reacting to our surroundings and our
lives; has worked for I.M. Pei and Rafael Vigñoly;
represents Atelier Christian de Portzamparc in
New York for U.S. projects; held the winning entry
for the international theoretical competition
Unbuilt Architecture with her Lightning House
design in 1994 and has been published several
times in Abstract, the Columbia University annual
design publication.
Margaret Kirk
B.Arch., Syracuse University; M.Arch., Pratt
Institute.
Eugene Kwak
B.Arch., Carnegie Mellon University; M.S.,
Columbia University; LEED AP; educator, architect,
and an urban designer who works for Dattner
Architects, focusing on technology-based green
and sustainable public work including New
Housing New York Legacy Project; his entry for
the Reinventing Grand Army Plaza Competition
was selected as one of the top 30 ideas to be
included in a public exhibition, and his entry for
Intersections: The Grand Concourse Beyond 100
also earned an Honorable Mention.
Annie K. Kwon
M.S. Advanced Architectural Design, Columbia
University; GSAPP, B.S. & B.Arch., Rhode Island
School of Design.
Jason Livingston
B.A., University of Miami; M.F.A., New York
University; LC; IES; IALD; principal, Studio T+L,
LLC and an accomplished lighting designer in
architecture and theater with over 20 years
of experience; projects range from offices
and libraries to historic buildings and unique
installations; his work has been profiled in
Lighting Design + Application and Lighting & Sound
America; awards include a Lumen Citation and an
International Illumination Design Award; he was a
2010 finalist in the ESTA Rock Our World Awards.
Chelsea Limbird
B.A., Brown University; M.Arch., Rhode Island
School of Design.
Cam Lorendo
B.A., Parsons the New School for Design; design
career as a carpenter and a contractor, which
has proven invaluable in providing a working
knowledge of methods and materials to his
practice; principal work has been in the furniture
industry where he has had extensive experience
with Knoll, Herman Miller, Steelcase, Vecta, and
DesignTex for whom he has worked nationally
designing office systems display, showrooms,
market events, new product introductions,
and trade shows; commercial practice covers
a broad spectrum of projects including office
interiors, trading firms, advertising agencies, and
restaurants; residential work has spanned the
gamut from apartments to single-family homes in
numerous locations throughout the United States.
William Mangold
M.Phil., Ph.D., CUNY Graduate Center (in process);
has taught at Pratt since 2007, and is also an
adjunct at Hunter College and Moore College of
Art; as a Ph.D. candidate in the Environmental
Psychology program at CUNY Graduate Center
his research looks at the role institutions play in
architectural production and utopian visions for
transforming the social and spatial environment; he
has had various papers accepted for publication
and is currently preparing an edited volume
bringing together key readings related to space and
place; as a designer, he has worked on a number of
renovation and adaptive reuse projects, including
the ongoing renovation of an 1872 row house where
he lives with his family.
242
T. Camille Martin
Robert Nassar
Andrew Pettit
B.A., Miami University; M.Arch., Washington
University; principal, TCM Studio, Brooklyn, N.Y.
B.F.A., Syracuse University; principal, Robert
Nassar Design, New York.
Anthony Mekel
Joseph E. Nocella
B.Arch., Pratt Institute; professional career has
focused on corporate interior design with an
expertise in the application of digital design tools
for the process; has worked as a senior designer
and project manager at Mancini-Duffy, the Phillips
Group, and most recently at HOK.
B.S., University of Missouri; M.Arch, The
University of Kansas; RA, AIA, LEED AP; practicing
architect, focusing on BIM technologies, since
1996; previously worked for architectural firms
SOM, HOK, NBBJ, and FXFowle. Visiting Associate Professor
B.Arch., Pratt Institute; RA; principal, Andrew
L. Pettit, Architect; firm’s work encompasses
many residential and renewal projects from
single-family homes and brownstone restorations
to multi-family dwelling complexes; projects
completed or in process include renovated lofts,
commercial offices, and custom residences as
well as industrial adaptive re-use projects and
restaurants, a nightclub, and other hotel and
hospitality lifestyle designs, commercial retail
outlets, and high-end design fashion shops;
clients include several corporate groups from
General Electric Plastics Division to a major
international publishing firm, an international
insurance company, a private legal firm, and a
specialty paper goods manufacturer; restored
Memorial Hall on Pratt’s Brooklyn campus with
Philip Farrell. Francine Monaco
B.Arch., University of Cincinnati; RA; registered
architect in New York, Pennsylvania and New
Jersey, whose work includes projects in the
United States and Europe; more than 25 years
experience in architecture as well as interior
design; her early work as a project architect for
a highly respected architectural firm designing
homes and apartments was followed in 1989 by
a position as project architect for the in-house
design department of the Guggenheim Museum;
as a member of the museum’s planning team
her focus was in orchestrating several design
projects of the museum’s expansion in New York
City; she designed and supervised the creation
of administrative office space within newly
excavated space at the original Frank Lloyd Wright
museum building; over the years, she has pursued
a mixture of residential and non-residential
work; her increasing focus on the intersection
between architecture and interior design led
her to establish D’Aquino Monaco in 1997 with
Carl D’Aquino; she was inducted into the Interior
Design Hall of Fame in 2007.
John Nafziger
B.A., Franklin & Marshall College; M.Arch. II,
Yale University; principal and co-founder of
Bigprototype, a Brooklyn-based design firm
dedicated to testing, research and play; formed
in 2004, Bigprototype is a tactile, hands-on
practice that operates at the intersection
of design and building; also co-founder of
Littleprototype, a design studio focused on
product and furniture design; originally from
Jos, Nigeria, has lived and traveled extensively in
the Middle East, Caribbean and Asia and draws
on a broad range of experiences to inform his
design collaborations; exhibitions of work with
Bigprototype include Made in New York at the
Museum of the City of New York, M+D+F at
Design Within Reach, and the Bernhardt Design
Studio emerging designers exhibition.
Tetsu Ohara
B.Arch., University of California at Berkeley;
Certificate of Architecture, Harvard University;
principal designer, SpatialDesignStudio, Inc. in
N.Y.C.; has engaged in design projects in both
the East and West ranging from product design,
exhibition design, interior design, to architectural
services; recently published project includes
Japan Brand Unfolding exhibition with Japanese
Ministry of Trade at Felissimo Design House in
Manhattan.
Jon Otis
Professor
B.A., Moravian College; M.S., University of
Massachusetts; principal, OlA–Object Agency,
a multidisciplinary design studio and design
strategy agency, whose work ranges from interior
architecture and design to exhibition design,
branding and visual communications, product
design and consulting; clients have included
Tandus Flooring, George Nakashima Woodworker,
Scotts Inc., Vitra Design Museum, Corning Glass,
Contract Design, Tuva Looms, and World Moto
Cross; recipient of Fulbright and Lusk fellowships
to Italy; named Most Admired Educator in Interior
Design in DesignIntelligence in 2009.
Danny Ka Ho Pang
M.S. Interior Design, Pratt Institute; upon
graduation, began working at Glen & Company
as an interior designer focusing on hospitality
design; in 2008, joined Lee H. Skolnick
Architecture + Design Partnership, where
he worked on various projects in different
disciplines including interior design, exhibit
design and graphic design; in 2012, began
working in retail design by joining Saks Fifth
Avenue OFF 5TH as a manager of store planning
and design; currently the Director of Store
Planning and Design at Saks Fifth Avenue
OFF 5TH.
J. Woodson Rainey
B.F.A., B.Arch., University of Utah.
Eduardo Rega
M.P.A.A., Polytechnic University of Madrid; M.S.,
Christian Rietzke
Diplom-Ingenieur, University of Applied
Sciences, Münster, Germany; M.Arch., Pratt
Institute; project manager, McKay Architecture/
Design; has designed several single family
residences located in the area of New Paltz,
N.Y., informed by the principles of sustainability
and has managed the construction of several
full building conversions in Lower Manhattan
and Newark, N.J.; has worked for a variety of
firms in Germany, Sweden, and Spain on large
scale hotels, shopping centers, and industrial
complexes; work has been published in Domus
and ICON Magazine.
Ben Rosenblum
LEED AP BD+C; M.S. Architecture, University
of California at Berkeley; M.S. Architecture,
Concentration in Building Science and
Sustainability, Yale School of Architecture;
B.A. Oberlin College; Majors in Visual Arts and
Politics/Minor in Environmental Studies.
243
Rachely Rotem
Deborah Schneiderman
Hazel Siegel
B.Arch. (Cum Laude), Israel Institute for
Technology; M.S., Columbia University; leads
MODU with years of experience working at a
diverse range of project types and scales; in
2004, won the “Catch the Light” international
competition for the Athens Olympic Games; has
won several international design competitions
and awards for projects in North America,
Europe, Asia, and the Middle East; before starting
solo practice in 2009, worked for established
architecture practices in both Tel Aviv and
New York, where she was a Project Manager
for Leslie Gill Architect; at Columbia University,
she was awarded both the Lowenfish Prize
and the William Kinne Fellows Prize; currently
teaching advanced design studios at the Rhode
Island School of Design; previously taught at the
University of Pennsylvania and Cornell University;
LEED Accredited Professional in building design
and construction and Associate AIA member.
Associate Professor
B.S., Cornell University; M.Arch., SCI-Arch;
RA; LEED AP; principal, deSc design/research;
projects include residential design, exhibition
design such as the Empire State Building audio
tour and kiosk, and collaborative work with
the artists Kristin Jones and Andrew Ginzel on
Polarities at the Kansas City International Airport
and Metronome at Union Square in New York
City; previously taught at Parsons New School for
Design and Arizona State University; author of
the books Inside Prefab (Princeton Architectural
Press, 2012) and Integrating Sustainability in Design
Education (with Jacques Giard in 2013); articles
have appeared in Interiors: Design, Architecture
and Culture; Design Principles and Practices: An
International Journal; Home Cultures: The Journal
of Architecture Design and Domestic Space; and
International Journal of Environmental, Cultural,
Economic and Social Sustainability.
B.F.A., Skidmore College; M.F.A., Hunter
College, City University of New York; Atelier
Hazel Siegel Ltd.
Mary-Jo Schlachter
B.S., M.Arch., University of Pennsylvania; RA;
USGBC committee member; co-founder, d3, an
organization committed to advancing innovative
positions in art, architecture, and design by
providing a collaborative environment for
artists, architects, designers, and students from
throughout New York City though a program
of exhibitions, events, competitions, and
publications; prior to independent practice as
MJIT Studio, she worked extensively in affordable
housing and high-end residential design in various
New York architectural firms including Beth
Cooper Lawrence, Raffaella Bortoluzzi, and Bruno
Kearney; her architectural and installation work
has been exhibited in Philadelphia, New York,
and Savannah.
Irina Schneid
B. Arch., M.Arch., Cornell University; architect,
educator, and principal of an interdisciplinary
design lab: SCH+ARC Studio; research, teaching,
and practice are focused on activating drawing
as a generative tool in the production of spatial
relations; primarily based in New York, has
lectured and taught internationally; recent
teaching appointments include Barnard College
of Columbia University, Pratt Institute, Tyler
School of Art, and the Royal Melbourne Institute
of Technology (RMIT) in Melbourne, Australia;
work has been featured in Designboom,
Archdaily, and Possible City; SCH+ARC Studio’s
Pop-Up Playhouse was recently named finalist
by BTI in their international PLAYscapes
competition; engaged in projects of all scales,
SCH+ARC has completed the design and
construction of several collaborative retail
projects in New York and Las Vegas.
Coren Sharples
Columbia University, Graduate School of
Architecture, Planning, and Preservation
Master of Architecture, 1994; William Kinne
Fellowship for Post-Graduate Travel & Research,
Columbia University; University of Maryland,
College of Business & Management; Bachelor
of Science, 1987; Coren Sharples is a Founding
Principal of SHoP and oversees the firm’s Interior
Design Group. In this role, she is integral to the
creation of comprehensive, integrated solutions
that consider all aspects of a design together;
from the functional and experiential arrangements
of space, the choreography of movement
throughout a building and the character of spaces
inside and out, to the design and detailing of
bespoke elements tailored to fit the specific needs
of each project. SHoP’s interior design projects
exemplify the firm’s emphasis on “performative
environments”, taking into consideration patterns
of use, material and spatial efficiencies, all the
factors of a space that are only apparent when one
is able to look at its entire context, whole. Coren’s
attention to detailing and materiality comes from
a deep understanding and passion for craft, that
when coupled with SHoP’s expertise in digital
fabrication and construction technology results in
smart, sophisticated and beautiful work.
Andrew Simons
B.F.A., Carnegie Mellon University; partner,
Emphasis Design.
Darius Somers
B.Arch, Pratt Institute; M.S. Architectural
Design, Columbia University; received several
prestigious awards for academic excellence,
namely; the Pratt Patron’s Scholarship, the
highest prize awarded to a student at Pratt’s
School of Architecture, and the Willam Kinnie
Fellow Prize from Columbia University; shortly
after graduating from Pratt, produced designfocused conversations; the “Designing an
Enduring Legacy” symposium in conjunction with
the Black Alumni Association and Pratt Institute
School of Architecture, and “Design Generation
2.0” in partnership with The Architect’s
Newspaper, where he is currently an editorial
board member; worked under the leadership
of distinguished architects and educators: the
late Charles Gwathmey at Gwathmey Siegel and
Associates Architects, and David Adjaye at Adjaye
Associates in New York City; currently working at
a small practice led by architect Mario Gooden;
managing an 8,000-square-meter, mixed-use
development in Johannesburg, South Africa.
Sarah Strauss
B.A., Duke University; M.Arch., Yale University;
founder, Bigprototype (2004), a practice that
operates at the intersection of design and building,
harnessing interests in making, testing, research,
and play, with offices in Brooklyn, N.Y. and Rincon,
Puerto Rico; also founded LittlePrototype, a
furniture and product design company located in
Brooklyn, and Collider, an installation art project
with Lia Halloran that travels between New York
City and Los Angeles.
Keena Suh
B.A., University of Illinois at Urbana-Champaign;
M.Arch., Columbia University; RA; architect,
Reddymade Design, New York City; professional
experience includes a broad range of
architecture and interior projects including
affordable housing, high-end residential
projects, retail, and hospitality designs.
244
Myonggi Sul
investigation into black history where appropriate
and includes forms, motifs, materials, and colors
that reflect this heritage in his work; interests
have broadened in recent years to include design
issues not only concerning cultural content but
sustainability in environmental design as well as
alternative educational practices that seek to
ensure the entrance of more students of color
into the profession; editor, African American
Architects: In Current Practice, (Princeton
Architectural Press, 1991) the first publication to
profile the work of black architects in the United
States; in 2004, he received his Fellowship in the
AIA, and in 2006 was inducted into the Council
of Elders of the National Organization of Minority
Architects (NOMA), the highest honor that each
organization bestows upon its individual members.
Professor
B.A., Valparaiso University; M.S., Pratt Institute;
interior designer in New York City for over 20
years; principal, Myonggi Sul Design, which
provides interior design services to corporations,
high-end residences, and major architectural
firms; previous appointments include director
of interior design at Marcel Breuer Associates,
and work as an associate at GN Associates/Carol
Groh and Associates, where her creative skills
and leadership were instrumental in the firm’s
recognition as the 1988 Designer of the Year by
Interiors magazine; has taught at both Hongik
University and Gunguk University in Seoul, Korea,
as a visiting professor.
Madeleine Taylor
M.S., Columbia University; RA; principal, boutique
architecture and interior design studios MMTNYC,
New York City and MMTSLC, Salt Lake City; has
served as director of operations at Ace Gallery
in New York City, and worked as a designer at
Skidmore, Owings & Merrill, LLP.
Karin Tehve
Acting Chair
B.Arch., Pennsylvania State University; M.Arch.,
Harvard University; RA; architect and founder,
KT3Dllc. (2001), a small interdisciplinary practice
pursuing projects in architecture, interiors,
multimedia design and site-specific art; awards
include a 2009 Building Brooklyn Award and a
2009 Lumen Citation and Regional Award (with
Linnaea Tillett) for This Way, a permanent light
installation under the Brooklyn Bridge; recent
projects include a test kitchen for Every Day with
Rachael Ray magazine and collaboration with
Linnaea Tillett Lighting Design on a permanent
light installation in Winnipeg, Manitoba.
Jack Travis
B.Arch., Arizona State University; M.Arch.,
University of Illinois at Urbana-Champaign; RA;
since establishing his namesake design studio
in 1985, has completed proposals or has been
involved in over 100 projects of varying scope
and size; to date, the firm has completed several
residential interiors projects for such notable
clients as Spike Lee, Wesley Snipes, and John
Saunders of ABC sports; commercial and/or retail
interiors clients have included Giorgio Armani,
Cashmere Cashmere, and the Sbarro family
of the famed pizza parlors; Travis encourages
Loukia Tsafoulia
Diploma in Architecture Engineering, School
of Architecture, National Technical University
of Athens; MSAAD, Architecture, Planning and
Preservation, Columbia University; registered
architect TEE-TCG, received fellowship from
the Gerondelis Foundation; obtained her
professional degree and first M.Arch. from
the National Technical University of Athens
(NTUA), spending one year as an exchange
student at the Universidade Nova de Lisboa,
Portugal; co-founder of PLB studio based in
New York as well as an Adjunct Professor at
the City University of New York, Architectural
Department of Technology; a founder partner of
Fabula & Syuzhet, a new experimental platform
based on the production of body and space
embellishments; from 2010 to 2013 led the
Architectural Section for Studio Dror, managing
a variety of architectural and urban design
projects as well as architectural competitions;
also employed by LEESER Architecture in New
York City and has collaborated with SO-IL / Solid
Objectives for the construction of Sukkah City
pavilion proposal in New York; also worked with
Jorge Otero-Pailos on the research and design
development of a proposal for the “Ancient”
Acropolis Museum; from 2006 to 2009 joined the
Laboratory of Urban Environment, Department
of Urban and Regional Planning (NTUA) as a
researcher for the Collaborative Environmental
Regeneration of Port Cities Eleufsina Bay and the
Mines of Aegean and Industrial Heritage Record
programs; in parallel, worked as an architect
for Karakosta E. Architectural office in Athens
for a couple of years of intense architectural
practice; work has been published and exhibited
in international design fairs, the London 3-D print
show and ICFF in New York, among others.
Kevin Walz
Pratt Institute, the New York Studio School;
artist and designer; recently returning from two
decades in Rome, Walzworkinc, his design firm,
is located in New York; known for his spatial
design projects, employing innovative spatial
relationships, materials and processes borrowed
from other disciplines, notably industry, fine art
and craft; artwork, which focuses on perception
and form; and signature collections of products;
also lectures and teaches at university programs
in Europe and the U.S.; has designed many
signature product lines of lighting, carpets,
fabrics, wall coverings, bath fixtures and fittings,
and furniture; furniture designs begin with an
interaction of fine natural materials, such as
hardwoods, cork, glass, metals, which are then
used with resins, carbon fiber, new technologies
and methods, allowing thin profiles, fluid forms
and tactile, resilient surfaces; some of the
materials he has developed have been patented;
recipient of the Rome Prize for work in design; in
the Interior Design Hall of Fame; art and designs
have been exhibited in galleries and museums in
North America and Europe and work is regularly in
design publications.
William Watson
B.A., Princeton University; M.Arch., University
of Texas at Austin; principal, Castro Watson,
whose work includes residential and design build
projects as well as winning entries to design
competitions; Speak Up for Small Farms, Stored
Potential Competition, in Omaha, Nebraska, was
the winning entry in 2010.
Henry Weintraub
B.A., University of Michigan at Ann Arbor; M.Arch.,
Harvard University; professional work has included
residential townhouse renovations to rooftop
additions, to office and gallery renovations for
offices such as Ennead, Spivak Architects, and
Daniel Rowen Architects.
Alexandra Griffith Winton
B.A., Smith College; M.A., Bard Graduate Center
for Studies in the Decorative Arts.
245
Piotr Woronkowicz
Visiting Instructor
B.S. Product Design (Honors), Art Center College
of Design; an industrial designer who specializes
in 3-D technology and manufacturing as a
process to achieve unexplored design potential
and problem-solving in various disciplines of
design from furniture to Interiors; before joining
Frog Design in 2014, worked as a senior designer
at Pentagram for Paula Scher and worked
with other studios and clients such as Jeffrey
Bernett, Don Chadwick, Jorge Pardo, Design
Within Reach, Herman Miller, Boffi, to name a
few; born in Gdansk Poland; has lived in various
places around the world including Milan, Italy,
Vancouver, Canada, Tokyo, Japan, Los Angeles,
California before finally settling down in New
York City in 2007; work can be seen in galleries
throughout the country; recent recipient
of a Spark award; work has been published
in international magazines and newspapers
including Wallpaper, Surface, the Los Angeles
Times, Elle Décor, and ID.
Corey Yurkovich
B.Arch., Kent State University; M.S., Harvard
University; a New York-based designer working
at the intersection of architecture, exhibition
design, product and furniture development, and
brand environments; has a wide variety of design
and production experiences—from initial creative
strategy through to construction management
and hands-on fabrication—which have provided
him the opportunity to work closely with a range
of clients and collaborators; currently seeks to
integrate traditional craft-based production
methods with advanced digital fabrication to
produce projects and experiences that are
conceptually rich, rigorously designed, and
efficiently constructed.
Liberal Arts and
Sciences Faculty
Andrew W. Barnes
Dean of the School of Liberal Arts and Sciences
Gloriana Russell
Intensive English
Channing Burt
Lecturer, Intensive English
B.A., French and Romance Philology, Columbia
University; M.A.TESOL, Teachers College, Columbia
University; over the past 15 years, she has taught
ESL to adults in academic and university settings
in Germany and New York City, including Friedrich
Schiller University, Columbia University, and New
York University; she is also a certified Bikram
yoga instructor teaching at studios throughout
Brooklyn and Manhattan.
Diane Cohen
Visiting Instructor
Maura Conley
Tutor, Writing, Thesis
Rachid Eladlouni
Assessment and Educational Technology
Coordinator; Lecturer, Intensive English
B.A., Ibn Tofail University (Morocco); M.A.,
Hunter College.
Thomas Healy
M.A., University of Ireland; certificate in TEFL,
Galway Language Centre, Ireland; has studied
at the Takabijustu School of Art, Tokyo and the
Massachusetts Institute of Art, Boston; has taught
English in Ireland, Japan and the U.S.; since
1992, has worked on a number of curriculum
development projects, involving English for
academic purposes in Japan and Korea, English
language training for the Beijing Olympic Games
2008, and in middle schools in the People’s
Republic of China; he has conducted in-service
teacher training in Japan, Korea, Taiwan, Thailand
and Brazil; with Ken Wilson, he is the author of
First Choice, an integrated skills course book
(Oxford University Press).
Kimberly Kern
M.A., TESOL, Hunter College (CUNY); B.F.A.,
Art History, University of Texas at Austin; began
teaching ESL as a volunteer in 2003 through
an organization called Literacy Austin; after
living and working abroad in Guatemala for two
years, she was accepted into the NYC Teaching
Fellow Program to teach ESL in the NYC public
schools; six years later, she joined the State
Department as an English Language Fellow in
Tegucigalpa, Honduras where she conducted
in-service teacher training; she currently teaches
in the IEP Program at Pratt and in the Teaching
and Curriculum Department at Hunter College;
outside of the TESOL field she is a bike activist,
avid reader, and Master Composter.
Elizabeth Knauer
Fanny Lao
B.A., French Literature, Rutgers University;
M.A.,TESOL, Hunter College; graduate studies,
Art History, Rutgers University; she has over 15
years of experience teaching ESL to adults in
New York and was also Assistant Editor for the
multidisciplinary journal, RES: Anthropology and
Aesthetics for eight years; in addition to ESL, she
is also a dancer who performs regularly in the New
York area.
IEP & CEP Enrollment & Advisement Coordinator
B.A., Connecticut College; M.A., International
Education, New York University; she grew up
in Guangdong, China and has been exposed
to students from around the world since she
attended an international high school in New
York and throughout her academic career at
Connecticut College and New York University;
she studied abroad in the Czech Republic; she has
been working in the education field for more
than five years.
Nada Gordon
Darleen Lev
Cynthia Elmas
CEP Coordinator, Lecturer, Intensive English
M.A., University of California at Berkeley; has
almost three decades of experience teaching
English as a Foreign Language, including 11 years
in Tokyo, Japan; she is the author of seven books
of poetry, including Vile Lilt, Scented Rushes, and
Folly; she has performed her works internationally,
and her poems have been translated into several
languages including Hebrew, Icelandic, Japanese,
and Burmese.
M.F.A., Fiction Writing, University of Iowa Writers’
Workshop; somehow this led to teaching English
in South Korea, which led to teaching English to
international students at Parsons the New School
for Design; certification in the methodology
of teaching English as a foreign language was
achieved with INTESOL in Prague in 2007; in Spring
2012, she started teaching in the IEP at Pratt;
she has published fiction and poetry in various
journals before focusing her energies on a novel
that has gone through several incarnations, the
most recent of which is titled No Man’s Land;
winning a Bread Loaf Bakeless Camargo Residency
Fellowship in 2014 brought her that much closer
to meeting the deadline to complete it in 2015.
246
Liberal Arts and Sciences Faculty
Allegra Marino Shmulevsky
Gloria Steil
M.A., Applied Linguistics, Teachers College,
Columbia University; B.A., French Language and
Literature, English Literature, and Studio Art,
Tulane University; in addition to studying visual art
in New Orleans, Paris and Rome, she has served as
Visual Arts editor of the Tulane Review, a literary
arts publication; she has taught French in the New
Orleans public school district, and served as a new
teacher selector for TeachNOLA TNTP Teaching
Fellows; in New York, she has worked as a mentor
for the Teachers College, Columbia University
TESOL Certificate Program, and as Program
Associate in the Art and Art Education Program
at the same institution; she has been teaching
ESL in New York since 2010, and in the IEP at Pratt
Institute since 2012; she feels fortunate to learn
more about art, architecture and design through
her talented students.
Adjunct Instructor
B.A., University of California at Berkeley; M.A.,
New York University; taught English in Tokyo for
the Japanese Ministry of Education, a summer
intensive course in English literature and
composition in Seoul, and English literature at the
College of New Rochelle, Medgar Evers College,
Hostos Community College, and Borough of
Manhattan Community College.
Helen McNeil
M.A., TESOL, New York University; ESL certificate,
The New School for Social Research; taught in
the summer program at Nanjing University, China
in 1993; won her M.A. in TESOL from New York
University in 1998 while teaching in their intensive
English program; has also taught at Columbia
University, LaGuardia Community College, and
Borough of Manhattan Community College; she
has been teaching at Pratt for the past 10 years
in the IEP and more recently has taught in the
CEP; she is currently singing in a chorus which
performed in Carnegie Hall in 2007; she sings in
the Park Slope Singers and performs in concerts in
and around the Brooklyn area.
Jon Pauley
Eric Rosenblum
Visiting Instructor, Lecturer, Intensive English
B.A., English, Ohio University; M.F.A., Fiction
Writing, Syracuse University; his fiction and nonfiction have appeared in Guernica Magazine, the
Chicago Tribune and the Chicago Reader.
Nancy Seidler
Director, Intensive English
B.A., Brooklyn College; M.A.,TESOL, Monterey
Institute of International Studies; she was an
exchange student at the University of Paris and
taught at the Sichuan Union University in China;
she has been working at Pratt since 1999, where,
in addition to administering various aspects of
the IEP and CEP, she has taught in the Intensive
English Program and the English Department and
has tutored in the Writing and Tutorial Center;
during all this time, she has learned a great deal
about art, design and architecture, and has wholly
enjoyed working with the international students
at Pratt.
Sam Tomasello
B.F.A., Academy of Art University; CELTA,
University of Cambridge; book illustrator: Brooklyn
Botanic Garden’s Gardening with Children, Mother
Sea Turtle, and Down by the Pond; illustrator for
New York Botanical Gardens, Oxford University
Press, Macmillan/McGraw-Hill, The New York
Times Magazine and OpEd page, BusinessWeek,
the Washington Post, Boston Globe, Nickelodeon,
Encyclopedia Britannica, and New York Magazine;
graphic design work for: Arthur Ashe Institute
of Urban Health, Price Waterhouse, Maybelline,
M&M/Mars Inc., DeBeers, Cablevision Optimum
Online, Time Warner, AT&T, and American
Museum of Natural History; exhibitions: Flushing
Hall of Science; International Art and Science
Collaboration Digital Print Exhibition; Guild of
Natural Science Illustrators; Brooklyn Public
Library; awards: Print Magazine for Art Direction;
Garden Writers Association Silver Award of
Achievement; Avery and Jules Hopwood Award for
Poetry; teach Business English at Brooklyn Public
Library; taught ESL in Japan for three years; taught
Visual Arts in NYC Public Schools and juvenile
detention sites in NYC for two years; taught
Citizenship and Art/ESL at Queens Public Library
for two years; taught writing to adult students
in reentry at College Initiative, a nonprofit
organization in NYC; in a parallel universe, she is a
jewelry designer and spends her free time doing
Maedeup, the art of Korean knotting.
Nichole Van Beek
Dena Al-Adeeb
Visiting Instructor
Donald Andreasen
M.F.A., Playwriting, Actors Studio, The New
School; has had one-act plays produced at the
HERE Theatre and Access Theatre in New York
City and was co-writer of a short film produced
by Fox Searchlab Pictures; has also worked as a
voice-over artist doing various commercial work in
addition to network television.
Saul Anton
Emily P. Beall
M.A., University of Washington, B.A., University of
California at Berkeley; academic interests include
20th- and 21st-century experimental poetry and
poetics, with a focus on experimental writing by
women; a poet herself, she is also interested in
the intersections of poetics and modern dance,
and the ways that such intersections generate
concepts of space, meaning, and the body.
Jonathan Beller
Professor
B.A., Columbia University; Ph.D., Duke University;
interests: media theory, Marxism, critical
race theory, cinema, media archaeology,
decolonization, aesthetics and politics, feminism,
third cinema, Philippine culture and politics.
Caterina Bertolotto
Laurea in Pedagogia, University of Turin, Italy; has
received eight certificates in different language
teaching methodologies in both Italy and in
New York, as well as a Distinguished University
Teaching Award from The New School; author of
four books, two audio and two PowerPoint CDs;
has also taught seminars to language teachers
and undergraduates at The New School, Sarah
Lawrence College, Montclair State University,
Eugene Lang, and Baruch College.
247
Stephanie Boluk
Maria Damon
Sacha E. Frey
Assistant Professor
Chair, Humanities and Media Studies
Adjunct Instructor
Warren Burdine
Amanda Davidson
John Gendall
Visiting Instructor
Melissa Buzzeo
Pierre Alexandre de Looz
Daniel Gerzog
Diana Cage
Don Doherty
Visiting Instructor; Tutor
B.A., Hunter College, City University of New York;
New York University; has been an instructor at
Pratt since 1996, teaching Freshman Composition
and Literature and English as a Second Language;
he did Foundation Year at Pratt before moving
into a Liberal Arts program at Hunter College, so
Pratt was his first home-away-from-home; his
interests include writing short fiction, writing and
producing music, video production, animation,
collage and drawing; he rides an Alien Workshop
deck with Tensor trucks and Darkstar wheels; his
YouTube account is papakilatube.
Philip Carroll
Visiting Instructor
Lis Cena
Peter Chamedes
Ph.D., English Literature; a person with ‘60s values
and an abiding love of literature and art; following
a doctorate in English Literature (poetry), family
obligations redirected him into an extended
career in advertising; this was at last succeeded by
a return to scholarship and pedagogy; his students
have ranged from at-risk adolescents to aspiring
artists (including many remarkable Pratt scholars);
his consuming interests include his two babies,
poetry, contemporary art, and African art.
Youmna Chlala
Associate Professor
Diane Cohen
Visiting Instructor
Ellen Conley
M.S., Wagner College; B.A., Pennsylvania State
University; MTMS ASCP, Jefferson Medical College;
a published writer of four books with national
reviews: The Chosen Shore (Univ. of Calif. Press),
Bread and Stones (Mercury House), Soon to Be
Immortal (St. Martin’s Press) and Soho Madonna
(Avon Original Fiction).
Kathryn Cullen-DuPont
Assistant Chair
M.F.A., Goddard College, B.A., New York
University; the author of a number of books
including, most recently, Human Trafficking (2009);
she is also the Lead Steward of the Clockhouse
Writers’ Conference and publisher of Clockhouse,
a literary journal published by the Clockhouse
Writers’ Conference in partnership with Goddard
College; she is currently working on a book about
women and religion.
Steven Doloff
Professor; Lecturer, Intensive English
B.A., Stony Brook University; M.phil.; Ph.D.,
City University of New York Graduate Center;
TESOL Certificate, Columbia University Teachers
College; was named a Pratt Institute Distinguished
Professor (2001–02) and received the Institute’s
Student Government Association Faculty
Excellence Award in 1990.
Claire Donato
Thom Donovan
Visiting Instructor
Rachid Eladlouni
Visiting Assistant Professor; Lecturer,
Intensive English
Laura Elrick
Assistant Professor; Lecturer, Intensive
English; Tutor
B.A., Rhetoric and Communication, University of
Southern California; teaches in the English and
Humanities Department and the Intensive English
Program; she has published four books of poetry
and numerous essays on contemporary literature,
culture, and politics, and regularly performs her
work nationally; she is currently pursuing a Masters
in Liberal Studies at the CUNY Graduate Center in
Manhattan; her interests include the intersection
between poetics and the production of social
space, spatiality, and scale.
Professor
B.A., M.A., A.B.D., New York University; has been
teaching at Pratt since 1959; he is currently
working with his second generation of fledgling
artists, designers and architects, introducing
them to the joys and stimulations of good reading
and clear expression; he also supervises thesis
corollary statements in the MFA program.
Amy Guggenheim
M.A., B.S., New York University; filmmaker and
writer; her work in theater and film focuses on
violence, intimacy, and sexuality, and has been
presented internationally with support from the
New York State Council on the Arts, the American
Embassy, Fulbright Foundation, Mellon Fund, and
others; her work has been published in American
Letters and Commentary, and in the Italian literary
journal Storie; her 2008 artistic residency in
Japan—in development for her first feature film—
relates to her work as founder of the Center for
Artistic Engagement.
Paul Haacke
Christian Hawkey
Professor
B.A., Pepperdine University; M.F.A., University of
Massachusetts; author of three award-winning
books of poetry, including The Book of Funnels
(Wave Books, 2004), which won the 2006 Kate
Tufts Discovery Award, Hour Hour (Delirium
Press, 2005), and Citizen Of (Wave Books, 2007);
his poems have appeared in Conjunctions, Volt,
Denver Quarterly, Tin House, Crowd, BOMB,
Chicago Review, and Best American Poetry; he
has received awards from the Academy of
American Poets and the Poetry Fund, and in
2006 he received a Creative Capital Innovative
Literature Award; in 2008, he was a DAAD Artistin-Berlin Fellow.
Kwame Heshimu
Visiting Instructor; Tutor
B.A., English (specialization in writing), New York
University; he grew up in the shadow of the Blue
Mountain; son of a Cuban expatriate, and with
a mother who was a descendant of Jamaican
maroons, he spent his childhood in one of the
most inaccessible communities on the island; his
grandfather, a saxophonist with dance bandleader
Ray Coburn, frequently accompanied Rastafarian
drummers; he not only became enthralled with
the music, but with the Rastafarian vocabulary, or
Iyaric, an intentionally created dialect of English,
reflecting their desire to take forward language
and confront Babylon system; his romance with
word, sound, and power had begun.
248
Jeffrey Hogrefe
Susan Bee (Laufer)
Uche Nduka
Associate Professor
B.A., University of California at Berkeley; an
author, architectural critic, and coordinator of the
Pratt School of Architecture’s Writing Program:
Language/Making; he is a studio critic at Parsons
The New School for Design, The Cooper Union,
and Columbia; a contributor to Harper’s, The
New Yorker, Smithsonian, New York Observer,
Washington Post and Vanity Fair; and the author
of O’Keeffe: The Life of an American Legend,
a biography focused on the artist’s rights of
seclusion and personal identity politics.
Rachel Levitsky
Mendi Lewis Obadike
Associate Professor
M.F.A., Naropa University, B.A., State University of
Albany; her first full-length volume, Under the Sun,
was published by Futurepoem books in 2003; she
is the founder and co-director of Belladonna*,
an event and publication series of feminist
avant-garde poetics; she is also the author of
five chapbooks of poetry, Dearly (a+bend, 1999),
Dearly 356, Cartographies of Error (Leroy, 1999),
The Adventures of Yaya and Grace (PotesPoets,
1999), 2(1×1) Portraits (Baksun, 1998), and a series
of poetry plays.
Assistant Professor
Ph.D., Duke University.
Samantha Hunt
Professor
M.F.A., Warren Wilson College; the author of
two books, The Seas—for which she was awarded
a National Book Foundation award for writers
under 35—and The Invention of Everything Else,
a novel about the life of Nikola Tesla; her stories
have appeared in The New Yorker, McSweeney’s, A
Public Space, Cabinet, Seed Magazine and on the
radio program This American Life.
Dexter Jeffries
Adjunct Instructor
B.A., Queens College, City University of New
York; M.A., City College of New York; Ph.D., City
University of New York, Graduate Center; born
and raised in New York City; in between his
academic studies he was a taxi driver and
served in a United States Army combat engineer
battalion in West Germany; he came to Pratt in
1993, and in 1996, in conjunction with the Media
Arts department, he produced and directed
the documentary film, What’s Jazz?; in 2003,
Kensington Press published his autobiographical
memoir, Triple Exposure: Black, Jewish and Red
in the 1950s; he lives in Brooklyn.
Ellen Levy
Ira Livingston
Professor
Ph.D., Stanford University; his primary field
is cultural theory; author of Between Science
and Literature: An Introduction to Autopoetics
(2006) and Arrow of Chaos: Romanticism and
Postmodernity (1997); coeditor of Posthuman
Bodies (1995, with Judith Halberstam) and Poetry
and Cultural Studies: A Reader (2009, with
Maria Damon).
Jennifer Miller
Visiting Instructor
Associate Professor
Circus Amok founder and artistic director; has
been working with alternative circus forms,
theater, and dance for more than 20 years; her
work with Circus Amok was awarded a “Bessie”
in 1995 and an OBIE in 2000; Circus Amok is the
subject of a French documentary film, Un Cirque
á New York (2002) and a Brazilian documentary,
Juggling Politics (2004); has taught at California
Institute of the Arts, New York University, and
University of California at Los Angeles.
Adeena Karasick
Tracie Morris
Visiting Instructor
Professor
Ph.D., Performance Studies, New York University;
M.F.A., Poetry, Hunter College, City University
of New York; an interdisciplinary poet who has
worked extensively as a sound artist, writer, and
multimedia performer; her installations have
been presented at the Whitney Biennial and the
Jamaica Center for Arts and Learning.
Elizabeth Knauer
Cecilia Muhlstein
Jeffrey T. Johnson
Sean Kelly
Visiting Instructor
B.A., Loyola College University of Montreal.
David D. Kim
Christoph Kumpusch
Krystal Languell
M.A., B.A., California State University at Los
Angeles; born in Texas, but grew up in Los
Angeles; her work and interests reside in fiction,
critical theory, art, and eco-poetics; her current
work can be found in the pages of NYArts
magazine and in the archives of Safe-T-Gallery.
Robert Obrecht
B.A., Sarah Lawrence; TESOL Certificate, Columbia
University Teachers College; born in New York City
in 1951; compositions have premiered in New York
at Lincoln Center’s State Theater and Alice Tully
Hall, the Brooklyn Academy of Music, Merkin Hall
and LaMama E.T.C., among others; he has scored
exhibition videos for the Museum of Modern
Art, the American Museum of Natural History,
the Jewish Museum, and the Queens Museum of
Science; his theme song for the Disney/Henson
Bear in the Big Blue House is broadcast worldwide;
has been teaching at Pratt since 1988.
Kristin Pape
Jean-Paul Pecqueur
M.F.A., University of Washington; B.A., Evergreen
State College; a poet and writing instructor who
has published poems, critical reviews, and essays
in a number of national publications; has taught
creative writing, critical writing, and literature
courses at The University of Washington and the
University of Arizona’s Poetry Center; has been
teaching Introduction to Literary and Critical
Studies courses at the Pratt Institute since
2006; his first book of poems, The Case Against
Happiness, was the winner of Alice James Books’
Kinerth Gensler award in 2006.
Alba Potes
D.M.A. in Composition, Temple University; Alba
Potes was born in Colombia; her compositions
have been performed by the Montreal Chamber
Orchestra, National Symphony of Colombia,
Darmstadt 2000 Internationale Ferienkurse
für Neue Musik, the Institute for New Music in
Freiburg, The New York New Music Ensemble, and
by music festivals in Latin America, South Korea,
Germany, Canada, and the USA; connected to her
creative work based on Spanish literature, she
has also taught Spanish in CUNY and Columbia
University; she teaches music at the Mannes
College of Music, College Preparatory Division.
Evan Rehill
Adjunct Instructor
Eric Rosenblum
Visiting Instructor; Lecturer, Intensive English
B.A., English, Ohio University; M.F.A., Fiction
Writing, Syracuse University; fiction and nonfiction have appeared in Guernica Magazine, the
Chicago Tribune and the Chicago Reader.
249
Eliza Schrader
Christopher Vitale
Aman Gill
Visiting Instructor
Associate Professor
B.A., State University of New York at Binghamton;
Ph.D., New York University; areas of specialization
include continental philosophy, comparative
modernist literary and cultural studies,
psychoanalysis, queer studies, theories of race
and ethnicity, radical political thought, and film
and film theory; currently writing a book about
complexity studies and theories of networks;
has taught at New York University, University of
California at Berkeley, and Hunter College.
Assistant Professor
B.S., Integrative Biology and History, University of
California at Berkeley; Ph.D. candidate in Ecology
and Evolution, Stony Brook University.
Sharon Snow
Visiting Instructor
B.A., Vassar College; M.A., French Literature,
Columbia University; spent her junior year in Paris,
and following graduation, received a fellowship to
study at the University of Lausanne, Switzerland;
after receiving her Masters in French at Columbia,
she worked at an art gallery and for the United
Nations; she taught at Manhattan’s Hewitt School
for 14 years and is now visiting instructor at Pratt
and at St. Joseph’s College.
Ethan Spigland
Associate Professor
B.A., Yale University; M.F.A., New York University;
Maîtrise, University of Paris VIII; has made
numerous films and media works including:
Luminosity Porosity, based on the work of
architect Steven Holl, Elevator Moods, featured in
the Sundance Film Festival, and The Strange Case
of Balthazar Hyppolite, which won the Gold Medal
in the Student Academy Awards.
Gloria Steil
Adjunct Instructor
B.A., University of California at Berkeley; M.A.,
New York University; taught English in Tokyo for
the Japanese Ministry of Education, a summer
intensive course in English literature and
composition in Seoul, and English literature at the
College of New Rochelle, Medgar Evers College,
Hostos Community College, and Borough of
Manhattan Community College.
Yijue Sun
Holly Tavel
Visiting Instructor
Barbara Turoff
Ph.D., New York University; Laurea, Universita di
Bologna
Suzanne Verderber
Associate Professor
B.A., Dartmouth College; Ph.D., University of
Pennsylvania; teaching and research focus
on the relationship between subjectivity and
power, and on the relation between pre-modern
periods (medieval, Renaissance, Baroque) and
contemporary concerns; specific fields of study
include politics, literature, art, critical theory,
philosophy, religion, and psychoanalysis.
Elizabeth Williams
M.F.A., Columbia University; B.A.,
Middlebury College.
Thad Ziolkowski
Coordinator, The Writing Program, Professor
B.A., George Washington University; Ph.D., Yale
University; the author of a novel, Wichita, a
memoir, On a Wave, and a collection of poems,
Our Son, the Arson; his journalism has appeared
in The New York Times, Slate, Bookforum, Travel
& Leisure, and the Village Voice; among other
honors, he is the recipient of a fellowship from the
John S. Guggenheim Foundation.
Damon Chaky
Associate Professor
B.S., Ph.D., Rensselaer Polytechnic Institute;
research focuses on the sources, transport and
fate of pollutants in the urban environment,
particularly that of New York City. He regularly
teaches Ecology for Architects, Toxics and the
elective course Science and Society. Dr. Chaky is
active in Sustainable Pratt, a group of students,
faculty and staff that works to position Pratt as a
leader in sustainable, ecologically-aware design
and architecture.
Barbara Charton
B.A., Brooklyn College; M.S., M.L.S., Adv.
Cert., Pratt Institute; Barbara Charton is still
doing chemistry and extending it in several
new directions—into art conservation and
environmental studies.
Eleonora Del Federico
Professor
Ph.D., University of Massachusetts at Amherst;
Licenciada (equivalent to M.S. degree), University
of Buenos Aires, Argentina.
Anatole Dolgoff
Adjunct Professor
M.S., Miami University; B.S., Hunter College, CUNY.
Margaret Dy-So
Christopher Jensen
Associate Professor
B.A., Pomona College; Ph.D., Stony Brook
University; he teaches courses in Ecology, Human
Evolution, and the Biology of Cooperation. He
is active in Sustainable Pratt’s efforts to bring
ecologically conscious practices to our campus
and beyond. Those activities are complemented
by his research, which focuses on the stability of
systems of interacting organisms.
Cindie Kehlet
Associate Professor
Ph.D., M.S., University of Aarhus; teaches
Introductory Science and the Chemistry of
Pigments; her research interests are in the field of
Conservation Science.
Steve Kreis
B.S., University of Missouri; M.A., Hunter College,
City University of New York.
Richard Leigh
Visiting Professor
B.A., Oberlin College; Ph.D., Columbia University;
PE (Mechanical), New York State LEED AP;
practiced laser spectroscopy at City College of
NY and l’École Normale Supérieure (Paris); joined
Brookhaven National Laboratory and switched
to energy analysis and development of energyefficient technologies; taught full time at Pratt
1987–93; back to BNL, acquired NYS Professional
Engineering license; then into the nonprofit
sector first as Senior Engineer at the Community
Environmental Center, making existing and new
buildings more energy-efficient in the NYC metro
area, now as director of advocacy and research
at the Urban Green Council, (NY Chapter of the
US Green Building Council, managers of LEED),
working to improve energy efficiency in building
codes and on worker education.
Jemma Lorenat
B.A., San Francisco State University; M.A., CUNY
Graduate Center; Ph.D. candidate in History and
Math, Simon Fraser University and Université
Pierre et Marie Curie, Paris.
Tiffany Liu
Lab Technician
250
Ágnes Mócsy
Social Science and
Cultural Studies
Associate Professor
Ph.D., University of Minnesota; M.Sc., University
of Bergen, Norway; performs research on the
fundamental nature of matter, specifically on
the interactions of subatomic particles within
the nucleus of the atom; she has held research
positions at the Niels Bohr Institute, Copenhagen;
Theoretical Physics Institute, Frankfurt; and
Brookhaven National Laboratory; teaches
Introductory Physics and Astronomy.
Mark Rosin
Assistant Professor
M.S., Physics, Bristol; Ph.D., Applied Mathematics,
Cambridge University; research is in computer
algorithms for fusion energy and in mathematical
modeling for astrophysics and diodes; director
of Guerilla Science, an organization dedicated to
mixing science with art, music and play.
Carole Sirovich
Sameetah Agha
Associate Professor, History
B.A., Smith College; M.A., M.Phil., Ph.D.,
Yale University.
Dory Aghazarian
Visiting Instructor, History
B.A., Columbia University; M.A., Fordham
University; Ph.D. Candidate, Graduate Center,
Alheli Alvarado-Diaz
B.A., Johns Hopkins University; M.A., M.Phil.,
Ph.D., Columbia University.
Robert Ausch
Chair
B.S., Brooklyn College; M.S., Ph.D.,
New York University.
Adjunct Associate Professor, Psychology
B.A., New York University; M.A., City College, City
University of New York; Ph.D., Graduate Center,
Gerson Sparer
Josh Blackwell
Professor
B.S., Brooklyn College; M.S., Ph.D., Courant
Institute.
Oscar Strongin
Ph.D., Columbia University; Independent
Consulting Geologist engaged in oil/gas
development as well as environmental impact
of extraction of unconventional fossil fuel
resources; also served as Energy Consultant to
U.S. House of Representatives Committee on
Energy and Commerce.
Vincent Tedeschi
Visiting Instructor
M.S., B.A., Stony Brook University.
James Wise
Visiting Instructor
B.A., Hunter College; M.A., Brooklyn College.
Daniel Wright
Assistant Professor
Ph.D., Stanford University; M.S., University of
California at San Diego; B.S., Pennsylvania State
University.
Visiting Instructor, Fashion and Design History
B.A., Bennington College; M.F.A., California
Institute of the Arts.
Francis Bradley
Paul Dambowic
Adjunct Instructor
B.A., New York University; M.A., Yale
University. Mareena Dareedia
Visiting Instructor, Cinema Studies
B.F.A., York University; M.F.A., Pratt Institute.
Corey D’Augustine
Visiting Instructor, Theory and Practice
B.A., Oberlin College; M.A., Institute of Fine Arts at
Lisabeth During
Associate Professor, Philosophy
B.A., Wesleyan University; M.Th., King College,
University of London, London, U.K.; Ph.D., Trinity
College, Cambridge University, Cambridge, U.K.
Barbara Duarte Esgalhado
Visiting Instructor, Psychology
B.A., Rutgers University; Ph.D.,
John Frangos
Adjunct Assistant Professor, History
B.A., M.A., Queens College; M.A., C.W. Post
Campus, Long Island University; Ph.D., New York
University.
Eric Godoy
Assistant Professor, History
B.A., M.A., Ph.D., University of Wisconsin
at Madison.
Assistant Chair and Visiting Instructor, Philosophy
B.A., Rollins College; M.A., Ph.D. The New School
for Social Research.
B. Ricardo Brown
P.J. Gorre
Coordinator, Critical and Visual Studies and
Professor, Cultural Studies
B.A., Simon’s Rock College of Bard; M.A., Syracuse
University; M.Phil., Ph.D., The Graduate Center,
Monica A. Grandy
Josiah Brownell
Coordinator, World History Program and
B.A., Western Michigan University; M.A., London
School of Economics; J.D., University of Virginia
Law School; Ph.D. Political Science, School of
Oriental and African Studies, University of London.
Tom Buechele
Visiting Instructor, Philosophy
B.A., Villanova University; M.A., Ph.D. candidate,
The New School for Social Research.
Visiting Assistant Professor, Psychology
B.A., Sarah Lawrence College; Ph.D., City
Mitchell Harris
B.F.A., State University of New York at Purchase;
M.A., M.Phil, City University of New York.
Gabriel Hernández
Visiting Instructor, Cultural Studies
B.A., State University of New York at Purchase;
M.A., Queens College, City University of New York;
M.Phil., Ph.D. candidate, The Graduate Center,
B.A., City College of New York; M.A., Ph.D.
candidate, State University of New York at
Stony Brook.
Caitlin Cahill
B.A., Hampshire College; Ph.D., Boston College.
Assistant Professor, Politics and Geography
B.A., Middlebury College; M.A., Hunter College;
M.Phil., Ph.D., Graduate Center, City University
of New York.
Ann Holder
Travis Holloway
B.A., Belmont College; M.A., Boston College,
M.F.A., New York University; Ph.D., State University
of New York at Stony Brook.
251
Estelle Horowitz
Gerald Levy
Ritchie Savage
Professor Emerita, Economics
Visiting Instructor, Economics
B.A., New York University; M.A., The New School
for Social Research.
Visiting Instructor, Sociology
B.S., Bradley University; M.A., Ph.D., The New
School for Social Research.
Luka Lucic
Michelle Standley
Assistant Professor, Psychology and
Diaspora Studies
B.A., City College of New York; M.Phil.,
The Graduate Center of the City University
of New York.
B.A., Brigham Young University; Ph.D.,
Gregg M. Horowitz
Chair and Professor of Philosophy
B.A., Sarah Lawrence College; M.A., Boston
University; Ph.D., Rutgers University.
May Joseph
Professor, Global Studies
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Svetlana Jovic
B.A., M.A., University of Belgrade, Serbia; M.Phil.,
Ph.D. candidate, The Graduate Center of the City
Shelley Juran
Professor, Psychology
B.A., M.A., Brooklyn College; Ph.D., City University
of New York.
John McGuire
Adjunct Instructor, Philosophy
B.A., New York University; M.A., The
New School University.
Erum Naqvi
B.Sc. Hons., Philosophy and Economics, London
School of Economics; M.A., Ph.D. candidate,
Temple University.
Darini Nicholas
B.A., Columbia University; M.S., School of Social
Work, Columbia University.
Adjunct Instructor, Anthropology
B.A., University of Louisville; M.A., Goddard
College (Kentucky); Ph.D., The New School
University.
Josh Karant
Cheol-Soo Park
Marina Kaneti
Adjunct Assistant Professor, Philosophy
and Food Studies
B.A., Pomona College, M.A., The New School; M.A.,
Rutgers University; Ph.D., University of Maryland.
Visiting Instructor, Economics
B.A., M.A., Ph.D., Seoul National University;
Ph.D., The New School University.
Kathleen C. Kelley
Professor Emeritus, History
B.A., Brooklyn College; M.B.A., J.D.,
B.A., St. John’s College; M.A., Ph.D., The New
School for Social Research.
Todd Kesselman
B.A., Trinity College; M.A. The New School for
Social Research.
Irving Perlman
Robert Richardson
B.A., Wheaton College; M.A., ABD, Pennsylvania
State University.
Uzma Z. Rizvi
B.A., Columbia University; M.A., City College of
New York; Ph.D. candidate, State University of
New York at Stony Brook.
Assistant Professor, Anthropology and
Urban Studies
B.A., Bryn Mawr College; M.A., Ph.D.,
University of Pennsylvania.
Hunter Kincaid
John Santore
Annie Khan
B.S., University of Washington; M.A.,
University of Chicago.
Professor Emeritus, History
B.A., M.A., Temple University; Ph.D.,
Elizabeth Knauer
Zachary Sapolsky
Ph.D. candidate, Steinhardt School of Culture,
Education, and Human Development, New York
University.
B.A., University of Rochester; M.A., Ph.D.,
Long Island University.
Jeff Surovell
B.A., M.A., Ph.D., Columbia University.
Jennifer Telesca
B.A., University of Richmond; M.A., University of
Connecticut at Storrs; M.A., Ph.D.,
Kumru Toktamis
Adjunct Assistant Professor, Sociology
B.A., Middle East Technical University, Ankara,
Turkey; M.A., Ph.D., The New School University.
Paul Schweigert
B.S., North Carolina State University; M.Phil., Ph.D.
candidate, The Graduate Center, City University
of New York.
Noah Simmons
Licence Histoire de l’Art et d’Archéologie, Maîtrise
Histoire de l’Art et d’Archéologie, Sorbonne Paris
IV-Université de Paris; M.A., Columbia University
School of International and Public Affairs; Ph.D.,
The Graduate Center, City University of New York.
Basil Tsiokos
B.A., Stanford University; M.A., New York
University.
Murtaza Vali
Visiting Instructor, Art Theory
B.S., The Johns Hopkins University; M.A., Institute
of Fine Arts, New York University.
Zhivka Valiavicharska
Assistant Professor, Social and Political Theory
B.A., M.A., National Academy of Arts, Sofia,
Bulgaria; Ph.D., University of California at Berkeley.
Ron Van Cleef
A.B., Syracuse University, Maxwell School of
Citizenship; M.A., City College of New York; Ph.D.
candidate, Stony Brook University .
252
Gabriel Hernández
Darini Nicholas
B.A., City College of New York; M.A., Ph.D.
candidate, State University of New York at
Stony Brook.
Adjunct Instructor, Anthropology
B.A., University of Louisville; M.A.,
Goddard College; Ph.D. Candidate, The
New School University.
Ann Holder
Uzma Z. Rizvi
B.A., Hampshire College; Ph.D., Boston College.
Assistant Professor, Anthropology
and Urban Studies
B.A., Bryn Mawr College; M.A., Ph.D.,
University of Pennsylvania.
Sameetah Agha
B.A., Smith College; M.A., M.Phil., Ph.D., Yale
University.
Josh Blackwell
Visiting Instructor, Fashion and Design History
B.A., Bennington College; M.F.A., California
Institute of the Arts.
Francis Bradley
B.A., M.A., Ph.D., University of Wisconsin
at Madison.
B. Ricardo Brown
Coordinator, Critical and Visual Studies and
Professor, Cultural Studies
B.A., Simon’s Rock College of Bard; M.A., Syracuse
University; M.Phil., Ph.D., The Graduate Center,
Josiah Brownell
Coordinator, World History Program and
B.A., Western Michigan University; M.A., London
School of Economics; J.D., University of Virginia
Law School; Ph.D., Political Science, School of
Oriental and African Studies, University of London.
Tom Buechele
M.A., Queens College; M.Phil., Ph.D. candidate,
The Graduate Center, City University of New York.
Caitlin Cahill
Assistant Professor, Politics and Geography
B.A., Middlebury College; M.A., Hunter College;
M.Phil., Ph.D., The Graduate Center, City
Mareena Dareedia
Visiting Instructor, Cinema Studies
B.F.A., York University; M.F.A., Pratt Institute.
Travis Holloway
B.A., Belmont College; M.A., Boston College,
M.F.A., New York University; Ph.D., State University
of New York, Stony Brook.
Gregg M. Horowitz
Chair and Professor of Philosophy
B.A., Sarah Lawrence College; M.A., Boston
University; Ph.D., Rutgers University.
May Joseph
Professor, Global Studies
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Shelley Juran
Professor, Psychology
B.A., M.A., Brooklyn College; Ph.D., City University
of New York.
Josh Karant
and Food Studies
B.A., Pomona College, M.A., The New School; M.A.,
Rutgers University; Ph.D., University of Maryland.
Kathleen C. Kelley
B.A., St. John’s College; M.A. and Ph.D. candidate,
The New School for Social Research.
Todd Kesselman
B.A., Trinity College; M.A., The New School for
Social Research.
Elizabeth Knauer
B.A., Oberlin College; M.A., Institute of Fine Arts at
Ph.D. candidate, Steinhardt School of
Culture, Education, and Human Development,
Lisabeth During
Luka Lucic
Corey D’Augustine
Associate Professor, Philosophy
B.A., Wesleyan University; M.Th., King College,
University of London; Ph.D., Trinity College,
Cambridge University.
Barbara Duarte Esgalhado
B.A., Rutgers University; Ph.D., Columbia
University.
Eric Godoy
Assistant Chair and Visiting Instructor,
Philosophy B.A., Rollins College; M.A., Ph.D., The
New School for Social Research.
Assistant Professor, Psychology and
Diaspora Studies
B.A., City College of New York; M.Phil.,
The Graduate Center of the City University
of New York.
Erum Naqvi
B.Sc. Hons., Philosophy and Economics, London
School of Economics; M.A., Ph.D. candidate,
Temple University.
Ritchie Savage
Visiting Instructor, Sociology
B.S., Bradley University; M.A., Ph.D., The
New School for Social Research.
Jennifer Telesca
Assistant Professor
B.A., University of Richmond; M.A.,
University of Connecticut at Storrs; M.A.,
Ph.D., New York University.
Kumru Toktamis
Adjunct Assistant Professor, Sociology
B.A., Middle East Technical University, Ankara,
Turkey; M.A., Ph.D., The New School University.
Basil Tsiokos
B.A., Stanford University; M.A.,
Murtaza Vali
Visiting Instructor, Art Theory
B.S., The Johns Hopkins University; M.A. Institute
of Fine Arts, New York University.
Zhivka Valiavicharska
Assistant Professor, Social and Political Theory.
B.A., M.A., National Academy of Arts, Sofia,
Bulgaria; Ph.D., University of California at Berkeley.
Sal A. Westrich
Professor, History
B.A., City College of New York; M.A., University
of Wisconsin; M.A., Harvard University; Ph.D.,
Rebecca Winkel
Visiting Assistant professor, Psychology
M.A. Columbia University; M.A., Gordon-Conwell
Theological Seminary; Ph.D., The New School for
Social Research
Iván Zatz Díaz
Associate Professor, Globalization
M.F.A., New York University; Ph.D., The Graduate
Center, City University of New York.
Carl Zimring
Associate Professor, History and Sustainability
B.A., University of California at Santa Cruz; M.A.,
Ph.D., Carnegie Mellon University.
Sonya Abrego
Visiting Instructor
Ph.D. candidate, Bard Graduate Center;
M.Phil, Decorative Arts, Design History and
Material Culture Studies, Bard Graduate Center;
a Ph.D. candidate specializing in 20th-century
fashion, currently completing a dissertation on
western wear in the postwar United States; work
focuses on the interconnections between fashion
and popular culture, specifically music and film;
she has presented papers in New York, Montreal
and San Francisco, worked with the costume
collections at the Museum of the City of New York
and the Metropolitan’s Costume Institute; she is
the recipient of graduate fellowships from the
Metropolitan Museum of Art, the Bonnie Cashin
Foundation and the Autry National Center; she is
a senior editor at Worn Fashion Journal and works
in the vintage clothing market.
Kelly Rae Aldridge
Visiting Instructor
B.A., Art History, Colorado State University;
M.A., Art History and Criticism, Ph.D. candidate,
Stony Brook University; conducts research on
the place of food in art with particular focus
on contemporary collaborative interdisciplinary
projects; currently working on a dissertation,
“Crumbs from the Revolutionary Table,” that
examines art practices that focus on the table as
a critical site of physical consumption, sensuous
encounter, social production, and material
exchange; Instructor at Stony Brook University;
was Session Chair at the Association of Art
Historians and has presented papers at CAA and
other venues.
Lisa Banner
B.A., Princeton University; Ph.D., Institute of
Fine Arts, New York University; art historian
and curator; publications include Spanish
Drawings in the Princeton University Art Museum
(Yale University Press, 2013), and The Religious
Patronage of the Duke of Lerma (Ashgate, 2009);
has lectured on old master drawings at the Frick
Collection, Metropolitan Museum of Art, Morgan
Library, Courtauld Institute, and the Meadows
Museum; as a curator she has worked with The
Frick Collection (The Spanish Manner: Drawings
from Ribera to Goya, 2010-2011), the Museo del
Prado (Dibujos del Siglo de Oro en la Coleccion de
la Hispanic Society of America, 2006), the Museu
Nacional d’Art de Catalunya, and the Institute of
Fine Arts, NYU.
253
Ágnes Berecz
Ed DeCarbo
Ph.D., Université Paris I (Panthéon-Sorbonne);
teaches modern and contemporary art history;
Associate Professor at Christie’s Education;
lectures at the Museum of Modern Art; writings
have appeared in Art Journal, Art in America,
Artmargins and the Yale University Art Gallery
Bulletin as well as in European and U.S. exhibition
catalogs; recent work includes the two-volume
monographic study, Simon Hantaï, and the essay,
“The Event of Painting,” written for Judit Reigl’s
retrospective at the Ludwig Museum in Budapest;
review articles for Muérto, the Budapest-based
art monthly, include “Thomas Hirschhorn’s
Gramsci Monument,” and “American Traumspiel:
Mike Kelley”; she is working on a book titled Paint
No More: France, 1948-1982.
M.A., University of Chicago; Ph.D., M.A., Indiana
University; concentration is art and aesthetics in
post-colonial societies with foci in traditional and
contemporary arts; field research in aesthetics
in a traditional multicultural society in West
Africa and in the Pacific (Moana) in contemporary
arts; his courses survey the traditional and
contemporary arts of Africa and the Pacific, and
consider the theories and methods of analysis
that are applied to the post-colonial world; he
serves as a consultant to the College Board effort
to globalize the Advanced Placement Curriculum
in Art History; was Director of Education at the
National Museum of African Art, Smithsonian
Institution, and served as a senior university
administrator for many years.
Sam Bryan
Eva Díaz
B.A., Dartmouth College; M.A., Howard
University; D.A., History, Carnegie-Mellon
University; filmmaker and film archivist who
specializes in documentary film and criticism;
has taught courses in film history and production
at Brooklyn College, Fordham University and
at Pratt since 1983; since 1960 he has filmed
for the International Film Foundation in Africa
and South America; his films have been shown
at the American Film Festival, at the Museum of
Modern Art and the Metropolitan Museum
of Art; past president of the New York
Film Council and executive Director of the
International Film Foundation.
Assistant Professor
M.A., Ph.D., Princeton University; her book The
Experimenters: Chance and Design at Black
Mountain College will soon be released by the
University of Chicago Press; the project examines
how an interdisciplinary group of artists at
Black Mountain proposed new models of art
and focuses on three Black Mountain teachers
in the late 1940s and early 1950s: Josef Albers,
John Cage, and Buckminster Fuller; writing
appears in magazines and journals such as The
Art Bulletin, Art Journal, Art in America, Cabinet,
The Exhibitionist, Frieze, Grey Room, October,
and Tate Etc. and she is a regular contributor to
Artforum; she was recently awarded a Creative
Capital/Warhol Foundation Art Writers Grant to
research for her book about Buckminster Fuller’s
work, titled The Fuller Effect: The Critique of Total
Design in Postwar Art.
Corey D’Augustine
B.A., Visual Arts and Biochemistry, Oberlin
College; M.A., Art History, Advanced Certificate
in Art Conservation, Institute of Fine Arts, New
York University; conservator of modern and
contemporary art and technical art historian;
works for the Solomon R. Guggenheim Museum
and lectures on art history conservation at New
York University, Sotheby’s Institute of Art, City
College of New York, and Museum of Modern Art;
a specialist in American and European postwar art,
research includes 20th-century painting materials
and techniques and conservation of monochrome
paintings; selected publications: “Taoism in
the Work of Agnes Martin,” Kunst Nu, “Laser
Cleaning of a Study Painting by Ad Reinhardt and
the Analysis/Assessment of the Surface after
Treatment,” Modern Paints Uncovered; selected
awards: Samuel H. Kress Foundation grant;
Dedalus Foundation grant.
Dorothea Dietrich
Chair and Professor
B.A., M.A., M.Phil., Ph.D., Yale University; primary
research areas: The Weimar Republic and
post-1945 German art and culture; publications
include: The Collages of Kurt Schwitters: Tradition
and Innovation (Cambridge U. Press) and German
Drawings of the ´60s (Yale U. Art Gallery), and
numerous contributions to exhibition catalogues
and scholarly volumes in the United States and
Europe; was Chair of Arts and Humanities at
the Corcoran College of Art and Design, and
Curator of Prints and Drawings and Director of
the Morse Research Center at the Zimmerli Art
Museum at Rutgers; taught at Princeton University
and held visiting appointments at Yale, MIT,
Duke, Washington University, Boston University,
and Bryn Mawr College; recently was a Senior
Research Fellow at the Henry Moore Institute in
Leeds, England.
254
Mary Douglas Edwards
Frima Fox Hofrichter
Vivien Knussi
Adjunct Professor
Ph.D., M.L.S., M.A., Columbia University ;
publications include Wind Chant and Night Chant
Sand Paintings, articles in Journal of the Society of
Architectural Historians, Studies in Iconography,
Source: Notes in the History of Art, Il Santo: rivista
francescana, Zeitschrift für Kunstgeschichte,
and elsewhere; co-edited and wrote portions of
Gravity in Art: Essays on Weight and Weightlessness
in Painting, Sculpture and Photography; chaired
sessions and read papers at meetings of CAA;
SECAC; International Congress on Medieval
Studies; awards include Samuel H. Kress
Dissertation Fellowship, NEH Travel to Collections
Grant, Delmas Foundation Grant; past president,
14th-Century Society; former member, Executive
Council of Southeastern Medieval Association;
two-term associate, editorial board, Medieval
Perspectives.
Professor
M.A., Hunter College; Ph.D., Rutgers University,
Certificate in Fine and Decorative Art Appraisal,
Pratt Institute—in collaboration with the American
Society of Appraisers; Issues of gender and class
have informed her work; she is the author of a
monograph on the 17th-century Dutch artist,
Judith Leyster; numerous articles within Dutch
art and feminist/gender studies; organized several
Dutch exhibitions; and is currently working on
the theme of old women; co-author of Janson’s
History of Art: The Western Tradition (for the
Baroque and Rococo sections); was Dutch Book
Review Editor (2008-2013) for the Historians of
Netherlandish Art (HNA); a member of the College
Art Association’s Committee on Women in the
Arts and Chair, Jury for the Distinguished Feminist
Award (2012).
Adjunct Assistant Instructor
B.A., M.A.,Tufts University; Ph.D., Columbia
University; studied American Art and Photography
at Columbia University; was a Lecturer at the
Museum of Modern Art through the Department
of Photography; assembled and catalogued two
major corporate collections, The Dreyfus Fund
and McFrank and William Advertising Agency;
with the insight she gained into emerging
photographers that were featured in both,
she has specialized in teaching Contemporary
Photography at Pratt; currently writing a book
on the subject; has written catalogue essays
and most recently translated a German essay on
“Deconstructed Poetry” for Les Figues Press.
Charles Eppley
Visiting Instructor
B.A., Art History and Music, Hiram College;
M.A., Art History and Criticism, Ph.D. candidate,
Stony Brook University; focuses on site-specific
art, sound, and new media; completing a
dissertation on “Un-Fixed Media: Site-Specificity
and Materiality in the Work of Max Neuhaus”;
has organized a panel on Soundsites at the
Southeastern College Art Conference, and
presented papers on sound art and Max
Neuhaus at various venues; also teaches at
Stony Brook University.
Diana Gisolfi
Professor
B.A., Radcliffe/Harvard; M.A., Ph.D., University of
Chicago; research focus is on Cinquecento art
in Venice and the Veneto, including religious and
political context and artistic practice; developed
and directs the Pratt in Venice program; lectures
and chairs sessions regularly at CAA and RSA
and at international conferences; contributed
essays to three international exhibitions on Paolo
Veronese: Venice 2011, Sarasota, FL 2012-13,
Verona 2014; publications include: The Rule,
the Bible, and the Council: The Library of the
Benedictine Abbey at Praglia (CAA Monograph
Series); On Classic Ground, Caudine Country
(Illustrations), and articles in: Yale University Art
Gallery Bulletin, Artibus et Historiae, Arte Veneta,
The Art Bulletin, The Dictionary of Art (Oxford
Art Online), Renaissance Quarterly, Burlington
Magazine, caareviews.org.
Dimitri Hazzikostas
Assistant Professor
M.A., Ph.D., Columbia University; has done
archeological field work in Greece and published
in the Encyclopedia of Comparative Iconography;
awards include Sears Distinguished Professor 1991,
Whiting Fellowship.
Heather Horton
B.A., DePauw University; M.A., Ph.D., Institute of
Fine Arts, New York University; current research
focuses on questions of authorship, originality,
and imitation, especially in the career of the
pivotal writer and architect Leon Battista Alberti;
recently published a new interpretation of
Alberti’s treatises on painting and is completing a
book manuscript titled Leon Battista Alberti and
the Renaissance Crisis of the Author; has taught
at New York University, the City University of New
York, State University of New York at Purchase,
and The Cloisters Museum, where she remains a
frequent guest lecturer.
Susan Karnet
Visiting Instructor
B.F.A., The School of Visual Arts, New York
University; M.F.A., Hunter College, CUNY; a painter
and sculptor; has exhibited work in Chelsea, the
East Village, 57th Street, Brooklyn, New Jersey,
Europe and Africa; work has been reviewed in
The New York Times; has taught at a number of
schools in New York, New Jersey; and Cairo,
Egypt; including Parsons, New York University,
and The School of Visual Arts; she is interested
in Modern and Contemporary Art, sculpture, and
Egyptian Art.
Dara Kiese
B.A., Modern History, University of Minnesota;
M.Phil., Art History, Ph.D., Art History, The
Graduate Center, City University of New York;
research centers around the artistic and
architectural avant-gardes in Weimar Germany,
with focus on the Bauhaus; received a number
of grants, including a Fulbright fellowship to
Berlin and a Getty research travel grant; worked
as a Curatorial Assistant in the Architecture and
Design Department at the Museum of Modern
Art; presented papers on architectural and
design pedagogies at conferences and symposia
including the College Art Association and the
Bauhaus Universität Weimar; has published essays
on the Bauhaus.
Gayle Rodda Kurtz
Assistant Chair, Adjunct Associate Professor
B.A., Stanford University; M.A., Hunter College;
Ph.D., CUNY Graduate Center; specializes in 18thand 19th-century European art; was a contractual
lecturer at the Metropolitan Museum of Art with
a focus on the African Art Galleries from 1995 to
2013; Associate of Zeteo Journal (zeteojournals.
com) where she is a contributing editor and writer;
has presented papers at the 19th-Century Studies
Association; taught at Caldwell College, Hunter
College, and New York City College of Technology,
CUNY; received a Graduate Teaching Fellowship
from CUNY Graduate Center.
Marilyn Kushner
Visiting Professor
B.A., M.A., University of Wisconsin at Milwaukee;
Ph.D., Modern Art, Northwestern University;
Curator and Head of the Department of Prints,
Photographs and Architectural Collections at
the New York Historical Society (2006-present);
previously was chair of the Department of Prints,
Drawings, and Photographs and Curator of Prints
and Drawings at the Brooklyn Museum (19942006); has also served as Curator of Collections
at the Montclair Art Museum, New Jersey, and
Research Associate at the Whitney Museum
of American Art; has published and lectured
extensively on works on paper and has served on
juries and guest-curated exhibitions nationwide.
Thomas La Padula
Adjunct Professor
B.F.A., Parsons School of Design; M.F.A.,
Syracuse University; for more than 36 years,
he has illustrated for national and international
magazines, advertising agencies and publishing
houses; is the illustration coordinator for
the undergraduate Communications Design
Department at Pratt Institute where he teaches
both reflective and digital illustration.
255
Anca Lasc
William Lorenzo
Evan Neely
Assistant Professor
B.A., History and Theory of Art and Literature,
Jacobs University Bremen, Germany; M.A.,
Art History, Ph.D., Art History, University of
Southern California; studies the invention and
commercialization of the modern French interior
and the development of the professions of
interior designer and commercial window dresser;
received numerous grants, including a NEH
Summer Institute Grant at the Bard Graduate
Center, and published essays in the Journal of
Design History and Interiors: Design, Architecture,
Culture; Designing the French Interior, coedited
with Georgina Downey and Mark Taylor, is
forthcoming from Bloomsbury Publishing in 2015;
she has presented papers at various conferences,
including the College Art Association, Society
of Architectural Historians, Society for French
Historical Studies, and Interior Design Educators
Council’s annual meetings.
B.F.A., Brooklyn College; independent artist,
researcher, film archivist, and programmer;
publications include museum notes and articles
in Animation Magazine, AnimaFilm, and others;
author of Lillian Friedman Astor—Pioneer Woman
Animator; Executive Board Member ASIFA-East,
The International Animated Film Association;
curator, Animation over Broadway, Museum
of Modern Art, February 1993; other areas of
interest: film and illustration.
B.F.A., Fine Arts, Parsons School of Design;
M.Phil., M.A., Ph.D., Art History, Columbia
University; studied 20th-century and northern
European Renaissance art, as well as postEnlightenment political and aesthetic theory;
most recent work investigates the relationships
between 19th-century American literature and
20th-century painting and new genres; has taught
courses at Columbia University, Parsons The New
School of Design, and the Museum of Modern Art,
on modern and postmodern art, the history of
ethical and political theory, and Enlightenment
aesthetics; currently Core Lecturer for Art
Humanities at Columbia University in addition to
teaching at Pratt.
Jacob Lewis
Visiting Instructor
M.A., History of Art, Williams College; Ph.D., Art
History, Northwestern University; specializes in
19th-century French photography and art; his
dissertation addressed the role of instantaneity
and reproducibility in the photography of Charles
Nègre (1820–1880); he is a former Coleman
Fellow in the Department of Photographs of the
Metropolitan Museum of Art, and Blum/Model
Fellow at the National Gallery of Canada.
Rael Lewis
B.A., Swarthmore College; Ph.D., Stanford
University; specialist in 19th- and 20th-century
art with a focus on fin-de-siècle visual culture;
currently writing a book on the imagery of
absinthe and intoxication in modern Paris;
before coming to Pratt, he taught at UCLA,
Bowdoin College, Villanova University, and the
Claremont Colleges.
Michele Licalsi
B.A., M.A., Institute of Fine Arts with Certificate
in Art Conservation, New York University; studied
art at the New York Academy of Art, the Art
Students’ League, and the National Academy of
Design; has been teaching drawing, color and
composition at the National Academy of Design
from 1994 to the present; taught fresco painting
at the Conservation Center, Institute of Fine Arts,
NYU from 1993 to 2005; has also worked in art
conservation at the Brooklyn Museum and the
Metropolitan Museum of Art; has worked as a
conservator on sites in Florence, Rome, Parma,
and Sardis.
Elizabeth Meggs
Visiting Instructor
B.F.A., Communications Arts and Design,
Illustration, Virginia Commonwealth University;
illustrator, writer, designer of paintings,
photography and hand-bound artist books;
graphic designer (Hearst’s Victoria) and writer for
the Los Angeles Daily News; has worked at Pierogi
Gallery and taught at BBG, VCU, Pratt and NYCCT;
exhibitions include: ISE Cultural Foundation, Los
Angeles Center for Digital Art, Mariner’s Museum,
Firehouse Art Collective, Anderson Gallery, Target
Gallery/Torpedo Factory, Galapagos Art Space,
Edward Hopper House, Pratt Dean’s Gallery,
Lincoln Center, and Brooklyn Museum’s Go!
Brooklyn; selectee, NYC Center for Book Arts’
Letterpress Printing/Fine Press Publishing Seminar
for Emerging Writers; recipient, Virginia Museum
of Fine Arts Fellowship/Drawing.
Juan Monroy
B.A., Film Studies. University of California at Santa
Barbara; M.A., Cinema Studies, Ph.D. candidate,
Cinema Studies, New York University; scholar of
film, television and media studies, specializing in
history, technology, and cultural impacts of U.S.
film and television; doctoral candidate in the
Department of Cinema Studies at NYU, writing
a dissertation on television, Latin America, and
economic development in the 1960s; teaches
film and media classes at Fordham University,
Lincoln Center, CUNY Queens College, and Pratt
Institute; since 2009, has also worked as a video
and digital media librarian and database technician
at NYU-TV.
Marsha Morton
Professor
M.A., University of Chicago; Ph.D., Institute of
Fine Arts, New York University; books include
Max Klinger and Wilhelmine Culture: On the
Threshold of German Modernism (Ashgate 2014),
the co-edited anthology The Arts Entwined:
Music and Painting in the 19th Century (Garland
2000), and Pratt and Its Gallery: The Arts & Crafts
Years (1999); has published numerous essays on
19th-century German and Austrian art, many
with a focus on interdisciplinary topics (cultural
history, Darwinism, music, and ethnography) and
artists and critics such as Alois Riegl, Gustav Klimt,
Klinger, Alfred Kubin, Max Beckmann, and Max
Liebermann; currently serving her second term as
President of the Historians of German and Central
European Art (HGCEA).
Nicholas Parkinson
Visiting Instructor
B.A., Philosophy, DePauw University; M.A.,
Philosophy, Ph.D. candidate, Art History and
Criticism, Stony Brook University; Ph.D. candidate
at Stony Brook University, where is he completing
his dissertation on the popular and critical
reception of Nordic art in 19th-century France;
areas of research interest include imaginary
geographies of the 19th century, fin-de-siècle
art and culture, and the history of art criticism;
an active member of the Society for the
Advancement of Scandinavian Study; his most
recent publication, “De Chirico and the Finde-Siècle,” will be printed in Symbolist Roots of
Modern Art in 2015.
Joyce Polistena
Adjunct Professor
M.A., Art History, Hunter College; Ph.D., M.Phil.,
The Graduate Center of the City University of
New York; Certificate TESOL, Columbia University;
Certificate in 19th-century British History, Oxford
University; primary research areas are 19th- and
early 20th-century European and American
Art, with emphasis on French Romanticism;
publications include The Religious Paintings of
Eugène Delacroix (Mellen, 2008) and contributions
to scholarly volumes: NCAW; Bulletin du Société
des Amis du Musée Nationale Eugène Delacroix;
The Van Gogh Museum Journal; current research
involves artists’ activism and political prints as well
as ongoing research about French Romanticism;
appointed Visiting Assistant Professor of Art
History at The College of The Holy Cross (20142015); has served on the Board of Directors of
ASCHA; has organized several symposia on 19thcentury Romantic Art.
256
Katarina V. Posch
Elizabeth St. George
Sarah Wilkins
Associate Professor
M.A., University of Applied Arts, Vienna, Austria;
Ph.D., Tokyo University of Fine Arts and Music,
Japan; design historian specializing in intercultural
themes; teaches and publishes on Japanese,
European and American design in a socio-historical
context; publications cover issues relating to
design and material culture, from cross-cultural
comparisons (Changing Worlds, Changing Designs,
MAK, Vienna, 2012) to feminist approaches (“The
Seen and the Hidden. [Dis]covering the Veil,”
Austrian Cultural Forum New York, 2007); has
written monographs and exhibition catalogues
and curated for major museums including
the Pompidou Center in Paris (Portrait d’une
Collection, 1995), the Vitra Design Museum in
Germany (Isamu Noguchi—Sculptural Design, 2001)
and the Noguchi Museum in New York.
Visiting Instructor
B.A., Kent State University; M.A., Ph.D. candidate,
Bard Graduate Center; specializes in late 19thand 20th-century architecture and design;
has been an invited speaker at the Los Angeles
County Museum of Art and has served as a
research assistant for the Bard Graduate Center’s
exhibitions on Knoll textiles (2011), Artek and
Alvar Aalto (forthcoming), and the architect
and designer William Kent (forthcoming); her
dissertation explores interwar architecture and
design and themes of modern living in the former
Czechoslovakia; she is broadly interested in how
design is used to construct modes of cultural
interaction and identity, and how modernism and
notions of modernity were used to disseminate
social, political, and cultural reform in America
and Europe.
B.A., Vanderbilt University; M.S., Pratt Institute;
Ph.D., Rutgers, the State University of New Jersey;
specializes in Italian late medieval and Renaissance
art, with interests in mendicant patronage,
Angevin Naples, and the cult of the saints; awards
include a Fulbright fellowship and a Mellon
Finishing Grant; publications include “Imaging
the Angevin Patron Saint: Mary Magdalen in the
Pipino Chapel in Naples” (2012) and “Adopting and
Adapting Formulas: The Raising of Lazarus and Noli
Me Tangere in the Arena Chapel in Padua and the
Magdalen Chapel in Assisi” (2013); has presented
papers at conferences including Kalamazoo and
RSA; currently chair of the Italian Art Society’s
Emerging Scholars Committee.
Elena Rossi-Snook
Jack Toolin
B.A., Cinema, State University of New York at
Binghamton; M.A., Film Archiving, University of
East Anglia; archivist for the Reserve Film and
Video Collection of the New York Public Library;
Director of the Board, Association of Moving
Image Archivists; Chair, AMIA Film Advocacy Task
Force; selected publications include: “Persistence
of Vision: Public Library 16mm Film Collections
in America,” The Moving Image, “Continuing Ed:
Educational Film Collections in Libraries and
Archives,” Learning With the Lights Off: a Reader in
Educational Film; selected awards: 2002 recipient
of the Kodak Fellowship in Film Preservation;
Other: Producer, Why We Film 16mm series;
Documentary film We Got the Picture made official
selection of the 2005 Tribeca Film Festival.
B.F.A., Photography, Ohio University at Athens;
M.F.A., Photography, Performance, and
Installation, San Jose State University; artist
working in new media, digital imaging, and
performance; his work considers contemporary
life in light of the changing political, economic,
and technological landscape; individual and
collaborative work has been exhibited nationally
and internationally, including San Francisco
Camerawork;the Walker Art Center; the Whitney
Museum of American Art (2002 Whitney Biennial);
and the Museo Nacional de Bellas Artes, Buenos
Aires, Argentina; he has performed in the San
Francisco Bay area, New York, Pittsburgh,
Reno, Phoenix, Hong Kong, and Linz, Austria;
commissions include the Walker Art Center and
the Whitney Museum of American Art; he has
lectured nationally and internationally.
Ann Schoenfeld
M.A., University of Chicago; Ph.D., The Graduate
Center, City University of New York; received
a CUNY Dissertation Fellowship; work includes
Lecturer, SUNY at Purchase, and Nominator for
the Joan Mitchell Foundation for Painting and
Sculpture; has published in M/E/A/N/I/N/G:
An Anthology of Artist’s Writings, Theory, and
Criticism, i-D, Eye.
Dorothy Shepard
M.A., Southern Methodist University; Ph.D.,
Bryn Mawr College; received an AAUW American
Fellowship and a Haakon Traveling Fellowship;
invited lectures include: CAA, Kalamazoo and
Medieval Academy; Symposia on History of the
Bible held at Barnard, Rutgers, and Princeton
Universities; published in Medieval Germany: An
Encyclopedia; Rutgers Art Review; The Apocalypse
in Word and Image; and Canterbury and the
Medieval Bible.
Alice Walkiewicz
Visiting Instructor
B.A., University of Kansas; M.Phil., Ph.D. candidate,
The Graduate Center, City University of New
York; specializes in 19th-century art from Europe
and the United States; current research focuses
on issues of gender and labor, and the way that
anxieties about these issues are addressed
through visual culture (both in fine art and popular
imagery) within a transnational (and transatlantic)
context; her dissertation explores these concerns
by examining representations of the archetypal
figure of the exploited, laboring seamstress in
England, France, and the United States in the late
19th century within the context of the rising labor
movement; has taught at Parsons The New School
for Design as well as Pratt Institute.
Bor-Hua Wang
M.A., University of Kansas; Ph.D., Columbia
University; a specialist in Chinese painting and
calligraphy of the Song dynasty; areas of research
include: Contemporary Chinese Art; Buddhist Art
of Southeast Asia and Western art theory; curator
of Contemporary Korean Art, Abstract Chinese
Art, for Taipei Fine Art Museum; she presented
“Pan Yuliang’s Life and Art: Alienation to Freedom
of Expression,” CAA, 2001.
Karyn Zieve
B.A., Wellesley College; M.A., University of
Pennsylvania; Ph.D., Institute of Fine Arts, New
York University; specialist in 19th- and early 20thcentury art, with a focus on Eugène Delacroix,
orientalism, the history of photography and the
graphic arts; in addition to teaching at various NYC
institutions and museums, she has written about
and organized exhibitions of prints, drawings and
photographs on various topics; presently she is
working on a manuscript based on her work on
Delacroix and images of the East.
The Writing Program
Priscilla Becker
M.F.A., Columbia University; Becker’s first book of
poems, Internal West, won The Paris Review book
prize, and was published in 2003. Her poems have
appeared in Fence, Open City, The Paris Review,
Small Spiral Notebook, Boston Review, Raritan,
American Poetry Review, Verse, and The Swallow
Anthology of New American Poets; her music
reviews in The Nation and Filter Magazine; her book
reviews in The New York Sun; and her essays in
Cabinet magazine and Open City. Her essays have
also been anthologized by Soft Skull Press, Anchor
Books, and Sarabande. She teaches poetry at Pratt
Institute, Columbia University, and in her apartment.
Her second book, Stories That Listen, was released
by Four Way Books in 2010.
Christopher Bollen
Visiting Instructor
B.A., Columbia University; Bollen is the author
of the novels Lightning People (2011) and Orient,
forthcoming in 2015. His writing has appeared in
The New York Times, Artforum, The Believer, the
Paris Review, GQ, and Details. He is currently the
editor at large of Interview magazine.
257
Gabriel Cohen
John Glassie
Christian Hawkey
Visiting Instructor
B.A., Wesleyan University; Gabriel Cohen is
the author of five novels and a nonfiction book
and has written for The New York Times, Poets
and Writers, Shambhala Sun, Gourmet.com, Time
Out New York, and many other publications; he
has taught fiction and nonfiction writing at New
York University, mentors writing students at
the New School, and lectures and gives
workshops frequently; his website is www.
gabrielcohenbooks.com.
Visiting Instructor
B.A., The Johns Hopkins University; is a former
contributing editor for The New York Times
Magazine, where for several years he edited the
weekly “Lives” column; he has written for The New
York Times, The Believer, Salon, Wired, The Dallas
Morning News, and The Atlanta JournalConstitution, among other publications, and is the
author of a non-fiction book about a 17th-century
polymath, published in the fall of 2012; as well as
the author of a book of photographs, Bicycles
Locked to Poles (McSweeney’s, 2005).
Professor
The author of three award-winning books of
poetry, including The Book of Funnels (Wave
Books, 2004), which won the 2006 Kate Tufts
Discovery Award, HourHour (Delirium Press, 2005),
and Citizen Of (Wave Books, 2007); his poems have
appeared in Conjunctions, Volt, Denver Quarterly,
Tin House, Crowd, BOMB, Chicago Review, and
Best American Poetry; he has received awards
from the Academy of American Poets and the
Poetry Fund, and in 2006 he received a Creative
Capital Innovative Literature Award; in 2008, he
was a DAAD Artist-in-Berlin Fellow.
Jon Cotner
Visiting Instructor
B.A. Humanities, Shimer College; M.A., St. John’s
College; Ph.D. candidate in Poetics, SUNY at
Buffalo. Professor Cotner is co-author of Ten
Walks/Two Talks (Ugly Duckling Presse, 2010) and
has worked on a collaboration titled Conversations
over Stolen Food and projects for The Believer,
the BMW Guggenheim Lab, Elastic City, and the
Poetry Society of America.
Steven Doloff
Professor, Lecturer in Intensive English
B.A., Stony Brook University; was named a Pratt
Institute Distinguished Professor (2001–2002)
and received the Institute’s Student Government
Association Faculty Excellence Award in 1990.
Laura Elrick
Assistant Professor
Author of three books of poetry, including
Propogation (Kenning Editions, 2012), Fantasies
in Permeable Structures (Factory School,
2005) and sKincerity (Krupskaya, 2003). Her
psychogeographically-inspired research and
performance works include the oppositional
cartography Blocks Away, exhibited at the
Skybridge Art and Sound Space in 2010, and the
video-poem Stalk, commissioned by the Positions
Colloquium in Vancouver in 2008 and exhibited in
the Social Environmental Aesthetics Series at Exit
Art (New York, 2009) and the Rustbelt Sightsound
Collision at the SPACES gallery (Cincinnati, 2013),
A sound work, 5 Audio Pieces Doubled Voice
was commisioned by new Langton Arts for the
Performance Writing Series in San Francisco
in 2005. Her work also appears in several
anthologies, including Viz. Inter-Arts Intervention:
A Trans-Genre Anthology (forthcoming), Against
Expression: Anthology of Conceptual Writing, and
Eco Language Reader, and has been translated
into Spanish, French, Italian and Norwegian.
Wes Enzinna
Visiting Instructor
B.A., Temple University; M.A., University of
California at Berkeley; writer whose reportage and
essays appear in The New York Times Magazine,
Harper’s, London Review of Books, Mother Jones,
The Nation, and n+1; also a filmmaker who
regularly produces documentaries for Vice, where
he is a senior editor.
David Gordon
Visiting Instructor
M.F.A., Writing, M.A., English and Comparative
Literature, Columbia University; David Gordon
was born in New York City. He attended Sarah
Lawrence College and has worked in film, fashion,
and publishing. His first novel, The Serialist, was
published by Simon and Schuster in March 2010.
Jason Helm
James Hannaham
Samantha Hunt
M.F.A., Creative Writing, Sarah Lawrence College;
first book, Exposure, a YA sci-fi fantasy novel,
is currently on the market; he is at work on
a collection of short stories about mid-’90s
gutterpunk culture in Minneapolis.
Assistant Professor
B.A., Yale University; M.F.A., University of Texas;
first novel, God Says No (McSweeney’s, 2009),
was a finalist for a Lambda Book Award, named an
honor book by the American Library Association’s
Stonewall Book Awards, a semi-finalist for a
VCU Cabell First Novelist Award, and made the
shortlist for the Green Carnation Prize in the
U.K.; his stories have been published in The
Literary Review, Open City, JMWW, One Story,
and will soon appear in Fence; his criticism and
journalism have appeared in The Village Voice,
Spin, and Salon.com, where he was on staff, and
have been reprinted in Best African American
Essays 2009 and Best Sex Writing 2009; he has
received fellowships from The MacDowell Colony,
Yaddo, The Blue Mountain Center, The Constance
Saltonstall Foundation for the Arts, Chateau de
Lavigny, Fundación Valparaíso, Bread Loaf, and a
NYFFA Fellowship in Fiction.
Associate Professor
M.F.A., Warren Wilson College; second novel
The Invention of Everything Else (Houghton Mifflin
Harcourt, 2008) was a finalist for the Orange Prize
and winner of the Bard Fiction Prize; her first
novel, The Seas (Picador, 2005) won a National
Book Foundation award for writers under 35; work
has appeared in The New Yorker, McSweeney’s,
A Public Space, Cabinet, Esquire, jubilat, The
Believer, Blind Spot, Tin House, New York Magazine,
on the radio program This American Life and in a
number of other fine publications.
Ryan Fischer-Harbage
Lucy Ives
B.A., Kalamazoo College; M.F.A., Bennington
College; a literary agent who runs the FischerHarbage Agency, represents several New York
Times bestselling authors and has placed books
with all major publishers in the U.S. and the U.K.;
he previously served as an editor at Simon and
Schuster, Little, Brown and Company as well as
The Penguin Group (U.S.A.).
B.A., Harvard; M.F.A., University of Iowa; editor
of Triple Canopy and the author of four
collections of poetry and prose; in spring 2015,
Little A will re-issue her novel, nineties.
Mary-Beth Hughes
B.A., Marymount Manhattan College; stories have
appeared in A Public Space, Ploughshares, The
Paris Review, and are collected in the book Double
Happiness; her novel is Wavemaker II (Atlantic
Monthly Press, 2002).
Caitlin Kelly
Visiting Instructor
B.A., University of Toronto; author of Malled: My
Unintentional Career in Retail and Blown Away:
American Women and Guns; former reporter for
The Globe and Mail, Montreal Gazette and New
York Daily News, she has reported from the Arctic
Circle, Denmark, Sicily and Fiji; she is a winner of a
Canadian National Magazine Award for humor and
writes frequently for The New York Times; her blog,
www.broadsideblog.wordpress.com, has more
than 12,000 readers worldwide.
258
Sean C. Kelly
Anna Moschovakis
Justin Taylor
Visiting Instructor
B.A., University of Montreal; was editor of
National Lampoon and a founding editor of Heavy
Metal; he has been a staff writer for Saturday
Night Live, and as a freelance writer he has
written for numerous television productions
and for periodicals, including Bazaar, Colors,
Interview, Playboy, Spy, The Village Voice, and The
New York Times; he is the author and editor of
numerous books and anthologies.
B.A., University of California at Berkeley; M.F.A.,
Bard College; she is the author a book of poems,
I Have Not Been Able to Get through to Everyone,
and a translator of poetry, fiction, and theory
from the French; she is also an editor, designer,
and printer at Ugly Duckling Presse, a nonprofit
publishing collective based in Brooklyn; she
is pursuing graduate studies in comparative
Literature at the CUNY Graduate Center.
Rachel Levitsky
Cecilia Muhlstein
B.A., University of Florida; M.F.A., The New School.
author of the story collection Everything Here Is
the Best Thing Ever (Harper’s Perennial, 2010) and
the novel The Gospel of Anarchy (Harper’s
Perennial, 2011); he is the editor of The Apocalypse
Reader, Come Back Donald Barthelme, and
co-editor (with Eva Talmadge) of The Word Made
Flesh: Literary Tattoos from Bookworms Worldwide
(Harper’s Perennial, 2010); with Jeremy Schmall,
he publishes The Agriculture Reader, a limitededition arts annual.
Assistant Professor
M.F.A., Naropa University, B.A. State University of
Albany; her first full-length volume, Under the Sun,
was published by Futurepoem books in 2003; she
is the founder and co-director of Belladonna*,
an event and publication series of feminist
avant-garde poetics; she is also the author of
five chapbooks of poetry, Dearly (a+bend, 1999),
Dearly 356, Cartographies of Error (Leroy, 1999),
The Adventures of Yaya and Grace (PotesPoets,
1999), 2(1×1) Portraits (Baksun, 1998), and a series
of poetry plays.
Adjunct Assistant Professor, Tutor
California State University at Los Angeles; Cecilia
was born in Texas, but grew up in Los Angeles; her
work and interests reside in fiction, critical theory,
art, and eco-poetics; her current work can be
found in the pages of NYArts magazine and in the
archives of Safe-T-Gallery.
Robert Lopez
M.F.A., The New School for Social Research; is the
author of two novels, Part of the World (Calamari
Press, 2007) and Kamby Bolongo Mean River (Dzanc
Books, 2009), and a collection of stories, Asunder
(Dzanc Books, 2010); he has taught at The New
School and Columbia University and is a 2010 New
York Foundation for the Arts fellow in fiction.
Max Ludington
Visiting Instructor
M.F.A., Columbia University; B.A., University of
Minnesota; novel Tiger in a Trance was a New
York Times Notable Book; his short fiction has
appeared in Tin House, Meridian, HOW Journal,
Nerve, Outerbridge, On the Rocks, The KGB Bar
Fiction Anthology, and others.
Tracie Morris
Professor
B.A., M.F.A., Hunter College; M.A., Ph.D., New York
University; a multidisciplinary poet, performer, and
scholar who works extensively as a sound artist,
writer, bandleader, and actor; her installations
have been presented at the Whitney Biennial,
Ronald Feldman Gallery, the Jamaica Center for
Arts and Learning, and the New Museum; she
recently completed her latest poetry manuscript,
“Rhyme Scheme” and is working on an academic
work, “Who Do with Words” on the significance of
philosopher J.L. Austin; she is also developing two
audio projects: an untitled CD with music with her
band and another CD in collaboration with
composer Elliott Sharp.
Shelly Oria
Visiting Professor
B.A., Tel Aviv University; M.F.A., Sarah Lawrence
College; fiction has appeared in McSweeney’s,
Quarterly West, cream city review, and
fivechapters; she is a recipient of the 2008
Indiana Review Fiction Prize among other awards
and curates the monthly series “Sweet! Actors
Reading Writers.” Her first novel is New York 1,
Tel Aviv 0.
Eric Rosenblum
Visiting Instructor; Lecturer, Intensive English
B.A., English, Ohio University; M.F.A., Creative
Writing-Fiction, Syracuse University; fiction and
non-fiction have appeared in Guernica Magazine,
the Chicago Tribune and the Chicago Reader.
Jonathan Santlofer
Visiting Professor
B.F.A., Boston University School of the Arts;
M.F.A., Pratt Institute; is the author of five
bestselling crime novels, short stories in many
anthologies and collections, winner of the Nero
Wolfe Award for Best Crime Novel, co-author/
contributor to The Dark End of the Street
anthology (Bloomsbury USA, 2010); recipient
of two National Endowment for the Arts grants,
Rome Prize; and on the board of directors
of Yaddo, the oldest arts community in the
United States.
Holly Tavel
Visiting Instructor
B.A., The New School; M.F.A., Brown University;
recipient of a 2009 Fulbright Scholarship in
Creative Writing to the Czech Republic.
Johnny Temple
Visiting Instructor
B.A., Wesleyan College; publisher and editorin-chief of Akashic Books, an award-winning
Brooklyn-based independent company
dedicated to publishing urban literary fiction
and political nonfiction; he won the 2013 Ellery
Queen Award, the American Association of
Publishers’ 2005 Miriam Bass Award for Creativity
in Independent Publishing, and the 2010 Jay
and Deen Kogan Award for Excellence in Noir
Literature; teaches courses on the publishing
business at Wilkes University and Wesleyan
University and is the chair of the Brooklyn
Literary Council, which works with Brooklyn’s
borough president to plan the annual Brooklyn
Book Festival; he also plays bass guitar in the
band Girls Against Boys, which has toured
extensively across the globe and released
numerous albums on independent and major
record companies; he has contributed articles
and political essays to various publications,
including The Nation, Publishers Weekly, AlterNet,
Poets & Writers, and BookForum.
Ellery Washington
Associate Professor
D.E.U.G., Sorbonne University, Paris, France;
writing has appeared in the French publication
Nouvelles Frontières, Out Magazine, The Berkeley
Fiction Review and various literary anthologies,
including Griots Beneath the Baobab (IBWA
Press), Geography of Rage (RGB Publisher), and
State by State (Harper Collins); he is a recipient
of the PEN Center West–Rosenthal Emerging
Voices Fellowship and the IBWA Best Short
Fiction Award.
Uljana Wolf
Visiting Instructor
Magister, Humboldt University, Berlin; a German
poet and translator based in Brooklyn and Berlin;
she has published four books of poetry in German,
and three chapbooks in English translated by
Nathaniel Otting (Nor By Press), Susan Bernofsky
(UDP) and Monika Zobel (Belladonna*); translates
numerous English-language poets into German,
among them Matthea Harvey, Erin Mouré, John
Ashbery, Yoko Ono, and Cole Swensen, and she also
translates into German from the Polish, Belarusian,
Bulgarian, Slovenian, and Spanish; her own work has
been translated into more than 13 languages.
Writing and Tutorial Center
Randy Donowitz
Director of the Writing and Tutorial Center
Terri Bennett
Tutor
Priya Chandrasekoran
Diane Cohen
Maura Conley
Thad Ziolkowski
Coordinator, The Writing Program; Professor
B.A., George Washington University; Ph.D., Yale
University; author of a novel, Wichita, a memoir,
On a Wave, and a collection of poems, Our Son,
the Arson.; his journalism has appeared in the New
York Times, Slate, Bookforum, Travel & Leisure,
and the Village Voice; among other honors, he
is the recipient of a fellowship from the John S.
Guggenheim Foundation.
Gina Zucker
B.A., Washington University; M.F.A., The New
School; has published fiction and nonfiction
in magazines and journals such as Tin House,
Salt Hill, The Chicago Sun-Times, The New York
Post, Elle, Glamour, GQ, Rolling Stone, Redbook,
and Cosmopolitan, as well as on various online
journals. Her writing has been anthologized in two
collections: ALTARED (Vintage, 2007) and BEFORE
(Overlook Press, 2006); she is a recipient of a
Vermont Studio Center Fellowship and a New
School Merit Scholarship.
Brian Cook
Tutor
Amanda Davidson
Tutor
Elizabeth (Lol) Fow
Adjunct Instructor, Tutor, Thesis,
Graduate Writing
Dominica Giglio
Tutor, Writing, Art History
Heather Green
Tutor, Writing, Thesis, Conversation
Joseph Herzfeld
Lecturer Intensive English, Tutor, Writing
Kwame Heshimu
Visiting Instructor, Tutor, Writing
Cecilia Muhlstein
Adjunct Assistant Professor, Tutor,
Writing, Thesis
Evan Rehill
Visiting Instructor, Tutor, Writing, Thesis
Zachary Slanger
Tutor
259
260
261
Undergraduate Admissions
Office of Admissions Hours
Visiting Pratt
These are scheduled on Fridays.
The Office of Admissions is open
We invite all prospective students and
Schedule campus tours online at www.
weekdays from 9 AM to 5 PM from
their families to visit the Pratt campus.
pratt.edu/visit.
September through May and from 9 AM
The Office of Admissions provides several
to 4 PM during June, July, and August. It is
ways to help acquaint students with the
that prospective applicants visit as early
located in Myrtle Hall, 2nd floor, Brooklyn
school including information sessions,
as the spring of their junior year for
campus. Myrtle Hall is the first left past
campus tours, individual portfolio
ample time to prepare portfolio work.
the main gate entrance.
reviews, and National Portfolio Days.
Admissions counselors are available from
Pratt Institute
Campus Tours
our Visit Coordinator at 718.636.3779 or
Office of Undergraduate Admissions
General tour times for the Brooklyn
800.331.0834 to schedule a portfolio
campus are Mondays and Fridays at 10
review. You may also email a request to
Brooklyn, NY 11205
AM, 12 PM, and 2 PM, as well as Tuesdays
[email protected].
The Admissions Office recommends
April 1 to December 1 each year. Call
and Thursdays at 10 AM and 2PM. The
tour is a general tour and does not visit
Information Sessions
individual academic departments. It
These are scheduled throughout the
usually includes a residence hall room.
year. Please check our website at www.
Tours to specific academic departments
pratt.edu/visit for a schedule.
are available upon request and must be
scheduled through the Visit Coordinator.
Vice President for Enrollment
Director of Marketing Communications
Associate Director of
Judith Aaron
and Enrollment Management
International Admissions
718.636.3743
Dustin Liebenow
Lindsey Wolkowicz
[email protected]
718.636.3779
718.636.3559
[email protected]
[email protected]
William Swan
Associate Director of Transfer Admissions
718.636.3518
Erica Wilson
[email protected]
718.636.3514
Tel: 718.636.3514 | 800.331.0834
[email protected]
[email protected]
Director of Undergraduate Admissions
Director of Admissions Operations
www.pratt.edu/admissions
and Technology
Christopher Paisley
Questions?
718.636.3593
Ask Pratt’s “Virtual Advisor”
[email protected]
at www.pratt.edu/ask
262
Department-Specific Sessions
Website
Applying to Pratt Institute and
These consist of individual department
Visit www.pratt.edu to request a catalog
Pratt MWP
presentations, and a campus tour.
and receive emails throughout the year
Applications are welcome from all
Information on scheduling of all events
about admissions events, requirements,
qualified students. The Admissions
is found online at www.pratt.edu/visit.
deadlines, and your financial aid package.
Committee bases its decisions on
National Portfolio Days
Title IX Statement
submitted by the applicant. Acceptance
Representatives from Pratt Institute
It is the policy of Pratt Institute to
decisions shall be made without regard
attend National Portfolio Days
comply with Title IX of the Education
to race, color, sex, marital status, age,
throughout the country to meet with
Amendments of 1972, which prohibits
ethnic or national origin, religion, creed,
prospective students and offer advice
discrimination based on sex (including
sexual orientation, or physical or mental
about preparing portfolios. A list of the
sexual harassment and sexual violence)
disability in accordance with federal,
events we attend can be found online at
in the Institute’s educational programs
state, and local laws. Admissions files are
www.pratt.edu/visit.
and activities. Title IX also prohibits
not considered complete and will not be
retaliation for asserting claims of sex
reviewed until all required materials have
Off-Campus Appointments
discrimination. Pratt Institute has
been received.
Pratt’s admissions counselors visit
designated its Title IX Coordinator as Mai
with applicants and their families by
McDonald Graves to coordinate Pratt
undergraduate application. The
appointment throughout the United
Institute’s compliance with and response
online application, as well as various
States. If you are interested in meeting
to inquiries concerning Title IX.
requirements, may be found at www.
a careful review of all credentials
CollegeNET hosts Pratt Institute’s
pratt.edu/apply. Writing portfolios
with an admissions counselor to have
your work reviewed or to discuss Pratt,
Contact Information:
should be uploaded on the new
please call our Visit Coordinator at
Pratt Institute
application. Visual portfolios will continue
718.636.3779 or write to [email protected].
Disability Services Center
to be submitted at pratt.slideroom.com.
The schedule is available at www.pratt.
215 Willoughby Avenue (WH-1), Suite 117
See www.pratt.edu/apply for instructions
edu/visit.
Brooklyn, NY 11205
on submitting your application and
Tel: 718.802.3123 | Fax: 718.399.4544
supporting documents.
A person may also file a written complaint
with the Department of Education’s
Office for Civil Rights regarding an
alleged violation of Title IX by visiting
www.2.ed.gov/about/offices/list/
ocr/complaintintro.html or calling
800.421.3481.
Fall Admission Deadlines
Early Action:
November 1 (freshmen applicants only;
nonbinding)
263
All mailed materials must be sent to:
International Transcripts
Pratt Institute
Brooklyn, New York 11205
Regular Admission:
January 5 (freshmen)
All supporting documents should be
February 1 (transfers)
submitted by the application deadline.
Transcripts should be submitted as soon
Spring Admission Deadlines
September 1 (international applicants)
October 1 (domestic applicants)
as your school sends them.
Official High School Transcripts
A high school diploma or equivalent
Two-year associate’s degree applicants
is required for admission to Pratt
may apply on a rolling admissions basis
Institute’s undergraduate programs.
throughout the year.
Applicants may request official
Admissions Requirements for
First-Time Freshmen
Checklist
1. Application form with fee (online)
2.Official transcripts from each
high school attended or official GED
scores
3.SAT or ACT test scores (not required
for international
students unless submitted
instead of TOEFL).
4.Visual or writing portfolio: submit
to pratt.slideroom.com (except
Construction Management)
5.Essay (part of application form)
6.TOEFL (Test of English as a Foreign
transcripts from all secondary schools
attended using the “request transcript”
feature on our application.
High School Equivalency
International applicants must submit
official transcripts (academic records)
of all secondary school studies as well as
any postsecondary studies. Applicants
also must submit official results of all
external examinations. These include
General Certificate of Education, Hong
Kong School Certificate of Education,
Israeli matriculation or Bagrut, Secondary
School Certificates, and Baccalaureate
Part I and Part II. Transcripts must be
translated to English.
Test Scores (SAT or ACT)
All first-time freshmen applying to any of
Pratt’s bachelor degree programs must
submit official results from either the
SAT or ACT. International applicants must
submit either the TOEFL, SAT, or ACT.
To ensure that we receive scores by our
Applicants who have received high school
posted deadlines, students should take
equivalency diplomas are required to
the tests as early as possible but no later
have official High School Equivalency
than one month before the application
Examination (GED) scores sent to the
deadline. Please be sure to have your
admissions office in addition to official
scores sent directly to Pratt. Please do
transcripts from all high schools attended.
not request that scores be rushed. Pratt
recommends that applicants to the
Bachelor of Architecture program submit
the results of the SAT II Mathematics
Level I or II Subject Test.
SAT code is 2669
Language) or IELTS (International
CLEP code is 2669
English Language Testing System) exam
AP code is 2669
results (international applicants only,
ACT code is 2862
code: 2669)
264
ACT and SAT test requirements may
does not need to be specific to the
still-life, self-portrait, life drawings,
be waived for any first-time freshman
discipline to which you are applying. The
etc. Applicants should avoid including
applicants if they have graduated from
portfolio must include at least three to
work that copies photographs, uses the
high school five or more years prior to
five pieces of work from observation.
grid system, or directly replicates any
their application.
Examples might include landscape, still
other artist’s work (including replicating
life, figure, interior, or self-portrait.
anime drawings, cartoons, or video game
Letter of Recommendation (Optional)
Applicants should avoid including work
character designs).
Applicants may submit by mail, one letter
that copies photographs, uses the grid
of recommendation from a teacher or
system, or directly replicates any other
professional who has direct experience
artist’s work (including replicating anime
with the applicant’s artistic, academic,
drawings, cartoons, or video game
Option 2
and creative potential. See www.pratt.
character designs). Please indicate in the
Visual Sample: Applicants submit either
edu/apply for information on how to
Description section for each image on
A or B below, and all must submit C (the
submit. Recommendation letters are no
Slideroom if the work is your own or was
writing sample).
longer required.
done in a group.
Portfolio
Film Applicants
All first-time freshman art, design,
The following portfolio requirements are
and architecture applicants, including
required for film applicants.
photography, and fashion but not
OR
a.Video: A brief three to five minute
video in which you had primary
creative control. This may be fiction,
documentary, or experimental in
approach, and it may be silent or
Film applicants must choose from
include sound, but it must reflect
including art history B.A. applicants, must
either Option 1 or Option 2, but all
submit a visual portfolio consisting of 12–
Film applicants must submit the writing
emotional interests. (Should be
20 images of two- or three-dimensional
sample in C below.
submitted on Slideroom at pratt.
your aesthetic, intellectual, and
work. Photography applicants are not
slideroom.com.)
required to submit the three to five
Option 1
observation drawings and may submit a
A visual portfolio consisting of 12–25
photography portfolio. Film applicants
examples of two- or three-dimensional
should see the section below for Film
work. The work should consist of a variety
portfolios. Art History B.A. applicants
of media and approaches; applicants
must submit a writing portfolio. (See
may include a three-minute-maximum
section below.) B.F.A. in History of Art
video for which the applicant has
and Design applicants must submit a
primary creative control in addition to
visual portfolio. Architecture freshmen
work in other media. Work may include
with a GPA of 3.7 or above are not
brief (less than one page) written
assignment-based projects, self-directed
required to submit a portfolio.
narrative about the character, place,
work, or pieces of a collaborative nature.
or story you’ve created. (Should be
The portfolio does not need to be
submitted on Slideroom.)
The visual portfolio should consist
of a variety of media and approaches.
discipline-specific. The portfolio must
It can include assignment-based
include at least three to five pieces of
projects, self-directed work, or pieces
work showing observational drawing;
of a collaborative nature. The portfolio
examples might include a landscape,
OR
b.Graphic Series: A series of
photographs you have taken or
drawings you have made which,
when viewed in a sequence, tells a
simple story or portrays an original
character or place. Include a
265
Admissions advisement sessions and
Portfolios for Writing, Critical and Visual
reviews done during National Portfolio
Studies, and Art History B.A. Applicants
Writing Sample (All film applicants must
Days or by appointment off-campus
Applicants are required to submit a writing
submit C below.)
do not fulfill the applicant’s visual
portfolio of recent writing (no more than
requirement. They are for guidance only.
10 pages). Writing applicants may submit
AND
c.A one- to two-page descriptive
poetry, short stories, and excerpts from
treatment for a short film. This film
contains no dialogue or voiceover
The Portfolio
novels, articles, and essays. Please submit
but is all communicated through
Some of the most frequent questions
one sample of analytical writing (essay,
visual images, sound, and character
we receive are about what should be
term paper, or article). We encourage you
behavior and action. Your film
included in the portfolio. Visit us at www.
to submit several examples of your writing
treatment must include at least two
pratt.edu/admissions/applying/applying_
in different genres. If you submit poetry,
locations, one of which is a kitchen.
undergrad/ug_application_requirements
you must also submit some prose. Please
It must also include at least two
for more information on what you should
upload writing samples online at pratt.
props, a pen and a jar of peanut
include in your portfolio. Click on your
slideroom.com to either the media section
butter. All else is up to you. Please
level—freshman or transfer—for more
in PDF format or to the attachments
upload to either the media section
information on your portfolio.
section as a Word document.
of Slideroom in PDF format or to
the attachments section as a Word
document.
Do not make work specifically for
the admissions portfolio. Just make work,
and lots of it. When it is time to apply,
and B.A. in Art History
it is simply a matter of editing what you
Applicants should submit examples of
Submitting Your Visual Portfolio
have made to show us what you might
analytical writing (no more than 10 pages).
Applicants must submit their portfolios
accomplish while you are here at Pratt.
Do not upload to the application.
online at pratt.slideroom.com. You will be
If you want additional advice on your
At this time, feedback on writing
able to edit your portfolio online until you
work, please feel free to contact our
portfolios is unavailable through the
press the “submit” button, and you will
visit coordinator at [email protected] or
Admissions Office.
receive immediate confirmation that we
718.636.3779 to set up an appointment
received your work. Please submit by the
with one of our admissions counselors.
Essay
application deadline. Do not send original
Our admissions counselors are all active
work. All submitted materials, including
artists and designers who are happy to
Space is provided on the last page of the
the portfolio, become the property of
give potential applicants feedback on
Pratt Institute. Portfolios in any format
their work and their application portfolio.
will not be returned or held for pickup.
They travel across the country to meet
We do not review personal websites
with students and are also available
unless you indicate on Slideroom. There
weekdays at our Brooklyn admissions
is a $15 charge to submit your portfolio
office. Applicants seeking portfolio
on Slideroom.
feedback from admissions counselors
should contact the office between April 1
and December 1.
application to answer the essay topic.
Applicants may submit additional pages
if needed. Describe when and how you
became interested in art, design, writing,
architecture, or the particular major to
which you are applying. Describe how
this interest has manifested itself in your
daily life.
266
Additional Required Application
Applicants from China
Additional Required Material for
Materials for Permanent Residents
In order to provide an in-person
Home-Schooled Applicants
Applicants who are permanent resident
interview opportunity for all Chinese
Pratt Institute welcomes applications
aliens, refugees, and other eligible
applicants interested in Pratt Institute
from home-schooled students. In the
noncitizens must provide a photocopy of
and to process your application faster,
absence of conventional high school
their alien registration card.
we have partnered with Vericant.
records, submitting the items below will
Vericant will conduct video interviews
help us to evaluate your readiness for the
and short writing samples with our
programs that we offer.
Materials for International Applicants
applicants in Mainland China. Vericant
Home school transcript should include:
TOEFL or IELTS
does not evaluate candidates but,
• course titles;
• course grades;
• units of credit for courses;
• grading scale (if other than A–F letter
International applicants whose first
language is not English must submit the
results of the Test of English as a Foreign
Language (TOEFL), IELTS exam, or Pearson
Test of English (PTE) and have the results
sent by the application deadline. Register
online at www.toefl.org. International
students who have taken the SAT or
ACT test may submit SAT or ACT test
scores instead of the TOEFL. A TOEFL
score of 550 (paper), 79 (Internet), or
213 (computer) is required for four-year
programs. The two-year associate’s degree
programs require a TOEFL score of 530
(paper), 71 (Internet), or 197 (computer).
Pratt’s TOEFL code is 2669. Pratt will
accept the IELTS (International English
Language Testing System) in lieu of the
TOEFL. The required score for four-year
programs is 6.5 and 6 for the associate’s
degree programs. The required PTE score
is 53 for four-year programs and 48 for
two-year programs.
instead, posts the interviews online for
our admissions team to review. The
Vericant interview will form part of
your application package if you opt to
be interviewed. Although the Vericant
interview is not mandatory, we highly
recommend it as it will give you an
excellent opportunity to showcase
your skills and professionalism to our
admissions team.
To learn more about Vericant
grades); and
• signature of the home school
administrator (the parent or other
person who organized, taught,
and evaluated your home school
coursework).
and to schedule an interview, please
In the absence of a traditional transcript,
visit Vericant’s website at students.
you may present a portfolio of the
vericant.com
work you consider most indicative of
Vericant provides interviews in
your academic achievements (this is in
the following cities: Beijing, Shanghai,
addition to the regular visual portfolio
Shenzhen, Chengdu, Chongqing, Dalian,
requirement). This may contain records
Guangzhou, Hangzhou, Nanjing, Qingdao,
such as grades from community
Wuhan, Xi’an, Zhengzhou.
college or other postsecondary level
courses that you may have taken,
scores from AP tests (these are also
administered independently of schools),
recommendations from qualified tutors
or teachers, examples of independent
research, or descriptions of books
and other curricular materials used in
preparation for college-level work.
267
Proof of High School Graduation
Art and Design Programs
Math or Science—3 Credits
This requirement may be satisfied by
English
4 units
supplying any of the following:
Students given transfer credit for a
Social Studies
1 unit
1. Official scores from the official High
specific course may not enroll in other
Mathematics
1 unit
courses listed below as equivalent, but
Science
1 unit
must enroll in more advanced courses.
Academic Electives
3 units
School Equivalency Examination (GED)
2.A letter from your local superintendent
of schools as proof of your readiness
to enter college and that your
home schooling was conducted in
accordance with state laws
3.Certificate of graduation from a
diploma-granting organization or
nontraditional school
AP courses of study accepted are:
Notes:
a.May include additional units in social
studies, science, math, foreign
Transfer credit given for Sci
c.Should include trigonometry and
advanced algebra
d.Should include chemistry, physics,
and Visual Studies Programs
Transfer credit given for Math
Chemistry
The following subjects are strongly
Architecture, Writing, and Critical
Calculus BC
these
Recommended High School Coursework
Pratt programs.
language or any combination of
b.Should include studio art
recommended for admission to specific
Calculus AB
or biology
e.One unit must be in either chemistry
Physics B
Electricity and Magnetism
Mechanics
Biology
English
4 units
Social Studies
1 unit
College Prep Math
3–4 units
Advanced Placement Credit Policy
Science
2 units d
Pratt Institute accepts up to a maximum
Art History*— 3 credits
Academic Electives
3 units of nine (9) total AP credits (up to 3
AP course of study accepted is:
General Electives
2 units b
credits in each of the categories) with a
Art History.
score* of four (4) or five (5) only in the
Transfer credit given for Art History
following:
*Note: A student achieving an AP score of 3 in
the History of Art and/or Design will have the
option to be interviewed by the chair of the
department to determine sufficient mastery of
course material. The chair will then determine
whether the student may be assigned to a higherlevel course. In no case will the process result in
a waiver of credit requirements but only in the
substitution of another course.
Credits are accepted only at the time of initial
matriculation at Pratt. Applicants must have
official score reports sent directly to the Office
of Admissions in order to receive credit. Students
who fail to submit scores before they register
for the first semester will not receive credit for
AP scores.
or physics, preferably physics
Statistics
a
Construction Management Program
English
4 units
Social Studies
1 unit
College Prep Math
4 units c
Science
2 units e
Electives
5 units
General Electives
2 units b
English—3 credits
AP course of study accepted is:
English Language and Composition
Transfer credit given for ENGL-101 (Enrollment
in ENGL-103 during the first semester at Pratt is
required.)
268
International Baccalaureate Policy
Application Requirements
Application Form with Fee
International Baccalaureate (IB) Diploma
for Transfer Students
All applicants to undergraduate degree
recipients beginning with Fall 2012
Submit all documents postmarked no
programs must complete the Pratt
applicants may receive transfer credits
later than the application deadline.
undergraduate application with the
for higher-level courses in which they
The online application, as well as various
appropriate nonrefundable application
earn a score of five (5) or higher. Pratt
requirements, may be found at www.
fee ($50 for U.S. citizens and permanent
awards transfer credit for second
pratt.edu/apply. Writing and visual
residents, $90 for international
languages (Language B) taken at the
portfolios must be uploaded at pratt.
applicants). Applications must be
higher level only if the student’s major
slideroom.com. See www.pratt.edu/
completed online at www.pratt.edu/
at Pratt requires foreign language. Pratt
apply for instructions on submitting your
admissions/applying.
Institute does not award transfer credit
application and supporting documents.
for IB Visual Arts courses or exams.
Two-Year Degree Applicants
Requirements for the associate’s degree
programs are similar to the freshman
requirements including the portfolio requirements, except that the test
scores (SAT/ACT) are not required. See
Completing your undergraduate
application form online is the required
Checklist
method. Fees may be paid by credit
1. Application form with fee
card or electronic check.
2.Official transcripts from each high school
attended or official GED scores
3.Official transcripts from each college
attended, emailed by colleges.
In cases of extreme financial hardship, applicants may request a fee waiver.
Official High School Transcript(s)
Transfer applicants are required to
the freshman application section for
4.Portfolio*
submit high school transcript(s). A high
details. If you would like feedback on your
5.Essay (part of application form)
school transcript is not required of
portfolio, you may have it reviewed at the
6.TOEFL (Test of English as a Foreign
students who have attended at least four
Brooklyn campus by calling 718.636.3514
Language), IELTS (International English
semesters of college full-time or have
or you may schedule an appointment and
Language Testing System), or PTE exam
earned at least 48 credits by the semes-
campus tour at the Manhattan campus
results (international applicants only)
ter for which they are applying.
(where the programs are located) by
calling 212.647.7375 or by emailing aos@
rand.pratt.edu. Applicants to the BFA
programs in drawing or painting, graphic
design, or illustration who do not meet
the qualifications for the BFA may be
accepted instead to the associate’s
degree program.
All mailed materials must be sent to:
Pratt Institute
Official College Transcript(s)
Transfer applicants must submit
official transcripts from each college
attended. Students who attended
Detailed information on the
transcripts through the National
requirements follows.
college in the U.S. may request their
Student Clearinghouse (www.
studentclearinghouse.org) or directly
from their college.
269
International Transcripts
Transfer Portfolio Guidelines
Submitting Your Visual or Writing Portfolio
International applicants must submit offi-
Visual or Writing Portfolio
cial transcripts (academic records)
of all secondary school studies as well as
any postsecondary studies. Applicants
also must submit official results of all
external examinations. These would include
General Certificate of Education, Hong
Kong School Certificate of Education,
Israeli matriculation or Bagrut, Secondary
School Certificates, and Baccalaureate
Part I and Part II. Transcripts must be
translated to English.
Transfer students who have studied
outside the U.S. (other than Japan and
Korea) are required to submit a World
Education Services (WES) evaluation of
their transcript(s) to expedite their application processing. WES evaluations do
not include translations. The document
must be officially translated into English
before submitting to WES or any other
reputable education evaluation service,
e.g., your embassy.
Recommendations
Recommendation letters are optional.
You may submit one from a teacher,
guidance counselor, or employer in a
field related to the applicant’s professional goal if possible. These should be
mailed to Pratt.
Portfolios should be uploaded using
The transfer portfolio requirements are
Slideroom at pratt.slideroom.com
the same as the freshman requirements
following instructions at the site. You will
if you have not taken studio courses in
receive immediate confirmation that your
your previous college or have not taken
work has been received. You may edit
our freshman year courses and will enter
images until you hit the “submit” button.
as a freshman. Transfer applicants who
There is a charge of $15 for submission.
have taken art courses should include
Admissions advisement sessions and
examples of work that reflect all studio
reviews at National Portfolio Days or by
experiences at their previous college in
appointment off-campus do not fulfill
order to be reviewed for credit. No more
the applicant’s visual requirement. They
than 45 images may be submitted.
are for guidance only. Please submit your
work by the deadline (February 1 for fall
Architecture
All architecture transfer applicants must
submit a visual portfolio. Applicants who
have not taken architecture design studio
courses in their previous post-secondary
school should submit a portfolio
according to the freshman requirements
and will automatically be placed into the
first year of design. Transfer applicants
who have taken architecture design
and October 1 for spring).
Do not send work to the office. All
work must be submitted on Slideroom.
All submitted materials, including the
portfolio, become the property of Pratt
Institute. Portfolios in any format will not
be returned or held for pickup.
Writing, Critical and Visual Studies
and Art History B.A. Applicants:
courses should include examples of
Applicants are required to upload a
work that reflect all design projects at
writing portfolio of recent writing (no
their previous schools. The number of
more than 10 pages) to Slideroom at
images in the architecture portfolio
pratt.slideroom.com. Writing applicants
will reflect the number of projects
may submit poetry, short stories, and
completed. The architecture students
excerpts from novels, articles, and
seeking the transfer of studio credit must
essays. Please submit at least one sample
use Slideroom to upload their images at
of analytical writing. We encourage
you to submit several examples of
your writing in different styles. If you
submit poetry, you must also submit
some prose. Critical and Visual Studies
and Art History B.A. applicants should
submit examples of analytical writing. At
270
this time feedback on writing portfolios
Pratt’s TOEFL code is 2669. Pratt will also
is unavailable through the Admissions
accept the IELTS (International English
following cities: Main Cities (3): Beijing,
Office.
Language Testing System) in lieu of the
Shanghai, Shenzhen; Secondary Cities
TOEFL. The required score for four-year
(10): Chengdu, Chongqing, Dalian,
programs is 6.5 and 6 for the associate’s
Guangzhou, Hangzhou, Nanjing, Qingdao,
degree programs.
Wuhan, Xi’an, Zhengzhou.
Applicants from China
Transfer Credit/Placement
Essay
Space is provided on the last page of
the online application to answer the
essay topic. Describe when and how you
Vericant provides interviews in the
became interested in art, design, writing,
In order to provide an in-person
architecture, or the particular major to
interview opportunity for all Chinese
coursework that is comparable to Pratt’s
Transfer credit may be granted for
which you are applying. Describe how
applicants interested in Pratt Institute
coursework and is completed at a school
this interest has manifested itself in your
and to process your application faster,
accredited by an accrediting agency or
daily life.
we have partnered with Vericant.
state approval agency recognized by
Vericant will conduct video interviews
the U.S. Secretary of Education or the
and short writing samples with our
International equivalent.
Materials for Permanent Residents
applicants in Mainland China. Vericant
Applicants who are Permanent Resident
does not evaluate candidates but,
in which (1) a grade of C or better is
Aliens, refugees, and other eligible
instead, posts the interviews online for
earned from domestic institutions (or 70
noncitizens must provide a photocopy of
our admissions team to review. The
or better from international institutions
their alien registration card.
Vericant interview will form part of
as determined by a reputable education
your application package if you opt to
evaluation service) and (2) the course
be interviewed.
corresponds to the specific course
TOEFL or IELTS
(All International Applicants)
International applicants whose first
language is not English should take the
Test of English as a Foreign Language
(TOEFL) exam or IELTS and have the
results sent by the application deadline.
Register online at www.toefl.org for the
TOEFL. International students who have
taken the SAT or ACT test may submit
SAT or ACT test scores instead of the
TOEFL. A TOEFL score of 550 (paper), 79
(Internet), or 213 (computer) is required
for four-year programs. The two-year
associate’s degree programs require a
TOEFL score of 530 (paper), 71 (Internet),
or 197 (computer).
Although the Vericant interview is
Credit may be awarded for courses
requirements of the applicant’s proposed
not mandatory, we highly recommend
program of study. Courses with grades
it as it will give you an excellent
lower than C (including C-) or less than
opportunity to showcase your skills and
70 are not transferable.
professionalism to our admissions team.
To learn more about Vericant
Students seeking transfer credits
for studio courses in art, design, or
and to schedule an interview, please
architecture are required to submit
visit Vericant’s Website at students.
a portfolio reflective of their studio
vericant.com.
coursework completed in prior college as
part of the admission application. Transfer
credit shall be granted for courses taken
at another institution only when the
coursework involved and the level of
the transfer applicant’s achievement in
it permit the student to complete the
remaining coursework successfully.
All students petitioning for transfer
271
Accepted International Students
English Exam for Enrolling Students
credit(s) must submit official transcript(s)
All enrolling international students need
from all colleges attended. Credit
to submit International Student forms
evaluations will be completed only
to the Office of International Affairs.
after acceptance. AP credit will also be
International Students include both
considered. Please request that your
students who need an I-20 for the F1
official AP scores be sent to Pratt during
student visa and international students in
the summer before you enroll. See page
other immigration statuses. Students will
281 for more detail.
not be permitted to register for classes
Prior to registration, the transfer
until the forms are submitted. (U.S.
student receives an estimate by the
permanent residents are not considered
Office of Admissions of the credit that
international students.)
can be expected for work done at
previous college(s). A maximum of six
credits of language will be awarded.
Additional supporting documents
may be requested by the Office of
Admissions (bulletin, course hours, syllabi,
etc.). The Pratt program is planned with
the appropriate art and design academic
advisor using the estimate as a guide
for the required work to be completed.
After all final official transcripts have
been received, a complete evaluation
of transfer credit will be sent to the
student. (Transfer students in interior
design are required to bring their
portfolio to their academic advisor
during registration.) Transfer credit is not
included in the scholastic index. If less
than 50 percent of a student’s credits is
earned at Pratt, the student will not be
considered for honors.
Requesting the I-20
All international students must meet
the Institute English requirement. The
English exam determines if you meet
Pratt Institute’s English requirement or if
you will need Intensive English Program
courses (IEP) to meet the requirement.
If your TOEFL score is 100 iBT (or
600 pBT or 250 cBT ) or higher, or if
English is your native language, then you
will not need to take the exam because
you meet the English requirement. There
are other exceptions. To see the list of
exceptions and for more information
To request the I-20, first submit your
about the test, please visit www.pratt.
enrollment deposit to the Office
edu/iep. If your TOEFL score is less
of Admissions. Then you will receive
than 100 iBT (or 600 pBT or 250 cBT),
your OneKey, which is a login and
you will be required to take Pratt’s in-
password. This can take up to seven
house English exam before Orientation.
days to receive. After you receive your
According to the test results, you will
OneKey, go to MyPratt at www.pratt.edu/
either be placed in an Intensive English
mypratt. Log in with your OneKey. Under
Program (IEP) class or will be considered
PRATT RESOURCES, go to Web Services,
“exempt” from IEP classes. Students
then International Student Forms.
either will either take IEP courses until
Submit your I-20 Request online and
they exempt out (pass), or be exempt
print out the PDFs to send with the
after taking the test and will not need
supplemental documents by express
to take any IEP courses. Students who
mail directly to the Office of International
scored below 100 iBT (or 600 pBT or
Affairs. For information, go to www.pratt.
250 cBT) on the TOEFL are strongly
edu/oia/I20. For questions, write to
encouraged to enroll in the Summer
[email protected].
Certificate of English Proficiency (SCP).
Please refer to the information enclosed
or www.pratt.edu/iep.
Note: Students participating in the
SCP will request an I-20 for the SCP and
the degree program at the same time
(choose SCP + Degree), therefore; you
must apply for the SCP before requesting
272
the I-20 from Pratt. Pratt will issue the
Deposit Deadlines
Readmission
I-20 for SCP first. Pratt will issue the
Accepted students who plan to enroll
Baccalaureate degree candidates seeking
I-20 for the degree after you complete
at Pratt for the fall term are required
readmission should submit an Application
the SCP. Some programs do not permit
to make a deposit of $300 by May 1, the
for Readmission (available in the Office of
students to enter in spring; you may
official Candidate’s Reply Date. Accepted
the Registrar or the Office of Admissions,
be required to take the full year of English
students for the spring term must
or at www.pratt.edu/admissions/
for that reason.
submit their deposit by December 1 or
applying) and the required $50 fee to the
two weeks after acceptance, whichever
Office of the Registrar. This application
Admission to Associate Degree
is later. International students should
for readmission should be accompanied
Programs at Pratt Manhattan
submit their I-20 request forms as soon
by a brief statement outlining the
Transfer applicants to the Associate
as possible after the deposit deadline.
student’s reasons for wishing to return
Degree Programs at Pratt’s Manhattan
The full amount of the nonrefundable
to Pratt and an official transcript
Center should use the online application
deposit is credited to the student’s first
showing other schools attended after
at www.pratt.edu/admissions/applying.
semester tuition. The housing application
leaving Pratt. Deadline dates for filing
Please follow the same requirements
deposit is also due on these dates.
applications for readmission are June 1
listed for freshmen or transfers to the
Deposits should be made at ipayvirtual.
for the fall term and December 1 for the
B.F.A. The SAT/ACT is not required.
eposasp.com/?ID=1055.
spring term. Any student who did not
file for an approved leave of absence
Applicants to the B.F.A. programs in
fine arts or communications design who
Financial Aid
and who, during the preceding term,
do not meet the qualifications for the
Domestic applicants who intend to file
either was not registered at Pratt or did
B.F.A. may be accepted instead to the
for financial aid must submit the FAFSA
not complete the term is required to
associate’s degree.
after January 2 and before March 1 for
apply for readmission. Requests from
fall enrollment and by October 31 for
students who left the Institute while not
Admissions Decisions
spring enrollment. The FAFSA should
in good standing may be reviewed by
Admissions decisions are issued as
be submitted electronically. See all
the Committee on Academic Standing
follows for applicants who submitted
instructions at www.pratt.edu/aid.
of the school to which readmission is
complete applications. Early action
Please make sure that the email address
sought. Notification of final action and
decisions will be made by January 6.
you gave Pratt’s Office of Admissions is
registration instructions are sent to the
January 5 deadline decisions will be
the email address you use.
student by the Office of the Registrar.
made by April 1. Spring decisions will be
• FAFSA code is 002798
• tap school codes for New York State
as a freshman or a transfer student, is
made by November 15. Admissions files
are not considered complete and will not
be reviewed until all required materials
residents: 0615—undergraduate
Every student, once matriculated
expected to complete his or her degree
requirements at Pratt both in professional
have been received. This includes the
areas and in liberal arts and sciences.
completed application, application fee,
Credit earned at other accredited
all transcripts, test scores for freshmen,
institutions by readmitted students who
TOEFL test scores for international
were previously matriculated will be
students, and portfolios if required.
evaluated for transfer to the Pratt record
by the Office of the Registrar. Readmitted
273
students are expected to meet the degree
International students holding a student
based on your prerequisites and your
requirements that are in effect at the time
visa must meet with the International
portfolio and transcript. Visiting Students
of readmission.
Student Advisor before submitting an
may not enroll in graduate-level courses.
application. Additional information is
We encourage students to have
Changing Schools within Pratt
available from the Office of Admissions.
a wide selection of courses ready at
Students who wish to transfer from one
A nonmatriculated/special student
the time of registration. Application
school to another within the Institute
who plans to apply for admission as a
and detailed instructions can be
should complete a Change of School
matriculated student should meet with
found on Pratt’s website at www.pratt.
Transfer Application and return it to
the chair of the program to which he
edu/admissions/applying/applying_
the Office of Admissions no later than
or she wishes to apply. A nondegree
undergrad/ug_application_requirements.
June 1 for the fall term and December
formis available at www.pratt.edu/
15 for the spring term. A $50 application
admissions/applying.
may be extended.
Students must meet the admissions
Visiting Students
Affiliated Programs
criteria for the program to which they
The Visiting Student Program at Pratt
PrattMWP
are applying. Students are required to
Institute is open to students who are
make an appointment with the Office of
currently enrolled in a degree-seeking
Admissions to determine transfer credit.
undergraduate program at another
A limit of one transfer between schools
college or university and will have
will be considered. Students requesting a
completed one full year of college credit
second transfer will be required to obtain
by the time of enrollment. International
additional approval from both deans and
students are permitted to participate in
the Office of the Provost.
this program.
This program is for one semester but
fee must accompany this application.
This program has been designed as
Nonmatriculated/Special Students
an opportunity for students to broaden
Nonmatriculated or special students are
their college experience and is intended
not candidates for a degree from Pratt
as a supplement to the undergraduate
Institute. They may take no more than six
program at their home institution.
credits per semester and may register
Visiting Students to Pratt Institute are
only if space is available in a class after
not ordinarily permitted to apply for
matriculated students have registered.
transfer admission. Visiting students may
Acceptance as a nonmatriculated or
be accepted for fall or spring but not
special student is based on the applicant’s
for summer. If you are planning to take
background and ability to successfully
only one or two courses, please see the
complete the work of the course. No
section on non-degree students.
more than 18 credits may be accumulated
as a nonmatriculated student.
As a Visiting Undergraduate Student,
you may take any undergraduate course
at Pratt Institute that is approved by the
appropriate chair and academic adviser
Pratt’s extension center, MunsonWilliams-Proctor, is located in upstate
New York. To apply, visit www.mwpai.edu
for an application and a description of
requirements or check off PrattMWP on
Pratt’s application. Students take the first
two years at PrattMWP in Utica and finish
the remaining two years at Brooklyn.
PrattMWP offers fine arts, photography,
art education (teacher certification) and
communications design.
274
Intellectual Property
The Arthur O. Eve HEOP
Pratt is committed to fostering the
Director
to make higher education possible for
artistic and intellectual creativity of our
Warren White
students who are inadmissible under
community. The products of our creativity
[email protected]
regular admissions guidelines, but who
The ultimate goal of the program is
have the potential and motivation for
are both the physical property we create—
academic success.
paintings, designs, and manuscripts—as
Pratt Institute is committed to providing
well as the intellectual ideas these works
access to higher education for all capable
represent. The latter is called intellectual
students. Pratt tries to ensure that no
be eligible for The Arthur O. Eve Higher
property. Pratt’s Intellectual Property
student is prevented from completing
Education Opportunity Program should
Policy applies to all our community’s
his or her degree due to a lack of funds.
contact the Office of Admissions for
members and is intended to respect the
The Arthur O. Eve Higher Education
further information and check off The
value of the creator, whether students,
Opportunity Program (HEOP) provides an
Arthur O. Eve HEOP on the admissions
faculty, or staff. It also provides for
opportunity for admission and support
application. The Arthur O. Eve Higher
sharing our creative products to further
to talented New York students who have
Education Opportunity Program Office
the knowledge and academic growth of
not reached their full academic potential
is located on the first floor of the
our collective community. Knowledge
due to barriers in their educational,
Information Science Center (ISC),
of intellectual property rights is an
economic, or personal background.
room 104, and is open Monday through
important responsibility of all members
Applicants must be New York State
Friday 9 AM to 5 PM. Summer hours are
of our community and an important
residents who meet New York State’s
9 AM to 4 PM. The telephone number is
part of the intellectual life of every
Arthur O. Eve HEOP income guidelines.
718.636.3524.
creative professional. Pratt’s complete
The Arthur O. Eve HEOP students
Intellectual Property Policy can be found
are Pratt students. They attend the same
on the Web at www.pratt.edu/provost.
classes, live in the same residence halls,
participate in the same extracurricular activities, have access to the same
resources, and pursue the same careers
as other Pratt students. The Arthur O.
Eve HEOP provides additional supportive services designed to assist students
with academic, financial, social, and
personal matters. This includes tutoring,
counseling, and financial aid for students
throughout their college careers.
Applicants who feel that they may
275
Financial Aid
Choosing a college should be based
employment, and loans. By combining
financial aid and may jeopardize
on the quality and reputation of the
federal, state, and institutional funds, we
the student’s eligibility for Pratt grants
program rather than on finances. We
make every effort to assist students and
or scholarships.
understand, however, that many families
their families in meeting the increasing
face concerns when choosing a highly
cost of a college education. Through the
considered for all types of financial aid
regarded college such as Pratt. We
collaborative benefits of alumni gifts,
after an admissions decision has been
are committed to providing sufficient
endowments by private industries, other
made and their FAFSA information has
financial assistance to make the cost
endowments, and government agency
been received by Pratt. If requested,
more affordable for each family. Our
programs, we are able to support our
and required by the federal government,
commitment is directly reflected by the
student body.
other documents, such as federal tax
Students are automatically
returns, are due at the Office of Financial
large amount of gift money awarded
Aid by May 15.
each year. In fact, over 86 percent of
Freshmen and Other Entering Students
our student body receive some type of
To be considered for financial assistance,
financial assistance.
freshmen and transfer students must
established and adequate funds
The family is also responsible for a
After financial need has been
submit the Free Application for Federal
are available, an aid “package” will
contribution, which is determined in part
Student Aid (FAFSA) to the Department of
be granted. It might consist of a
by the family’s income, assets, benefits,
Education Federal Student Aid Programs
combination of grants, scholarships,
and size. In addition, the student is
(www.fafsa.ed.gov or call 800.433.3243).
loans, and employment. Outside awards
expected to pursue scholarships, grants,
The FAFSA application may be accessed
that might be forthcoming are taken
and/or loans from private sources to
through Pratt’s website (www.pratt.edu/
into consideration when Institute aid
help defray the cost of education.
financing) or from secondary school
is offered. It is the responsibility of
guidance counselors. Do not submit
the student and/or family to notify the
more than one application!
Office of Financial Aid of any outside
Pratt offers various kinds of
assistance, ranging from academic
merit–based scholarships to need-based
The FAFSA should be submitted
awards. These outside awards may
financial aid. Included in that list are
no later than March 1. A FAFSA filed
reduce or change the student’s original
tuition scholarships, grants, work study
after March 1 will delay the awarding of
award package from the Institute.
Manhattan Campus
Brooklyn Campus
HEOP
144 West 14th Street, 3rd Floor
Assistant Director of Financial Aid
New York, NY 10011
Myrtle Hall, Room 6
Savior Wright
Brooklyn, NY 11206
[email protected]
Sonya Chestnut
Financial Aid Counselor (A-C, I-R)
Office of Financial Aid
[email protected]
Frank Ravja
Senior Financial Aid Counselor
[email protected]
Financial Aid Counselor (D-H, S-Z)
Timica Roach
[email protected]
www.pratt.edu/financing
www.pratt.edu/financial-aid
276
Financial Aid
Students do not need to write and
How do I apply for a scholarship?
not qualify for need-based aid. There
request specific types of financial
There is no application. All incoming
is no application for the merit-based
aid, since they will automatically be
students will be considered for a
scholarships awarded to incoming
considered for any source of Pratt
merit-based scholarship. We encourage
students, and all accepted applicants
financial aid for which they qualify. A
all students to submit a financial aid
are considered automatically. To qualify
student’s financial aid package may also
application to ensure that they receive
for merit-based scholarships, you
include a Direct Stafford Loan and/or
all the need-based aid (both outside and
are not required to submit a FAFSA.
Parent Loan. New York State residents
institutional) to which they are entitled.
These scholarships are based on your
can apply for the Tuition Assistance
Students who qualify for a Presidential
portfolio (if required by your major),
Program (TAP) by completing the
Merit-Based Scholarship and also file
your high school or college GPA, and
FAFSA and returning the Express TAP
a FAFSA and demonstrate need may
test scores (SAT, ACT, TOEFL, or IELTS)
Application to the New York State Higher
receive institutional funds in addition to
to some extent. The scholarships range
Education Services Corporation.
the merit-based scholarship awards. The
from $9,000 to $21,000 each year for
awards are continued for four years (five
four years (five for architecture). The
Pratt Institutional Programs 2015–2016
for architecture) as long as the student
criteria for renewal are identical to the
Presidential Merit-Based Scholarships
remains enrolled full time and maintains
criteria for the Presidential Merit-Based
a cumulative GPA of 2.0 for any students
Scholarships.
What is the purpose of the program?
To attract academically and visually
gifted students and help them defray
some of the costs of attendance through
institutional funds.
How much are the awards?
The awards range from $9,000 to
$21,000 for each academic year.
How much do I have to pay back?
No repayment is required.
who enrolled fall 2005 or earlier.
Incoming freshmen and transfer students
receiving a Presidential Merit-Based
Scholarship after fall 2006 are subject to
the following requirements.
Students Must:
1. Maintain continuous full-time student
status at the Institute.
2.Achieve a minimum cumulative GPA of
2.50 by the end of their first year of
studies at Pratt.
3.Maintain a minimum cumulative GPA
When do I need to apply?
No application is needed. Freshmen
of 2.50 during the remainder of their
Pratt Grant Programs
To provide funds from institutional
sources to help meet a student’s
tuition costs.
The awards vary based on need for the
academic year.
When do I need to apply?
Before March 1.
studies at the Institute.
and transfer applicants who submit
Students failing to meet these
Who can receive this money?
completed admissions applications
requirements will have their Presidential
Students who have applied for aid in a
by the deadline are automatically
Merit-Based Scholarship automatically
timely fashion and have demonstrated
considered for these awards.
withdrawn for the remainder of their
financial need and are making
studies at Pratt.
satisfactory academic progress.
Entering international students are
eligible for our international merit-based
scholarships. International students do
Financial Aid
277
How do I apply?
How do I apply?
Federal Programs 2015–2016
All students must submit the FAFSA.
All students applying for financial aid with
Federal Pell Grants
Other documents may be required based
the FAFSA are considered. There are no
on a student’s particular situation. Please
special application forms for restricted
read the instructions in the introductory
and endowed scholarships. Recipients
section on financial assistance.
are selected by deans or department
chair based on criteria established by the
Pratt Restricted and Endowed Awards
donors. These awards are made for one
and Scholarships
year only and are based on the availability
of funds in any given year.
To provide funds derived from Institute
endowments and restricted gifts granted
to students according to the wishes of
the donor and on the recommendation
of the appropriate dean or departmental
chair. These awards are made for one
year only.
The awards start at $1,000 for the
academic year and are based on the
availability of funds in any given year.
Who can receive this money?
Full-time students meeting donor
specifications who have applied for
aid, have demonstrated financial need,
and are making satisfactory academic
progress. Some awards are based on
academic merit only, and all are based on
departmental recommendations.
How do I apply?
Application materials are available at the
Financial Aid Information Center at Pratt
Institute. Students may apply for the
Federal Pell Grant program by filing the
FAFSA. Completed applications should
be submitted for processing according
to the application instructions. Based
on the Institutional Student Information
Pratt Student Employment Program
Student employment is funded
entirely by Pratt Institute and offers an
opportunity for qualified students to
work part time on campus to help pay
for educational expenses. Applicants
for student employment assistance
must complete registration online and
Record (ISIR), the amount of the
applicant’s award is determined by Pratt’s
Office of Financial Aid. On the first day
of class, funds will be credited to a new
student’s institutional account according
to federal regulations.
Selection of Recipients
submit all required documents in order
Who is eligible?
to qualify. These funds are paid directly
The applicant must be enrolled as an
to students for campus job assignments
undergraduate student working on a
and are not deducted from the student
first degree and must show eligibility as
tuition bill. Students are responsible for
determined by FAFSA. Financial need is
submitting signed time sheets using our
determined by a formula applied to all
online system to the Office of Student
applicants. The family contribution is
Employment in Myrtle Hall, 6th floor.
calculated using this formula, which was
Employment forms such as the W4 and
developed by Congress and is reviewed
the I-9 must be completed prior to
periodically. Federal Pell Grant awards
working. More information may be found
are available only until completion of the
at www.pratt.edu/financing.
first baccalaureate degree.
Effective the 2012–2013 academic
year, the duration of a student’s eligibility
to receive a Federal Pell Grant has
been reduced from 18 semesters to 12
semesters. Semesters are counted based
on full-time semester enrollment and
half-time enrollment is counted as half of
a semester toward the 12-semester limit.
278
Financial Aid
This change in the duration of students’
Rights and Responsibilities of Recipients
Award Schedule
Federal Pell Grant eligibility is not limited
The student must be making satisfactory
Pratt arranges jobs on or off campus,
only to students who received their first
academic progress (see chart on page
up to 20 hours per week. Factors
Federal Pell grant on or after July 1, 2008
322) and must not owe any refunds on
considered by the Office of Financial
as previously provided when the duration
Federal Pell Grants or other awards paid,
Aid in determining eligibility under
of eligibility was 18 semesters.
or not be in default on repayment of any
this program are financial need, class
student loan.
schedule, academic progress, and
specific skills. Level of salary must be at
Federal Supplemental Educational
Opportunity Grants (SEOG)
What is a Federal SEOG?
Federal College Work-Study Program
least the minimum wage; maximum wage
(FCWS)
is dependent on the nature of the job
A Supplemental Educational Opportunity
What is FCWS?
Grant is a federal grant administered
Federal College Work-Study is a federally
and awarded by the Office of Financial
assisted employment program that
Aid at Pratt. It is a grant requiring
offers qualified students a chance to
no repayment, initiated to help
earn money to help pay for educational
undergraduate students with the
expenses. These funds are paid directly
greatest financial need.
to students for job assignments and are
not deductible from the Institute’s bill.
Application Procedures
All undergraduate students must submit
the FAFSA before a determination on
All students must submit the FAFSA
eligibility will be made. Please read the
before a determination of eligibility will
instructions in the introductory sections
be made. Please read the introductory
on financial assistance for information on
sections on financial assistance. Eligible
the FAFSA.
candidates will be notified by the Office
of Financial Aid about the required forms
Selection of Recipients and
before initiating employment.
Allocation of Awards
The applicant must (1) demonstrate
maximum need; (2) NOT hold a previous
baccalaureate degree; (3) NOT be in
Pratt makes employment reasonably
default of a student loan.
available to all eligible students who are
in need of financial aid. In the event that
Award Schedule
more students are eligible for FCWS than
The award at Pratt usually ranges
there are funds available, preference
from approximately $500 to $900
is given to students who have greater
annually for completion of the first
financial need and who must earn a part
baccalaureate degree.
of their educational expenses.
and the applicant’s qualifications.
Satisfactory academic progress must
be maintained. Students must not owe
any refunds on Federal Pell Grants or
any other awards paid, or not be in
default on any student loan. Students are
responsible for submitting signed time
sheets electronically to the Office of
Student Employment. Employment forms
such as the W4 and the I-9 Employment
Authorization form must be completed
prior to working.
Financial Aid
279
Federal Direct Loan Programs
Origination/Insurance Fee
Federal Subsidized Loan Program
Borrowers pay a combined origination
All borrowers are required to submit
fee of 1.073 percent.
a Master Promissory Note (MPN) to
Students may obtain a loan application
from Pratt’s website, www.pratt.edu/
financing. This must be completed online
and submitted to the Department of
Education. The FAFSA must be filed and
apply for a Federal Direct Stafford Loan
Interest Rate
(subsidized or unsubsidized). The MPN
Interest rates as of 7/1/14: 5.41 fixed.
is an application for the Stafford Loan
Programs and is valid for 10 years from
Loan Schedule
the time that the student originally signs
Annual Loan Limits–after July 1, 2007
and submits. Students must also submit a
Subsidized
Unsubsidized
Loan Confirmation Form. The student will
$3,500
$2,000 first year
$4,500
$2,000 second year
still have to submit the FAFSA each year
$5,500
$2,000 other undergraduates
$20,500
graduate and professional
students
received by Pratt before eligibility for the
loan can be determined.
To be eligible for a Federal Direct
Subsidized Loan, a student must:
The annual loan limits for students
1. Be a U.S. citizen or a permanent
enrolled in a program of study less
resident;
2.Be enrolled in or admitted as at least a
than one academic year in length
are prorated.
3.Not owe refunds on Federal Pell
Aggregate Loan Limits
$31,000
dependent undergraduates
(no more than $23,000 can be
subsidized)
$57,500
independent undergraduates
$138,500
undergraduate and graduate
combined
Grants or any other awards paid, or not
be in default on any student loan.
Federal Unsubsidized Loans
notify the student of loan eligibility via
the electronic financial aid award letter.
Students should keep all of the letters
received from the Office of Financial Aid
in order to keep track of loan amounts.
If there are any changes made to the
student’s financial aid, a new electronic
half-time undergraduate matriculated
student at Pratt Institute;
by March 1. The Office of Financial Aid will
letter with the most current information
will be emailed. Borrowers pay variable
interest,* beginning six months after the
student ceases to be enrolled half-time.
Six months after ceasing to be at
least a half-time student, the borrower
must make formal arrangements with
The same terms and conditions apply to
Note: All student loans will be disbursed
the service to begin repayment. The
this loan as to the Stafford Loan, except
in two installments (including one
following regulations apply:
that the borrower is responsible for
semester).
1. The minimum monthly payment will be
interest that accrues during deferment
periods (including in school) and during
the six-month grace period. This
program is open to students who may
$50 plus interest.
2.The maximum repayment period is
10 years.
3.The maximum period of a loan from
not qualify for subsidized Federal Direct
date of the original note may not
Loans. (Combined total cannot exceed
exceed 15 years, excluding authorized
Stafford limits.)
deferments of payments.
4.Repayment in whole or part may be
made at any time without penalty.
*Prior borrowers may have different interest
and repayment terms based on when they
borrowed their first loan. Loans disbursed to new
borrowers after 7/1/10 will have a fixed interest
rate of 6.8 percent.
280
Financial Aid
Parent Loan for Undergraduate
State Grant Programs 2015–2016
Tuition Assistance Program (TAP)
Student (PLUS)
General Requirements
518.474.6475
The Federal PLUS Loan may be used to
The Tuition Assistance Program (TAP)
offset expected family contribution and
is an entitlement program. There is no
A student can apply by completing
any unmet need remaining in the aid
repayment as in the case of a loan. The
the FAFSA application and an Express
package, but in no case can the amount
applicant must:
TAP Application. HESC determines the
of the loan exceed the student’s cost of
• Be a New York State resident for at
applicant’s eligibility and mails an award
attendance minus the student’s other
financial aid. Applicants may obtain an
application from our website: www.pratt.
edu/financing.
Annual Loan Limits
Cost of attendance minus other aid.
Aggregate Loan Limits
No aggregate limit
least 12 months prior to attending
college and a U.S. citizen or a
permanent resident alien;
• Be enrolled full-time (minimum
of 12 credits) and matriculated
at an approved New York State
postsecondary institution as an
undergraduate student;
• Be charged a tuition of at least
$200 per year;
Interest Rate
Currently 6.41 percent fixed
Origination Fees
4.292 percent
Credit Check
Only parents who have no adverse credit
history are eligible for PLUS loans.
Disbursements
All loans will be disbursed in two
installments and repayment begins after
the second disbursement.
• Make satisfactory academic progress.
certificate directly to the applicant
indicating the amount of the grant. The
applicant may present the institutional
copy of the certificate at the time of
payment of tuition to the Office of
the Bursar.
Award Allocation
The TAP award is based on the applicant’s
and his or her family’s New York State net
taxable income during the 2014 tax year
and on the tuition charge at Pratt during
2015–2016. TAP (combined with any
Note: Where any question of eligibility
exists, the student or prospective
student should see the TAP certification
officer. The following information
pertains only to New York State residents.
Students from other states should check
with the appropriate agency in their state
for further information.
Regents Scholarship/Fellowship, Child
of Veteran Award, or Child of Deceased
Police Officer/Firefighter Award) cannot
exceed the amount of tuition. The
schedule used to calculate the award is
determined by
• Whether the student is financially
independent of his or her parents;
• Marital status and tax filing status;
• The number of previous TAP payments
received by the applicant.
Financial Aid
281
Tap Financial Independence
d.award of the court;
Aid for Part-Time Study (APTS)
Financial independence for TAP is
e.unable to ascertain parents’
What is APTS?
defined in New York State law. This
whereabouts.
definition applies only to TAP and differs
from other aid programs, such as Federal
Pell Grant. The current definition of
independent status is as follows:
• 35 years of age or older on June 30,
2015; or
• 22 years of age or older on June 30,
2015, and not:
a.a resident in any house, apartment,
or building owned or leased by
parents for more than six weeks in
calendar years 2012, 2013, 2014;
b.claimed as a dependent by parents
program financed by New York State
Award Schedule
Currently awards range from $75 to
$5,000. The amount of the award will be
affected by costs of attendance and fullor part-time enrollment status.
The student must continue to make
satisfactory academic progress in the
program in which he or she is enrolled.
c.a recipient of gifts, loans, or other
financial assistance in excess of $750
from parents in calendar years 2010,
2011, 2012; or
• under 22 years of age on June 30, 2011,
than Aid to Dependent Children
(ADC) or food stamps;
Who is eligible for APTS?
To be considered for an award a
student must:
student enrolled for at least 3 but less
Duration of Award
For each semester of TAP awarded,
six TAP eligibility points are used.
Undergraduates in four-year programs
receive a maximum total of 48 points.
Undergraduates in five-year programs
(Architecture and HEOP only) receive a
undergraduate study assistance.
c.receiving public assistance other
educational expenses.
certificate program as a part-time
meet at least one of the following
incompetent;
undergraduate students meet their
degree or enrolled in a registered
may receive more than eight years of
b.both parents deceased, disabled, or
to $2,000 per year to help part-time
and not be in default of any student loan.
of above, and in addition able to
December 1, 2012;
the state. The program provides up
Federal Pell Grants or other awards paid,
maximum total of 60 points. No student
a.married on or before
educational institutions throughout
• Be working toward an undergraduate
and meeting all other requirements
requirements:
in conjunction with participating
The student must not owe any refunds on
on their federal or state income tax
for 2009, 2010, 2011, 2012;
Aid for Part-Time Study is a grant
than 12 semester hours per semester.
• Maintain good academic standing.
• Be a resident of New York State 12
months prior to attending college.
• Be either a U.S. citizen, a permanent
resident alien, or a refugee.
• Not have used maximum Tuition
Assistance Program (TAP) eligibility.
• Have a tuition charge of at least $200
per year.
• Not be in default of a Federal Family
Education Loan.
282
Financial Aid
What are the income limits?
reapply for financial aid. It is the student’s
Income means the net taxable income
APTS recipients should be aware that
responsibility to advise the Office of
taken from the 2012 New York State
the award will be revoked if they do
Financial Aid if he or she has had grade
income tax return.
not receive a term GPA of at least
changes that bring the cumulative GPA
• If you were claimed as a tax dependent
2.0. Students will be responsible for
back up to the minimum standard.
by your parents in 2012, family income
(i.e., New York net taxable income of
student and parents) cannot exceed
$50,500.
• If you were not eligible to be claimed
as a tax dependent by your parents in
2012, income (i.e., net taxable income
of student and/or spouse, if married
as of December 31, 2012) cannot
exceed $34,250.
If you were not eligible to be claimed
as a tax dependent by your parents
in 2011 but you were eligible to claim
dependents of your own other than
yourself and/or your spouse, income
(i.e., net taxable income of student and
spouse) cannot exceed $50,550.
APTS applications are available from
the TAP certification officer in the
Registrar’s Office.
any amount owed to the Student
Accounts Office.
A student who does not meet the
requirements for TAP may apply for a
waiver. A waiver may be granted only
Financial Assistance Standards
once on the undergraduate level and
Pratt applies New York State minimum
once on the graduate level. A waiver may
academic standards to all students
be granted only after the student has
receiving Pratt aid, state and federal aid,
met with the Financial Aid Director and
and loans insured or guaranteed by the
the TAP Certification Officer.
federal government. See the chart on p.
322 for details.
To receive a waiver, the student
must be able to provide documentation
of unusual circumstances that have
Review Policies
affected his or her academic progress.
The Office of Financial Aid will
Further information regarding the
periodically review the GPA and number
certification for New York State aid
of credits earned by each financial aid
can be obtained by contacting a Pratt
recipient using his or her academic
financial aid counselor.
transcript. Credits earned includes
only those for courses with grades of A
through D.
A student not meeting these
standards will be placed on financial
aid probation for one semester. After
the grades for the probation semester
are calculated, the student’s transcript
will be reviewed. If the student still fails
to meet the standards, all of his or her
financial aid will be revoked beginning
with the semester following the probation
semester. Once the student meets
the minimum standards, he or she may
Out-of-State Programs
Other state scholarship programs and
where to apply:
Maryland
Higher Education Commission State
Financial Aid
283
These state and district programs are
Florida
available only to residents. Pratt knows
Bureau of Student Financial Assistance
of no other states that make awards to
325 W. Gaines Street
students at a New York college.
Tallahassee, FL 32399-0400
850.245.0414
State Education Agencies
Scholarship Administration
Alaska
16 Francis Street, 219 Jeffrey Building
Alaska Commission
Annapolis, MD 21401-1700
on Post-Secondary Education
410.260.4500
707 A Street, Suite 206
Anchorage, AK 99567
Rhode Island
907.269.7973
Rhode Island State Scholarship
560 Jefferson Boulevard
Arkansas
Warwick, RI 02886
Student Loan Guarantee
800.922.9855
Foundation of Arkansas
10 Turtle Creek Lane
Vermont
Little Rock, AR 72202
Vermont Student Assistance Corp.
800.622.3446
P.O. Box 2000
Winooski, VT 05404
California
800.645.3177
California Student Aid Commission
3300 Vinsandel Drive
Virgin Islands
Rancho Cordova, CA 95670
Board of Education
888.224.7268
P.O. Box 11900
St. Thomas, VI 00801
Connecticut
340.774.4546
State Scholarship Program
Commission for Higher Education
Washington, DC
P.O. Box 1329
Washington, DC, Grant Program
Hartford, CT 06115
Educational Assistance Office
860.713.6543
100 Martin Luther King Jr., Ave.
Suite 401
Delaware
Washington, DC 20020
Delaware Post-Secondary
202.698.2400
Education Commission
Carvel State Office Building
820 North French Street, 5th Floor
Wilmington, DE 19801
800.292.7935
Illinois
Illinois Student Assistance Commission
500 West Monroe, 3rd Floor
Springfield, IL 62704
800.899.4722
Massachusetts
American Student Assistance Corporation
100 Cambridge Street
Boston, MA 02114
800.999.9080
New Hampshire
New Hampshire Higher Education
Assistance Foundation
4 Barrell Court
Concord, NH 03302
603.255.6612
New Jersey
New Jersey Higher Education
Assistance Authority
P.O. Box 545
Trenton, NJ 08625
800.792.8670
New York
New York State Higher Education
Services Corporation
99 Washington Avenue
Albany, NY 12255
888.697.4372
284
Financial Aid
Pennsylvania
Quantitative Measure:
Pennsylvania Higher Education
Assistance Agency State Grant
and Special Programs Division
1200 North 7th Street
Harrisburg, PA 17102
800.692.7392
Texas
Texas Higher Education
Coordinating Board
1200 E. Anderson Lane
Austin, TX 78752
800.242.3062
Federal regulations require the Office
of Financial Aid to monitor the progress
of each student (receiving Financial
Aid) toward degree completion on two
In order to maintain financial aid
Federal regulations require that
attempted credits for completion of a
Pratt Institute monitor the Qualitative
degree is 150 percent of the required
or Quantitative standards of
credits for that particular degree. Pratt
academic progress for students
will review each student’s eligibility at
who apply for and/or receive federal
the end of each year. If the student
financial aid. To remain eligible for
has exceeded the maximum number of
financial aid at Pratt, recipients are
attempted credits for his/her degree
required to show Satisfactory Academic
program, he/she will no longer be eligible
Progress (SAP) toward a degree
for financial aid (grants or loans) during
according to the guidelines listed in
any future semesters.
the Satisfactory Academic Progress
• The maximum number of “attempted
Chart (see Registration and Academic
credits” forcompletion of a four-year
Undergraduate Degree (excluding
writing degree) is 201 credits.
credits” for completion of a Writing
Grade Point Average) and 2) Quantitative
four-year Undergraduate Degree
(completion of credits required).
ONLY is 195 credits.
coursework or fail to achieve minimum
standards for Qualitative and Quantitative
measures may lose their eligibility for
all types of federal and state aid and
institutional aid administered.
Qualitative Measure:
Each student receiving financial aid is
expected to successfully complete all
of his/her classes with good grades
to continue receiving financial aid
payments. A student must maintain at
least the minimum Cumulative GPA for
his/her particular Degree of Study to
be consistent with the requirements
for graduation.
Progress (SAP)?
eligibility, the maximum number of
measures 1) Qualitative (Cumulative
Students who fall behind in their
What is Satisfactory Academic
credits” for completion of a five-year
Undergraduate Degree is 263 credits.
Policies section).
What are Qualitative or
Quantitative Standards?
Qualitative Measure: Each student
receiving financial aid is expected to
successfully complete all of his/her
classes with good grades to continue
receiving financial aid payments.
Quantitative Measure: In order
to maintain financial aid eligibility, the
maximum number of attempted credits
credits” for completion of a two-year
and length of time for completion of a
Undergraduate Degree is 104 credits.
particular degree is 150 percent.
credits” for completion of a Masters/
Post Masters Degree is 113 credits.
How does SAP work?
The Financial Aid Office determines
this eligibility after the submission
of spring semester grades (once a
year). Undergraduate and graduate
students who do not meet the minimum
requirements for continuance on federal
aid according to this policy will be
notified of their status by the Office of
Financial Aid during the month of June.
Financial Aid
285
What are the statuses if a student
United States Bureau of Indian Affairs
fails to meet the SAP requirements
Aid to Native Americans Higher
For grants to be awarded in successive
for Financial Aid?
Education Assistance Program
years the student must make satisfactory
progress toward a degree and show
Probation–A student will receive this flag
the first time he/she fails to meet the
Application forms may be obtained
minimum requirements for Satisfactory
from the Bureau of Indian Affairs. An
Academic Progress, and will remain
application is necessary for each year
eligible for financial aid with this status
of study (an official needs analysis from
during the next semester of enrollment.
Pratt’s Office of Financial Aid also is
At the end of the Probationary semester,
required each year). Each first-time
he/she is expected to meet the SAP
applicant must obtain tribal enrollment
requirements to remain eligible for
certification from the bureau agency or
financial aid in future semesters.
tribe which records enrollment for the
Unsatisfactory–A student will receive
student’s tribe.
this flag if the SAP requirements are not
financial need. Depending on availability
of funds, grants also may be made to
graduate students and summer session
students. Eligible married students
also may receive living expenses for
dependents. Students must not owe any
refunds on Federal Pell Grants or any
other awards paid, or be in default of any
student loan.
State Aid to Native Americans
met after one semester of Probation,
making him/her ineligible for financial
Application forms may be obtained
aid. Please note that a student must
To be eligible, the applicant must
from the Native American Education
meet all SAP criteria (GPA, completed
• Be at least one-fourth American
Unit, New York State Education
credits, and maximum time frame) to
regain eligibility for aid once he/she is
flagged as Unsatisfactory.
How can a student regain financial
aid eligibility after failing to meet SAP
requirements?
Students who fail to meet the qualitative
and/or quantitative standards outlined
in the Satisfactory Academic Progress
Chart can:
• Enroll in a Summer Session, in order to
complete the necessary credits and/or
improve the GPA needed to meet the
SAP requirements.
Indian, Eskimo, or Aleut;
• Be an enrolled member of a tribe,
band, or group recognized by the
Bureau of Indian Affairs;
• Be enrolled in or accepted for
enrollment at Pratt, pursuing at least
a four-year degree;
• Have financial need.
Department, Albany, NY 12230. The
completed application form should
be forwarded by the applicant to the
Native American Education Unit along
with the following materials:
• Official transcript of high school
record or photocopy of General
Equivalency Diploma;
• Letter(s) of recommendation from
one or more leaders in the community
attesting to the applicant’s personality
and character;
• Personal letter, setting forth
clearly and in detail, educational
plans and desires;
• Signatures of the parents of minor
applicants, approving
education plans;
• Official tribal certification form.
286
Financial Aid
Selections of Recipients and Allocation
Veterans Administration (VA)
Deadline: May 15, 2015, for tax transcripts,
of Awards
Educational Benefits
if required.
The applicant must:
Application forms are available at all
1. Federal Direct Loans (Subsidized and
• Be a member of one of the Native
Veterans Administration offices, active
Unsubsidized)
duty stations, and American embassies.
Loan applications are available to
Completed forms are submitted to
the student and parent at www.
the nearest VA office. (See Veterans
studentloans.gov. We can notify
Assistance under Registration.)
students of their loan eligibility only in
Financial Aid Instructions and Schedules
of his or her loan eligibility levels in
American tribes located on
reservations within New York State;
• Have graduated from an approved
high school, or have earned a
General Equivalency Diploma, or be
enrolled in a program in an approved
postsecondary institution leading to
degree-credit status and the General
Equivalency Diploma;
• Be enrolled in an approved
All application materials are available at
www.pratt.edu/financing or in the Office
of Financial Aid (Myrtle Hall, 6th Floor).
Students must submit the following to be
considered for federal, state, and Pratt
postsecondary institution in New York
Institute aid (including federal loans) for
State. State Aid to Native Americans
the next academic year:
is an entitlement program. There is
1. Financial Aid Forms for 2015–2016
neither a qualifying examination nor a
Free Application for Federal Student
limited number of awards.
Aid (FAFSA). Student must file this form
in order to become eligible for any
Award Schedule
The award is $1,000 per year for a
maximum of four years of full-time
type of federal or state aid.
2.If requested only, IRS tax transcript
2014 (parents and students).
an award letter is only the first step.
Continuing students who wish to
apply for a loan should file the FAFSA
by March 1. Last year, if you filed the
Master Promissory Note (MPN), you
don’t have to submit another MPN.
2.New York State Residents Only
Students can apply for a grant from
the Tuition Assistance Program (TAP)
by filling out a Free Application for
Federal Student Aid (FAFSA). The state
begins processing these forms in May
2015. They will mail the student an
Express TAP Application (ETA) which he
or she must complete, sign and return
to New York State Higher Education
study, a minimum of 12 credit hours
per semester.
an award letter. Notifying the student
Mail to:
Office of Financial Aid
Service Corporation.
3.Other Information We Request
Myrtle Hall, 6th Floor
Students are responsible for notifying
Pratt Institute
for additional information when the
the Native American Education Unit in
student’s application is reviewed. It
writing of any change in student status or
Brooklyn, NY 11205
is important to respond quickly. Aid
program or institutional enrollment.
A financial aid counselor may ask
cannot be finalized until we receive the
requested information.
Source:
Native American Education Unit
New York State
Education Department
Albany, NY 12230
4.Apply Early
Call us with questions at 718.636.3599
or email us at [email protected]. Filing
deadline is February 1. Filing after this
deadline may jeopardize eligibility for
Pratt scholarships and grants.
Other Documents That May Be Required,
Depending on Student’s Situation
• Application for a Federal Stafford or
Financial Aid
287
Benjamon Goldberger Memorial
Collaborative Endowment for
Architecture/Peter Schreter
Federal PLUS Loan. Recommended
Endowed Scholarship
submission date: May 20. Late
This scholarship endowment provides
submissions may not be processed in
recognition and financial assistance to
time for September payment of bills.
undergraduate students enrolled at Pratt
• Citizenship documentation if student
is not a U.S. citizen.
• Documentation on outside
scholarships.
• Various verification requirements, such
as tax returns, only if requested.
• Copy of driver’s license and Social
Security card. For the 2015–16
academic year, please refer to the
financial aid section of the Pratt
website: www.pratt.edu/financing.
Restricted Grants and Scholarships
There are no special application forms
for restricted and endowed scholarships.
Recipients are selected by deans or
department chairs based on criteria
established by the donors. These
awards are generally made to continuing
students in the spring semester for
one year only, and are based on the
availability of funds in any given year.
Notification of scholarship and fellowship
availability will be made by individual
departments in the spring of each year.
Institute in the School of Architecture.
Patrick F. Corvo ’88 Memorial Scholarship
A scholarship established by the family
and friends of Patrick Corvo, class of
1988, in his memory. An award is given to
a student entering the final year of study
in the School of Architecture who has
demonstrated a serious commitment to
the field of architecture.
Dream Big Endowed Scholarship
The Dream Big Endowed Scholarship
awards one annual partial scholarship
to an undergraduate in the School
of Architecture based on need and
merit, with financial need as the
primary consideration.
The G+B+M Architectural Scholarship
The G+B+M Architectural Scholarship
provides a need-based scholarship to an
undergraduate architecture student.
Goodstein Development Corporation
Scholarship in Honor of Jack and
Florence Goodstein
Established by Pratt alumnus
Steven H. Goodstein, class of 1966,
in memory of his parents, this
scholarship benefits students majoring
in Construction Management.
Scholarship
The Benjamin Goldberger Memorial
Scholarship was established by Beatrice
Goldberger, class of 1934, in honor of
her father, Benjamin Goldberger, class
of 1909.
William Randolph Hearst Scholarship
The William Randolph Hearst Scholarship
is a fund established by the William
Randolph Hearst Foundation for students
in architecture. Financial need and
academic merit being equal, preference
is given to minority students.
Amy C. Koe Endowed Scholarship
The Amy C. Koe Endowed Scholarship
is awarded to needy and deserving
students in the School of Architecture
with demonstrated financial need.
Charles Macchi Scholarship
The Charles Macchi Scholarship provides
one or more full or partial scholarships
to academically qualified students in the
David Mandl Memorial Scholarship
A scholarship established in memory of
David Mandl, the David Mandl Memorial
Scholarship supports deserving and
academically qualified students in the
288
Financial Aid
Patrons Program Scholarship
Lee and Norman Rosenfeld Award
Vincent A. Stabile Endowed Scholarship
A scholarship established by Pratt
The Lee and Norman Rosenfeld
A scholarship fund established by Vincent
family member Edmund S. Twining III,
Award provides monetary awards to
A. Stabile, class of 1940, the Vincent A.
the Patrons Program Scholarship
professionally motivated, academically
Stabile Endowed Scholarship benefits
provides support to outstanding
qualified, and/or deserving
students in the School of Architecture.
architecture students.
undergraduate students in the School
of Architecture who have completed
Gihei & Sato Takeuchi Memorial
Planning Scholarship
one year of study. Preference is given to
Endowed Scholarship
The Planning Scholarship fund was
students who are honest and honorable,
A scholarship established by John M.
established for students in the graduate
as established by academic leadership
Takeuchi in honor of his parents, the
program in City and Regional Planning.
and character, and who will use the funds
Gihei and Sato Takeuchi Memorial
to perpetuate their educational, creative,
Endowed Scholarship is awarded to a
and professional goals.
full-time student in her or his
Pratt Planning Alumni Scholarship
second year studying in the School
A fund established by Pratt Planning
Alumni for students in the Graduate
Clyde Lincoln Rounseville Scholarship
of Architecture, who shows promise
Planning Program in the School
The Clyde Lincoln Rounseville Scholarship
through academic achievement.
of Architecture.
is awarded to deserving students in the
Lucinda Veikos Endowed Scholarship
A fund established by William and
Frank O. Price Scholarship
This fund was established by friends
Charles and Marie Schade
Elizabeth Pedersen in memory of
of Professor Frank O. Price, longtime
Endowed Scholarship
Lucinda Veikos, class of 1992, the Lucinda
teacher in the School of Architecture,
A scholarship established by Charles
Veikos Endowed Scholarship benefits
and is awarded to a worthy student.
and Marie Schade, the Charles and
a deserving student in the School
Marie Schade Endowed Scholarship
of Architecture.
Edward Re Jr. Scholarship
provides aid to students in the School
This scholarship was established by
of Art, School of Design, or School
Veikos Travel Scholarship for Architecture
Professor Edward D. Re Jr. in order to
of Architecture who demonstrate
Study and Travel
aid students studying in the School of
good academic standing as well as
A scholarship established by Kohn
Architecture and the Department of
financial need.
Pederson Fox Associates in memory of
Lucinda Veikos, class of 1992, for travel
Construction Management.
Thomas F. and Tess L. Schutte
abroad for a deserving student in the
Donna and Martin Rich ’63
Endowed Scholarship
Architecture Travel Fund
Named in commemoration of President
This fund provides financial assistance
and Mrs. Schutte and in honor of the
Winnemore Endowed Scholarship
to students who are accepted into the
President’s 20th anniversary at the
Established by Augustine E. Winnemore,
“Pratt In Rome” travel program.
institution, the Thomas F. and Tess L.
this scholarship is awarded to
Schutte Endowed Scholarship provides
outstanding students in the School
scholarship support for undergraduate
of Architecture.
students in the schools of Art, Design
and Architecture.
School of Art
Art Students’ Association Scholarship
A fund raised by the Art Students’
Association over a period of years, this
scholarship is awarded by competition.
Mary Pratt Barringer Scholarship
A scholarship established by Mary Pratt
Barringer, awarded annually to five
incoming Delaware College of Art and
Design students to Pratt, selected by a
joint committee of representatives from
both schools.
The Reggie Behl Drawing Award
The Reggie Behl Drawing Award provides
a financial award annually to a student in
the School of Art who exhibits excellence
in drawing.
Sandra K. Benjamin-Hannibal Scholarship
A scholarship established in honor
of Sandra K. Benjamin-Hannibal,
awarded to two first-year students
who are in the process of completing
their Foundation Year studies and are
candidates or finalists in the Foundation
Art Competition.
Raymond and Mabel Bolton Art
and Design Scholarship
A scholarship fund established in honor
of Raymond and Mabel Bolton for
deserving students in the School of Art
and the School of Design.
Financial Aid
289
Alma H. Borgfeldt Scholarship
John A. Dreves Art and
A bequest by Alma H. Borgfeldt for
Design Scholarship
scholarships for worthy female students
A scholarship established from the Estate
to be selected by the dean of the School
of John A. Dreves, class of 1935, the John
of Art. The scholarships are awarded to
A. Dreves Art and Design Scholarship
applicants who have majored in the study
provides support for students in the
of art in a public high school located in
Kings County (Brooklyn) and who reside
who demonstrate financial need.
in Kings County (Brooklyn).
Faith Ellis Art Financial Aid Scholarship
Mary Buckley and Joseph Parriott
A fund established by Faith Ellis, class
Endowed Scholarship
of 1939, in memory of her son Rolan
Established by Mary Buckley, a former
R. Ellis, the Faith Ellis Art Financial Aid
professor at Pratt Institute who taught
Scholarship allows students to access
in the Foundation Art Department, this
special training as determined by the Art
scholarship is awarded to Foundation
Education Department.
students who exhibit excellence in color
work and is intended to encourage work
Jacques and Natasha Gelman
in that discipline.
Endowed Scholarship
A scholarship established by Jacques
Robert F. Calrow Memorial Scholarship
and Natasha Gelman, awarded to
A scholarship fund established by Trudi
undergraduate students in studio
Calrow in memory of her husband,
arts who demonstrate exceptional
Robert F. Calrow, a well-known
talent in drawing or painting. With the
painter and inspirational teacher. This
level of creative merit being equal,
scholarship is awarded annually to a
preference is given to those of Mexican
Fine Arts major on the basis of merit
or Latino descent.
and need.
Anthony Gennarelli Memorial
Andrea M. Cella and Grace Hansen Cella
Sculpture Award
Memorial Scholarship
The Anthony Gennarelli Memorial
The Andrea M. Cella and Grace Hansen
Sculpture Award is awarded to students
Cella Memorial Scholarship was
enrolled at Pratt Institute who are
established by Robert and Warren Cella
studying sculpture. The award is based
and aids students in the School of Art
on artistic and academic merit, as well as
and the School of Design who actively
quality of student work.
promote the arts in their community.
290
Financial Aid
Haskell Travel Scholarship
Walter Rogalski Scholarship
Frederick J. Schuback Endowed
The Haskell Travel Scholarship was
The Walter Rogalski scholarship is
Scholarship
established for students in the School of
awarded annually to a graduate Fine Arts
The Frederick J. Schuback Endowed
Art and the School of Design for travel
student on the basis of merit and need.
Scholarship is awarded to one Fine
abroad within two years of graduation.
The recipient is selected by a faculty
Arts undergraduate each year who is
Steve Horn Art & Design Award
committee that reviews candidates
in good academic standing and who
The Steve Horn Art and Design Award is
who exemplify the creative ability that
demonstrates financial need. The
a scholarship established by Steve Horn,
characterized the work of former Pratt
scholarship was established in memory of
awarded annually to one outstanding
professor Walter Rogalski.
Frederick J. Schuback, class of 1975.
Anna K. Rust Endowed Scholarship for
student studying Photography, Film, or
other media arts.
Students in Art and Design
Endowed Scholarship
Elaine Gluckman Popowitz
A scholarship for students in the Schoolof
Art and the School of Design established
The Elaine Gluckman Popowitz Memorial
by Leo Lewis Rust in memory of his wife,
Scholarship was established in memory
Anna Klenke Rust, class of 1938.
of Elaine Gluckman, class of 1981, a
faculty member of the Graduate Art
Therapy Department. The scholarship
Endowed Scholarship
is awarded annually to a second-year
A scholarship established by Charles
and Architecture.
student in the Graduate Creative Arts
and Marie Schade, the Charles and
Therapy Department who has exhibited
Marie Schade Endowed Scholarship
James Seeman Endowed Scholarship
outstanding scholarship, integrity, and
provides aid to students in the School
Established by the family and friends
concern for others.
of Art, School of Design, or School
of interior design leader and muralist
of Architecture who demonstrate
James Seeman, this scholarship provides
Charles Pratt, Jr. Award for Excellence
resources for dedicated Painting
In Photography
financial need.
students, with preference given to those
who recently moved to the United States.
Established by Pratt Institute Trustee
Mike C. Pratt in honor of his father, the
Dorothy G. Schmidt Scholarship
Charles Pratt, Jr. Award for Excellence in
A scholarship established in honor of
Monica Shay Scholarship
Photography is distributed annually to a
Dorothy G. Schmidt, used for elementary
Established with gifts made in memory of
student in the Photography Department
and junior high school teachers seeking
Professor Monica Shay, this scholarship
at Pratt Institute and is based on a
courses at Pratt for professional
is awarded to a deserving student who
combination of academic merit and
enhancement in their work of teaching
meets the following criteria: a graduate
financial need.
art and related subjects in the public
student in the Department of Design
schools of Brooklyn. The scholarship is to
Management and Arts and Cultural
be awarded on the basis of need. Other
Management with demonstrated financial
factors being equal, females shall be
need or dedicated and exemplary service
given preference.
and commitment to the Department
of Design Management and Arts and
Cultural Management.
Financial Aid
291
Ruth P. Taylor Scholarship
Henry Wolf Scholarship
Bernice Bienenstock Scholarship
The Ruth P. Taylor Scholarship is a fund
An endowed scholarship fund, the
The Bernice Bienenstock Scholarship
established by the estate of Ruth P.
income of which is used to award
is awarded to students pursuing home
Taylor, class of 1921, for students in the
one or more scholarships to support
furnishings-related studies.
School of Art and the School of Design.
economically disadvantaged students
Virginia Pratt Thayer Scholarship
pursuing B.F.A.s or M.F.A.s in
Ruth Campbell Bigelow and David E.
Photography or Communications Design.
Bigelow Scholarship
The Ruth Campbell Bigelow and David
in Fine Arts
The Virginia Pratt Thayer Scholarship
Irma Holland Wolstein Endowed
E. Bigelow Scholarship is awarded to a
in Fine Arts is a fund created by Robert
Scholarship
student in Interior Design on the basis of
Thayer in memory of his mother, Virginia
The Irma Holland Wolstein Endowed
need and academic promise.
Pratt Thayer, and provides scholarship aid
Scholarship is a scholarship fund
to an outstanding student entering his or
established by Dr. Benjamin Wolstein
Raymond and Mabel Bolton Art and
her junior year in the Fine Arts program.
and provides gifted students in the Arts
Design Scholarship
Education program with financial aid.
A scholarship fund established in honor
of Raymond and Mabel Bolton for
Dorothy Toole Scholarship
Created through a bequest in the
School of Design
deserving students in the School of Art
will of Mrs. Dorothy Rodgers Toole,
Don Ariev Memorial Term Award
and the School of Design.
class of 1931, the Dorothy Toole
A term award for Pratt graduate students
Scholarship is for students who
enrolled in their second year in Graduate
Federico Castellon Endowed Scholarship
demonstrate unusual interest and
Communications Design, in memory of
A scholarship established by Hilda
talent in the field of fashion illustration.
Pratt Professor Don Ariev, class of 1960.
Castellon in memory of her husband,
This award is based strictly on merit.
Federico Castellon. This scholarship is
awarded on a yearly basis to a promising
Max Weber Scholarship
student in Graphic Arts.
A gift given by Mrs. Max Weber and
Ralph Appelbaum Endowed Scholarship
Miss Frances Weber in memory of the
The Ralph Appelbaum Endowed
well-known artist who was a member
Scholarship is a fund established by Ralph
Andrea M. Cella and Grace Hansen
of the class of 1900. It provides annual
Appelbaum and is awarded to Industrial
Cella Memorial Scholarship
scholarship aid for students in the School
Design students on the basis of need
The Andrea M. Cella and Grace Hansen
of Art and the School of Design.
and merit.
Cella Memorial Scholarship was
established by Robert and Warren Cella
Willard Scholarship
Mary Pratt Barringer Scholarship
and aids students in the School of Art
The Willard Scholarship was established
A scholarship established by Mary Pratt
and the School of Design who actively
to aid students in the School of Art and
Barringer, awarded annually to five
promote the arts in their community.
the School of Design who are graduates
incoming Delaware College of Art and
of Washington Irving High School.
Design students to Pratt, selected by a
joint committee of representatives from
both schools.
292
Financial Aid
Coyne Family Foundation Scholarship
Charles L. Goslin Endowed Memorial
The Bill and Barbara Hilson Scholarship
A fund established by the Richard and
Scholarship
The Bill and Barbara Hilson Scholarship
Jean Coyne Family Foundation for
The Charles L. Goslin Endowed Memorial
provides merit-based, renewable partial
students in Communications Design.
Scholarship provides recognition and
scholarships to incoming graduate
financial assistance, based on need
students in Communications Design.
Tomie dePaola Scholarship
and merit, to students enrolled in Pratt
An endowed scholarship supporting
Institute’s Communications Design
The Hilson Family Fund
students majoring in Illustration,
program in the School of Design.
The Hilson Family Fund was established
established by alumnus Tomie dePaola,
class of 1956.
by the Hilson Family to enhance and
Richard and Anne L. Boetzel
strengthen the Graduate Communications
Gunn Scholarship
Design program. Part of the fund is used
John A. Dreves Art and Design Scholarship
The Richard and Anne L. Boetzel Gunn
for scholarships for students in Graduate
A scholarship established from the Estate
Scholarship is awarded annually to a
Communications Design.
of John A. Dreves, class of 1935, the John
student majoring in Communications
A. Dreves Art and Design Scholarship
Design on the basis of scholarly
Industrial Design Scholarship
provides support for students in the
achievement, with preference given to
The Industrial Design Scholarship
students majoring in Advertising Design
consists of a number of scholarships
who demonstrate financial need.
or Illustration. The scholarship is named
from a fund established by business
for and established by alumni from the
contributions and is awarded to students
class of 1937.
in Industrial Design for experimental
William Fogler Endowed Scholarship
A scholarship established in memory
projects in the laboratory.
of Professor William A. Fogler, class
Haskell Travel Scholarship
of 1955, for promising students in
The Haskell Travel Scholarship was
Melvin K. Jung Memorial Scholarship
Industrial Design.
established for students in the School of
The Melvin K. Jung Memorial Scholarship,
Art and the School of Design for travel
named in memory of an alumnus from
abroad within two years of graduation.
the class of 1975, is awarded to a worthy
Rick Goodwin Memorial Scholarship
graduate student in Industrial Design.
This scholarship fund is established with
gifts made in memory of Rick Goodwin, a
John and Joan Herlitz Memorial
former faculty member in the Department
Endowed Scholarship
Helen of Klucharka Endowed Scholarship
of Industrial Design, and supports an
This scholarship provides recognition
The Helen of Klucharka Endowed
Industrial Design student based on
and financial assistance, based on need
Scholarship was established by Pearl
financial need and academic merit.
and merit, to undergraduate students
K. Schwartz in honor of her mother
enrolled in the Industrial Design
and is awarded to students studying
program in the School of Design. It was
Fashion Design.
established in memory of John Herlitz,
class of 1964, and Joan Herlitz.
Leeds Scholarship in Interior Design
A scholarship for Interior Design students,
this scholarship was established through a
gift from the estate of Harold Leeds.
Financial Aid
293
Naomi Leff Excellence in Interior
The John S. Marquardt Award in
Point of Purchase Scholarship
Design Scholarship
The Point of Purchase Scholarship
Established with a generous bequest
An endowed scholarship fund established
is funded by grants from numerous
from Naomi Leff, class of 1973, this
by George Klauber, class of 1952, in
companies with significant interest in
full scholarship is awarded annually to
memory of John S. Marquardt, class
the design of displays used at the Point
one student who exhibits excellence in
of 1989. This scholarship is awarded
of Purchase (POP). An annual award
Interior Design, who is in good academic
annually to outstanding undergraduates
is given to either undergraduate or
standing, and who demonstrates
majoring in Illustration, Advertising/Art
graduate Industrial Design students who
financial need.
Direction, or Graphic Design, solely on
have demonstrated design leadership
the basis of merit.
potential in the field of POP design.
Founded in 1986 by a group of donors
Phyllis and Conrad Milster Endowed
Alan Pottasch Memorial Scholarship
to honor Professor Herschel Levit’s
Scholarship
A scholarship established by Lisa
31 years of service to Pratt, this
Established by Conrad Milster, Pratt
Pottasch, honoring Alan Pottasch,
scholarship is given to talented Pratt
Institute’s Chief Engineer, the Phyllis and
the Alan Pottasch Memorial
students in their sophomore or junior
Conrad Milster Endowed Scholarship
Scholarship supports undergraduate
year, majoring in Advertising, Graphic
provides one or more annual partial
Communications Design students, with
Design, or Illustration.
scholarships to undergraduate or
a preference given to those who have
graduate students in the Industrial Design
declared a concentration in Advertising
Department.
Art Direction and display financial need.
alumni Ted Lewin, class of 1956, and
Gino and Clarice Nahum
Lillian Pratt Fashion Scholarship
Betsy Lewin, class of 1959, and provides
A scholarship benefiting outstanding
support for Illustration students.
The Gino and Clarice Nahum Memorial
juniors and seniors in Fashion Design,
Herschel Levit Scholarship
Ted and Betsy Lewin Endowed Scholarship
This fund was established by Pratt
Scholarship provides scholarships
established by Pratt family member
William L. Longyear Scholarship
to professionally motivated and
Lillian Pratt.
A fund established by students, alumni,
academically qualified students in
and friends from the business world as a
undergraduate Communications Design,
Marc Rosen Scholarship
tribute to William L. Longyear, associate
who have already completed one year of
Funded by friends and associates of
dean emeritus and former chair of the
study at Pratt. Preference will be given to
Marc Rosen, class of 1970, in his honor,
Department of Advertising Design. It is
undergraduate students who show great
this award is made to an outstanding
awarded annually to Communications
potential, and the scholarship will be
graduate Communications/Packaging
Design students and to graduate
awarded based on merit.
Design student. The recipient is selected
Packaging Design students on the basis
by the chair and members of the
of need and scholarship. The recipients
faculty of the Department of Graduate
of the scholarship are nominated by
Communications/Packaging Design.
the department chairs and two faculty
members for approval by the deans of
the School of Art and the School
of Design.
294
Financial Aid
Barbara Hauben Ross Interior
Dorothy Toole Scholarship
Design Award
Endowed Scholarship
Created through a bequest in the will of
The Barbara Hauben Ross Interior
Mrs. Dorothy Rodgers Toole, class
Design Award is a fund established to
of 1931, the Dorothy Toole Scholarship
honor two outstanding Interior Design
is for students who demonstrate unusual
juniors annually.
interest and talent in the field of
fashion illustration.
Anna K. Rust Endowed Scholarship for
Students in Art and Design
Max Weber Scholarship
A scholarship for students in the School of
and Architecture.
A gift given by Mrs. Max Weber and
Miss Frances Weber in memory of the
Art and the School of Design established
by Leo Lewis Rust in memory of his wife,
Seeman-Burse Fund
well-known artist who was a member
Anna Klenke Rust, class of 1938.
The Seeman-Burse Fund is a scholarship
of the class of 1900. It provides annual
for students in the School of Design,
scholarship aid for students in the School
David Saylor Scholarship for Design
specifically Fashion Design.
of Art and the School of Design.
The David Saylor Scholarship for Design
Selma Seigel Memorial Scholarship
was established to benefit undergraduate
A fund created by Morton Flaum, class
Stephan Weiss Endowed Scholarship
and graduate students in the School of
of 1971, in memory of Selma Seigel, that
Funded by Donna Karan’s Karan-Weiss
Design who are studying either Industrial
provides scholarship aid to Interior
Foundation and awarded to Fine Arts
Design or Interior Design. Preference is
Design students in the School of Design.
students in good academic standing, this
scholarship honors Stephan Weiss.
given to students who combine the fields
of industrial design and interior design
Starr Foundation Scholarship
in their studies, or who plan to do so in
A scholarship fund established by the
Willard Scholarship
their careers.
Starr Foundation for students in the
The Willard Scholarship was established
Department of Communications Design.
to aid students in the School of Art and
Awards are made annually to three
the School of Design who are graduates
Endowed Scholarship
students majoring in Illustration, Graphic
of Washington Irving High School.
A scholarship established by Charles and
Design, or Advertising. Academic merit
Marie Schade to aid students in either
being equal, preference will be given to
Henry Wolf Scholarship
the School of Art, School of Design, or
Asian students.
An endowed scholarship fund, the
income of which is used to award
School of Architecture who demonstrate
Ruth P. Taylor Scholarship
one or more scholarships to support
financial need.
The Ruth P. Taylor Scholarship is a fund
economically disadvantaged students
established by the estate of Ruth P.
pursuing B.F.A.s or M.F.A.s in
Taylor, class of 1921, for students in the
Photography or Communications Design.
Izchak Friedman Endowed Scholarship
An endowed fund established by Pratt
alumna Estelle Friedman, class of 1969,
and her children. It is named in memory
of her husband, Pratt alumnus, professor,
and dean of the School of Liberal Arts
and Sciences, Izchak Friedman, class
of 1962. The scholarship is awarded to
students with an interest in combining
science and the arts, based on merit and
financial need.
Michael M. Mahoney Writers’ Fund
Named in memory of former Pratt
student Michael Mahoney, this award is
presented to undergraduate students
majoring in writing, specifically those
interested in writing for publication and
performance media. Recipients are
chosen by the dean of the School of
Liberal Arts and Sciences.
H.W. Wilson Scholarship
A fund established by the H.W. Wilson
Foundation for graduate students in
Information and Library Science or
Liberal Arts and Sciences.
All Schools
Alumni Scholarship
The Alumni Scholarship is a fund
established in 1957 by various alumni, the
income from which is used for scholarship
assistance for worthy students.
Financial Aid
295
James W. Atkinson Memorial Scholarship
Helen R. Fecke Endowed Scholarship
A scholarship established from the trust
Awarded to students in good academic
of Yvonne Atkinson, in memory of her
standing who demonstrate financial
husband James W. Atkinson, class of
need, the Helen R. Fecke Endowed
1938, a generous and active alumnus
Scholarship is named for an alumna of
and graphic designer who headed
the class of 1926.
Pratt’s alumni branch in Detroit. This
fund provides resources for general
Esther Brigham Fisher Scholarship
scholarship purposes.
A scholarship fund established by Edward
M. Fisher, in memory of his wife, to assist
Dorothy P. Barrett Endowed Scholarship
Pratt Institute students.
A fund established by the estate of
Dorothy P. Barrett for general charitable
Lewis H. Flynn Scholarship
and educational uses.
A fund established under the will of Lewis
H. Flynn, class of 1916, for scholarship aid.
William Bingham II Scholarship
Ford-EEOC Scholarship
A trust for charitable purposes established
The Ford-EEOC Scholarship is an
by the late William Bingham II for students
endowment fund established by the Ford
from Bethel, Maine, other towns in Oxford
Motor Company to provide scholarships
County, Maine, or elsewhere in the state
for students with demonstrated financial
of Maine (in that order).
need. Financial need being equal,
preference will be given to minorities,
Black Alumni of Pratt Endowed
women, Ford employees, their spouses,
Scholarship
and their children.
A fund established to provide
scholarships to students who have
General Scholarship
completed a year at Pratt, are in good
A fund established in 1956 through gifts
academic standing, and demonstrate a
from industries made as matching
need for financial assistance. Academic
scholarships or tuition grants, the income
standing and financial need being equal,
from the General Scholarship is used for
preference will be given to students of
general scholarship purposes.
African and Latino descent.
Kathleen L. Gerla Endowment Scholarship
Elsa K. Brooks Scholarship
The Kathleen L. Gerla Endowment
Created through a charitable gift annuity
Scholarship is a fund established by the
from Elsa K. Brooks, class of 1939, this
Kathleen L. Gerla Charitable Trust.
scholarship is awarded to incoming
freshman students.
296
Financial Aid
Wilson Y. Hancock Endowed Scholarship
MacDonald Scholarship
Charles Pratt Ii Memorial Scholarship
A scholarship that provides general
This scholarship, named in honor of
This endowed scholarship was
support for students in good academic
Helen Babbott MacDonald, provides
established by Edmund Twining III in
standing, the Wilson Y. Hancock Endowed
financial resources to an undergraduate
memory of his grandfather, Charles
Scholarship was established through a
student at Pratt Institute. The award is
Pratt II, to support any full-time
bequest from the Estate of Elizabeth
granted based on financial need and
student at Pratt Institute who best
Marie Hancock in memory of her late
academic merit.
demonstrates the ideals of the founder
of Pratt Institute. These are defined
husband, Wilson Y. Hancock, class of 1933.
Margaret A. Middleditch Fund
as leadership, community service, and
Coby Hoffman Scholarship
The Margaret A. Middleditch Fund is a
self-motivation. Additionally, the award
The Coby Hoffman scholarship was
fund established anonymously to finance
is made to a student who demonstrates
established to support students in the
scholarship or maintenance abroad, or
artistic achievement at the college level.
the travel itself.
Ferdinand M. Junge Memorial Scholarship
Leo J. Pantas Residence Center
A scholarship fund established by Vera
A fund established from the estate of
Scholarship
H. A. Pratt in memory of her husband,
Ferdinand M. Junge, the Ferdinand
A scholarship established by Leo J.
George D. Pratt, for worthy students.
M. Junge Memorial Scholarship is
Pantas, class of 1937, trustee emeritus,
awarded to talented and deserving
with a matching grant from Eaton
undergraduates who demonstrate
Corporation. The scholarship is awarded
Scholarship
financial need.
to a full-time student with financial need
Funded by gifts from the Pratt family and
living in Pantas Residence Hall.
established in honor of Richardson Pratt
George D. Pratt Scholarship
Herman Y. Krinsky Scholarship Fund
Richardson (Jerry) Pratt Endowed
Jr., former president of Pratt, this
for Disabled Students
Pratt Art Supply Product Scholarship
scholarship is awarded to outstanding
A fund established for disabled students
A fund established by the Pratt Art Supply
students with demonstrated financial need.
in honor of former Pratt professor
Shop to provide supply scholarships for
Herman Y. Krinsky.
qualifying students. Scholarships will be
Richardson and Mary O. Pratt Scholarship
awarded annually during a scholarship
This scholarship, made possible by
and fall trade show.
the gifts of various donors, honors
Jacob and Gwendolyn Lawrence
Endowed Scholarship
the legacies of Richardson Pratt Jr.,
The Jacob and Gwendolyn
former president of Pratt, and his wife,
Lawrence Endowed Scholarship is
Mary O. Pratt.
a fund established for general
scholarship support.
Paige Rense Scholarship
A scholarship established in honor of
Paige Rense.
Financial Aid
297
Raoul Settle Scholarship
International Student Scholarships
6.You must submit a statement outlining
A fund established in memory of Raoul
The International Student Scholarship
your academic goals at Pratt, as well as
Settle, class of 1952.
for the academic year 2015–16 will be
what contributions you have made as
available to those students who have
an international student to the campus
Irene C. Shea Endowed Scholarship
encountered financial hardship. Students
life and why you need the scholarship.
A fund established by Irene C. Shea,
must demonstrate unforeseen economic
class of 1934, for students who
need. A Financial Aid Committee will
demonstrate financial need and are in
determine the eligibility of the applicant.
good academic standing.
The scholarship funds are very limited.
assistance, your travels will be
Katherine Pratt Twitchell Fund
Since the award is based only on
restricted.
A fund established in memory of
unforeseen economic need, there is no
Katherine Pratt Twitchell.
application deadline. The scholarship,
if awarded, is to be used for tuition and
Utrecht Scholarships
fees only.
The Utrecht Scholarships will provide
four merit-based scholarships to
You Must Follow These Guidelines:
support undergraduate students at
1. You must in be in good academic
Pratt Institute.
standing and must submit the latest
copy of your transcript.
J. Sherwood Weber Memorial Scholarship
A fund established in memory of J.
Sherwood Weber, former provost and
2.You must have been enrolled at Pratt
for at least one academic year.
3.You must have clearance from the
faculty member, to be awarded annually
Office of the Bursar. Those who have
to an outstanding student in any school.
any outstanding debts with the Bursar
will not be considered.
The Jae Kwan Woo Scholarship
Established by former Pratt trustee and
alumnus Young S. Woo, class of 1980, the
Jae Kwan Woo Scholarship will provide
partial scholarships to Pratt Institute
undergraduate students based on merit
and need. With the level of academic
merit and financial need being equal,
preference will be given to students from
Korea or of Korean descent.
4.You must submit copies of bank
statements for the past six months;
telephone, utility, and rent bills; and a
budget for the academic year.
5.If you are sponsored, you must
submit proof of your sponsor’s
inability to continue with the financial
commitment.
7.You must submit a letter of
recommendation.
8.If you are receiving Pratt’s financial
The above-listed documents must
be submitted as proof of unforeseen
economic need to the Office of
International Affairs, attention: Jane Bush.
299
Tuition and Fees
Costs
Books and Supplies
The following approximate costs are
in effect at the time of publication.
They are subject to change by action
of the Board of Trustees. The Institute
reserves the right to change regulations
at any time without prior notice; it also
reserves the right to change tuition and
fees as necessary.
Tuition and fees are payable in full at the
time of registration.
$3,000 per year, depending on the
program.
Other Expenses
For resident students (students living
away from home in either on-campus or
off-campus housing), an estimated $600
per month (for a nine-month period)
should be allowed for food, housing,
clothing, and other personal needs. For
commuter students (students living at
home), an estimated $250 per month
Undergraduate
Credits 1–11
$1,438 per credit
Credits 12–18
$44,580 annually
Credits 19+
$44,580 plus $1,438 per
credit in excess of 18
credits
Fees
Fees vary according to program. For a
complete listing of fees, see the next
page. Please refer to the graduate
bulletin for graduate tuition and fees.
should be allowed for personal expenses
and transportation.
Students provide their own
textbooks and instructional and art
supplies. These books and supplies may
be purchased either online or at local art
supply stores. Bookstore expenses are
not chargeable to the student’s Institute
tuition account. For those students who
have a third party book voucher, they must
purchase their books upfront and provide
the voucher with eligible copies of the
Tuition Payment
Students are charged tuition
according to their enrollment status.
An undergraduate student taking a
graduate course applicable to his or her
undergraduate degree is charged at the
undergraduate rate. A graduate student
taking an undergraduate course is
charged tuition at the graduate rate.
Terms of Payment
Bills are payable by personal or certified
check, money order, VISA, MasterCard,
American Express, Discover, debit
cards featuring the NYCE symbol, or
wire transfer in advance of each term.
Checks should be made payable to Pratt
Institute. Payment is also accepted
online. There is a 2.5 percent convenience
fee charged with each credit card
transaction. Library fines, lost ID cards,
and fees not charged to your student
account do not incur the fee. Pratt Card
transactions also do not incur the fee.
E-checks are free.
receipt in order to be reimbursed.
Bursar
Associate Bursar Manhattan
Office
Yvette Mack
Madeline Vega-Mourad
Tel: 718.636.3539 | Fax: 718.636.3740
[email protected]
[email protected]
[email protected]
Associate Bursar
Loretta Edwards
[email protected]
300
Tuition and Fees
Deferred Payment Plan (Fall and Spring*)
Please notify the Bursar’s Office at the
The Tuition Installment Plan, managed
following address or phone number if
by Tuition Management Systems (TMS) of
you are using TMS.
Warwick, Rhode Island, provides a way
Academic Facilities Fee
$350
Each fall and spring term:
full-time students
$195
to pay educational expenses through
Pratt Institute
manageable monthly installments instead
Office of the Bursar/Student
of paying one lump sum. TMS is not a
Financial Services
loan; therefore, no interest is charged.
The fee is $105 for the year. This plan
Brooklyn, NY 11205
enables the student to pay both fall and
718.636.3539
per semester. May be waived
spring tuition over eight, nine, or ten
[email protected]
with proof of personal health
part-time students
$195
students
$TBD
The start date of August 15 for the ninemonth plan or September 15 for the
eight-month plan is available for new
students. There is also a semester-based
plan for $97.
The monthly installments can be
General Fees
$50
Application fee
$90
Application fee/
international students
$300
Acceptance deposit
$300
Residence deposit
automatically drafted from the student’s
bank checking account, eliminating the
Activities Fee Each Term
need to write a check each month. TMS
$143
Undergraduate activities fee
will provide the student with an easy-
each fall and spring term: full-
to-use worksheet to assist in budgeting
time students
educational expenses for the year. A
semester-based plan is also available. For
further information, call or write:
Tuition Management Systems
171 Service Avenue
Second Floor
Warwick, RI 02886
800.722.4867
www.afford.com/pratt
* The plan is not available for summer
Mandatory health insurance fee
insurance.
months, beginning with July 15 for the
ten-month plan for continuing students.
Each summer term for all
$84
Undergraduate activities fee
each fall and spring term:
$75
semester
Technology Fees
$325
$165
part-time students
$165
Each summer term for all
students
Architecture Fees
$45
Architecture shop fee. Each fall,
spring, summer term: full-time
and part-time students
credits)
student publications and the expenses of
full-time students
part-time students (11 or fewer
Student activities funds are used for
International student fee per
Health Services Fees
$185
student organizations.
full-time students
$94
part-time students
Miscellaneous Fees
Tuition and Fees
301
Late Payment Fees
Fine Arts Studio Refundable Deposits
B.F.A. Senior Painting and Drawing
$100
Shop Safety Certification Class
$35
Fee for issuance of duplicate
any unpaid balance after the initial
diploma
disbursement of financial aid has
$10
$55
Readmission fee
been applied for each semester.
Deposits are paid to the Bursar’s Office
$20
Leave of absence fee
$100
Portfolio/work experience
be charged after the first 15 days
deposit
of each semester/session for
Portfolio/work experience
students who did not complete their
fee per undergraduate credit
registration during their designated
evaluated. Fee: 30 percent of
registration period.
$431
a.A late fee of $80 will be charged for
b.A late registration fee of $55 will
undergraduate per-credit rate.
Refundable Studio Deposit
Deposit for the entire year
and refunded by check.
B.F.A. Sculpture Refundable Key Deposit
$10
For combined junior and
senior year
Returned Check Fees
Auditing Courses
$25
For returned checks
Studio Deposit
a.Students and community pay 50
percent of the published “per credit”
tuition rate for each course.
Transcript Request Fees
$7.50
b.Pratt Alumni pay 40 percent of the
published “per credit” rate for each
$10
course.
registrar
By Internet, www.pratt.edu/
one working day of receipt
on campus)
$15
In-person requests
$18.50
UPS Service
a.Zero credit internships may have
30 percent of the “per credit” rate.
b.All zero credit internships are
charged 100 percent of all fees.
Studio deposit for
the entire year
By Internet, www.pratt.edu/
(transcript leaves Pratt within
charged 100 percent of all fees.
billing credits which are charged at
$20
registrar for express service
c.All persons auditing courses are
Zero Credit Internships
B.F.A. Printmaking Senior Refundable
Digital Arts Lab Fees
$45 per
All 100/200/300 Level
course
DDA Courses
$55 per
All 400/500
course
Level Courses
$65 per
All 600 Level Courses
course
Film/Video Student Fees
$50
Basic lab fee for a single
100–400 level course
$10
Fee per each additional
100–400 level course
302
Tuition and Fees
Fine Arts Shop fee (per course)
B.F.A. Senior Jewelry Refundable
Fall and Spring
Studio Deposit
$50
$45
Deposit for the entire year
$45
For students receiving Title IV funds who
withdraw officially or unofficially from all
All 200–600 level courses
$25
in Sculpture
classes, the federal refund calculation
will be based on the amount of Title
IV earned, based on the amount of time
in Ceramics
$45
Federal Refund Policy
Course Withdrawal Refunds
in Jewelry
Procedures for official withdrawals are as
follows: students who want to withdraw
in Printmaking
must fill out the official withdrawal form
(available in the student’s academic
Students not enrolled in ceramics
department), have the form signed by
courses, but requesting use of facilities
the Office of the Bursar, and submit
and clay: $75
it immediately to the Office of the
Registrar. Refunds are determined by
the student has been in attendance.
Examples of the application of each
of these policies are available in the Office
of the Bursar. Where a refund is required
to be returned to Title IV funds, payments
will be made in the following order:
1. Unsubsidized Federal Direct
Stafford Loan
2.Subsidized Federal Direct
Stafford Loan
Photography Student Fees
the date the Drop/Add or complete
$60
withdrawal form is signed by the Office of
3.Federal Direct Plus Loan
the Registrar.
4.Federal Perkins Loan
Basic Lab Fee for 100-500
level courses
Fee provides students access to
checking out equipment for use off
campus and use of the black-and-white
and color darkrooms.
$100
Digital Print Fee for PHOT-250
and PHOT-350
Fee provides students access to one
digital classroom/lab and unlimited
For all students, the following course
withdrawal penalty schedules apply:
5.Federal Pell Grant
6.FSEOG
7.Other Title IV aid
Pratt Institute Refund Policy
8.Other federal sources
Full Refund:
9.State, private, institutional aid
Withdrawal prior to and including the
Student Individual fees are not
opening day of term
refundable after the first day of the
85 Percent Tuition Refund:
term. Once the student’s request is
Withdrawal from the 2nd through
received, processing takes approximately
8th day of the term
10 working days. Liability is computed
from the date the form is signed by the
Withdrawal from the 9th through
registrar staff. Withdrawals may not be
Fee provides students access to all
15th day of the term
made by telephone. Check registration
digital labs and unlimited printing on
schedules and the Institute’s calendar
inkjet printers including the large format
Withdrawal from the 16th through
for exact liability deadline dates each
inkjet printers.
22nd day of the term
semester. Withdrawal from courses does
$75
Non-Silver Photo Lab Fee
No Refund: Withdrawal after the
not automatically cancel housing or meal
for PHOT-315
22nd day of the term
plans. Penalties for housing and meal
printing on the small-format inkjet
printers.
$250
Digital Mural Printing Fee
for PHOT-450
Fee provides students access
and chemistry materials for the
non-silver lab.
plans are calculated based on the date
the student submits a completed
Tuition and Fees
Adjustment Form to the Office of
Residential Life. Refunds for withdrawn
If no billing address is specified, bills
are mailed to the permanent address.
303
Payments
Payments must include the student’s
name and ID number. Checks and
courses are not automatic and must be
Billing Schedule
money orders should be made payable
For those students who have registered,
to Pratt Institute in U.S. dollars and
Refunds on Credit Balances
fall semester bills are mailed during the
drawn on a U.S. bank. Checks drawn on
A credit balance on a student’s account
second week of July, and spring semester
an international bank may delay credit
after applying Title IV funds (Federal
bills are mailed during the first week of
to the student’s account and may be
Student Aid Funds) will be automatically
December. All other bills including summer
subject to a collection fee imposed by
refunded, and a refund will be mailed or
are available online. Due dates cannot be
Pratt’s bank. Students may pay in person
applied to the debit card within 14 days
extended because bills are not received.
and receive a receipt by presenting the
requested from the Office of the Bursar.
of the later of any of the following dates:
If a student does not receive a bill,
invoice and payment to the Bursar’s
(1) the date the credit balance occurs;
he or she may contact the Office of the
Office, Myrtle Hall 6th floor, between
(2) the first day of classes of a payment
Bursar prior to the due date to ascertain
10 am and 4 pm, Monday, Tuesday, and
period of enrollment; or (3) the date the
the amount due. Consult the Costs section
Wednesday. Evening hours are scheduled
student rescinds his or her authorization
and the student’s housing license if an
on Thursdays. Payment online or by
to apply Title IV funds to other charges or
earlier estimate is needed. Consult the
mail avoids waiting in line. Please allow
for the institution to hold excess funds.
annual Academic Calendar and Academic
five working days for mail delivery and a
Guide for exact payment deadlines.
minimum of three weeks for processing.
Arrangements have been made with
Notice of IRS Filing
questions in the Manhattan Campus
a bank on campus for students to
Any cash amount paid totaling $10,000
Wednesdays from 9 AM-5 PM, located on
open accounts, making it possible to
or more made within a 12-month period,
the second floor, Room 207. The office
cash personal checks with the Pratt ID
the IRS form 8300 will be completed and
does not take any forms of payment, nor
(providing the student’s available bank
sent to the IRS. Please be sure to present
does it distribute refund checks.
account balance covers the amount of
photo ID.
Banking Facilities
A staff member is available for
the check to be cashed) and a primary
ID (state issued or passport). An ATM is
Interest
also available on campus.
An Interest fee of 1.25 percent is
assessed on all delinquent accounts one
Billing
Bills are mailed to one address. One
copy of each bill will be mailed to the
address the student lists as his or her
“billing” address on registration records.
A “billing” address may be established,
changed, or deleted at any time by writing
to or visiting the Office of the Registrar.
Due dates cannot be extended because
bills have not been received.
month or older.
304
Tuition and Fees
Returned Checks
Stafford, PLUS Direct Loans
Pratt Prepaid Discover Debit Card
The Institute charges a processing fee
Loan funds are sent to Pratt by the
The Pratt Prepaid Discover Debit card
of $25 when a check is returned by the
federal government electronically (EFT).
is a new faster way for you to receive
student’s bank for any reason. Any check
Funds will be disbursed in accordance
your tuition refunds. Partnering with
in payment of an Institute charge that is
with federal regulations, and a signature
www.acceluraid.com, students have
returned by the bank may result in a late
may be required.
the flexibility of receiving their tuition
refunds in a variety of ways. You can now
payment charge as well as a returned
check charge.
Alternative Loan Checks
manage and receive your funds faster
In some instances, lenders disburse
than ever, plus have the convenience
Registration (First Day of Class)
Alternative Loans in paper check form
of carrying a Discover branded debit
We reserve the right to restrict
which may require a signature. Loan
card. This card will serve as your student
registration eligibility for students with
checks are made payable jointly to Pratt
refund card for the duration of your
high balances.
Institute and the student. Payees must
studies at Pratt Institute. All future
endorse the checks before they can be
student refunds will be disbursed
Collection Accounts
applied to the student’s account. The
through it so you must be careful not to
The student will be responsible for
student will be held responsible for the
misplace the card.
all collection costs associated with
loan portion of the balance on his or
delinquent accounts forwarded to an
her account whether or not he or she
Design Center is the FREE ATM where
outside collection agency because of
receives the loan. It is the student’s
no charges are assessed for withdrawing
nonpayment.
responsibility to contact the federal
funds. You may use the Sovereign
government when delays occur. A
Bank ATM located by the guard booth;
Adjustments
student whose Institute bills are overdue
however, fees will apply.
We strongly recommend that you view
will not be allowed to register in the
your bill online periodically. In addition,
Institute, receive grades, transcripts, or
we recommend giving parents or any
diploma, or have enrollment or degrees
account or request a paper check be
third party payer access to the Parent
confirmed until financial obligations are
mailed to you, at no cost.
Module so they can view/pay your bill
paid in full.
online. If a student contests a portion
PLUS Loan checks are sent to the
The Accelluraid ATM located in the
You can also transfer the available
funds to your personal checking/savings
Included with your card are
instructions on how to activate and use
parent directly unless a parent gives
it. The Acceluraid Company administers
uncontested portion by the due date
written consent to have any PLUS loan
the card. All questions regarding your
and immediately contact the appropriate
excess returned to the student.
card can be answered through the
of the bill, he or she should pay the
office to request an adjustment.
Acceluraid website, www.acceluraid.
Adjustments should be pursued and
com/pratt or for more information
resolved immediately to avoid a hold on
regarding the debit card please see
registration or grades.
www.pratt.edu/debitcard. If you have
not received a card and would like
one, please contact the Bursar’s office
directly at [email protected].
Tuition and Fees
peerTransfer for International Students
Pratt Institute is always looking for ways
to accommodate the busy lives of our
students. With you in mind, Pratt Institute
has recently partnered with peerTransfer
Corporation to offer an innovative way
to streamline your international tuition
payments. Developed by an international
student, peerTransfer offers a simple,
secure, and cost-effective method for
transferring and processing education
payments in foreign currencies.
By offering favorable conversion
rates unmatched by larger financial
institutions, peerTransfer enables
Pratt’s international students to pay
from any country and any bank while
saving a significant amount of money.
Furthermore, students will be able to:
1. Track the progress of their payment
throughout the transfer.
2.Be alerted when their payment is
received.
3.Track the progress of their tuition
payments via an online dashboard and
be assured that their payments are
going to the correct account.
You can find the link to the peerTransfer
solution on the www.pratt.edu/bursar
website or by visiting www.peerTransfer.com.
305
307
Registration
and Academic Policies
In order to attend any course at Pratt
classes, add or drop sections, view
schedule. Responsibility for a correct
Institute, a student must:
their grades, and review their degree
registration and a correct academic
audit. Your academic advisor and your
record rests entirely with the student.
appointment dates for advisement and
Students are responsible for knowing
registration are listed on your degree
regulations regarding withdrawals,
audit. Students should contact their
refund deadlines, program changes, and
advisor for assistance.
academic policies.
1. Be formally approved for admission.
• Matriculated students will receive an
acceptance letter/email that includes
a OneKey (username) and ID number
(initial password). It may also include
additional requisites required for
admission to a program.
• All final and official college and high
school transcripts (indicating date of
graduation) must be submitted to the
Institute prior to enrollment.
• Non-matriculated students will be
provided this information once they
submit a non-matriculated student
application in the Registrar’s Office
and pay the fee. They do not have to
follow steps 2 and 3.
2.Meet with an academic advisor and
have a program of courses approved
by that advisor on Academic Tools—
the portion of www.pratt.edu/mypratt
that allows students to register for
3.Register for the approved courses online
Instructors will not admit students
during the designated registration period.
to classes in which they are not officially
A student’s registration date is displayed
registered. Proof of official registration
under the student’s name when he or she
may be obtained in the Office of the
logs in to www.pratt.edu/mypratt. Online
Registrar or through the Academic
registration is done on Academic Tools.
Tools. Any student who attends a class
4.Pay prescribed tuition and fees to
without valid registration (i.e., he or she
the Bursar. Students—and persons
is not on the official class roster) will
approved by that student via the
not have credits or a grade recorded for
Parent Module—can view the bill on
that course.
www.pratt.edu/mypratt. See the Tuition
and Fees section of this Bulletin for
more information.
Students are fully responsible for tuition
and fees after they complete Steps 1
through 3 above. If students do not
complete Step 4 before the first day
of class, their unpaid registrations may
be canceled according to the payment
Registrar
Tashana Curtis
TAP Certification Officer/
Lisle Henderson
[email protected]
Veterans Advisor
Charlotte Outlaw-Yorker
[email protected]
Matthew Townsend
Assistant Registrars
[email protected]
[email protected]
Marcia Approo
Office
[email protected]
Tel: 718.636.3663 | Fax: 718.636.3548
[email protected]
Registration and Academic Policies
308
Identification Cards and Services
Pratt online accounts must be used
As part of orientation, new students are
for all official Institute communication
issued identification cards. Students
through the Internet as an individual’s
must present their PrattCard to receive
Pratt email address is the only way
services and privileges, to gain entry
to validate the authenticity of the
into campus buildings, and to identify
requester. No official requests will be
themselves to Institute officers as
fulfilled from any email address that does
necessary. People who cannot or will not
not end with a pratt.edu suffix. Likewise,
produce a student identification card
all official Institute communications sent
are not recognized as students and are
electronically are emailed to this address.
not entitled to student services. To find
Some notices are only sent electronically.
out more about the PrattCard, log in at
Students are responsible for the
www.pratt.edu/mypratt (the PrattCard
information sent to their Pratt email.
is on the left side of the dashboard).
The PrattCard Office is located in the
Student Registration
Activities and Resource Center (ARC),
New Student Initial Registration
Lower Level, Room A-109.
Pratt Email Accounts and
My.Pratt Access
The portal www.pratt.edu/mypratt is
Pratt’s interactive student gateway. It
provides access to grades, schedules,
bills, applications for graduation and
transcripts, as well as other academic
information.
No additional applications or
activations are necessary.
All student user names are
automatically assigned by the Information
Technology Office. Pratt email and
my.pratt accounts are assigned to all
students at the time of admission. The
Admissions Office mails a letter to all
deposited students with their Pratt email
address and ID number.
Continuing Student Registration
Continuing students are assigned a
registration date based on their degree
progress. Official registration dates can
be found in the Academic Calendar or
in the Academic Guide for Students
(emailed to all students each fall). To
avoid late fees, all registered students
who plan to continue in subsequent
semesters are required to register
during the open registration period.
This registration period closes at the
end of the previous semester. Failure
to register during the open registration
period and make payment in advance will
both result in late fees. Late registrations
Entering new students will be required
will also severely jeopardize a student’s
to go online and choose courses
chances of obtaining his or her preferred
during the new student registration
academic course schedule.
time period. The Registrar’s Office will
provide detailed registration instruction
materials and curriculum counseling
instructions for entering new students.
Some departments provide advisement
in a group setting; others complete
advisement by phone or email. Contact
advisors for further information.
Payment of tuition and fees must
be completed before August 1 to avoid a
late fee.
All new students are required
to participate in the orientation
program before the start of their initial
semester. Contact the Office of Student
Involvement for published schedules.
Late Registration
Late registration periods are subject to a
late fee. The amounts and timing of these
fees are described in the Tuition and Fees
section of this Bulletin and the Academic
Calendar. Registration or reinstatement
after the published add period requires
a written appeal to the Office of the
Provost. Only after the approval from the
provost will students be registered and
allowed to attend classes.
Admission to Class
It is the responsibility of each student to
obtain an official schedule (printout of
registered course, section, credit, and
time) on my.pratt after completion of
the registration process. Students are
strongly cautioned to review and confirm
all data. If any course/section/credit
correction is necessary, the student
can make advisor-approved changes on
my.pratt through the first two weeks of
classes (drop/add period) only. Students
may also alter their schedule with the
assistance of their department or with
a Drop/Add form available in academic
offices or the Office of the Registrar.
Veterans Affairs
Pratt Institute participates in the
following Veterans Administration
Benefits:
• Chapter 33 Post 9/11 GI Bill
• Chapter 30 Montgomery GI Bill (MGIB)
• Chapter 1606 Montgomery GI Bill
(MGIB-SR)
• Chapter 31 Veterans Vocational
Rehabilitation
309
the Chapter, students receive monthly
advisor. These veterans should then go
checks from the VA or the VA will send
to the Registrar’s Office after having
the check directly to Pratt six to eight
been programmed by their respective
weeks after certification. Failure to
departments in order to present a signed
request certification upon completion
copy of the authorization to the Office
of registration may result in a four- to
of the Bursar. Only after receiving this
six-week delay in the receipt of the first
signed authorization will the Office of the
benefit check. As of January 1976, those
Bursar validate tuition payment. Veterans
students receiving survivor’s benefits
receiving an allocation for books should
(children of deceased veterans) are
note that Pratt Institute does not
no longer required to be certified by
maintain the campus bookstore. The
the school. Appropriate forms may be
VA should be notified accordingly. Final
obtained at the student’s VA Regional
and official authorization cannot be
Office. New transfer students who have
forwarded to the VA until the student has
already received educational benefits
completed registration. Pratt Institute
should bring their VA claim number to the
serves only as a source of certification
veterans’ advisor.
and information to the VA Regional
New students, who have been in
Office. The student must carry out
active military service, must submit a
all financial transactions with the VA
certified copy of their DD 214 (discharge
directly. All transactions are carried out
papers). Students in Active Reserve
with the Buffalo Office:
should be certified by their commanding
P.O. Box 4616
officer, and the signature of the Pratt
Buffalo, NY 14240
veterans’ advisor should be obtained
from the Registrar’s Office. Students
The New York Regional Office is at :
who support spouses, children, or
245 W. Houston Street (at Varick Street)
parents should submit birth certificates
New York, NY 10014
or marriage certificates as appropriate.
Students in the Reserve (Chapter 1606)
Because the New York Regional
seeking to obtain educational benefits
Veterans Administration (VA) will not
should see their commanding officer
accept certification of enrollment
for eligibility counseling and forms and,
before the first class day of any session,
if eligible, should then see the Pratt
students planning to enroll under any
veterans’ advisor for certification.
of the VA programs should initiate the
All students receiving benefits under
certification procedure by making an
Veterans’ Vocational Rehabilitation
appointment to see the veterans’ advisor
(Chapter 31) should contact their
in the Office of the Registrar after
counselors at the VA, who will forward an
registration is completed. Depending on
“authorization form” to Pratt’s veterans’
Residency Requirement
Students must complete at least 48
semester credits at Pratt. The last 32
credits must be taken in final sequence
to earn any undergraduate degree. To
be considered for graduation honors, a
student must have completed a minimum
of 50 percent of the credits required to
complete the degree at Pratt.
310
Transfer Credits
Transfer Credit Prior to Matriculation
Transfer credit is granted for courses
that are appropriate to the program
curriculum at Pratt. Only a grade of C
or better from a school accredited by
an accrediting agency or state approval
agency recognized by the U.S. Secretary
of Education or the international
equivalent, and only a numeric evaluation
of 70 or better from international
institutions, will be considered
acceptable for transfer to the Pratt
record. Grades of lower than C (including
C-) or less than 70 are not acceptable
for transfer credit evaluation. Institutions
accredited by the New York State Board
of Regents will be individually evaluated,
and credits will be awarded according to
articulation agreements.
Credits may be awarded for courses
in which (1) a grade of C or better is
earned from domestic institutions (or 70
or better from international institutions
as determined by an official international
credit evaluation service) and (2) the
courses correspond to the specific
course requirements of the applicant’s
program of study. Grades lower than
C (including C-) or less than 70 are not
transferable. Grades of transfer credit
are not included in the GPA.
A maximum of six credits in foreign
language will be accepted. Students seek-
International students may be
Prior to registration, the transfer
required to submit additional class hour
student receives an estimate by the
documentation to determine a U.S.
Office of Admissions of the credit that can
semester hour equivalency or have their
be expected for work done at previous
credentials of international credit hours
college(s). Additional documents may be
evaluated by an official international
requested by the Office of Admissions
credit evaluations service. Pratt accepts
(bulletin, course hours, syllabi, etc.)
international credit evaluation performed
in order to complete the estimated
any member of the National Association
evaluation. Deposited students should mail
of Credit Evaluation Services (NACES).
all education records to the Office of the
Pratt accepts up to nine credits for
Registrar. After all final transcripts have
Advanced Placement (AP) with a score
been received, a complete evaluation of
of four or five and the International
transfer credit will be sent to the student.
Baccalaureate (IB) Higher Level with
a score of five or greater (details are
presented in the Admissions Section).
Credit may also be awarded for College
Level Equivalency Program (CLEP) tests
with acceptable scores. Only tests taken
prior to matriculation at Pratt will be
considered.
Credit evaluations will be completed
only after acceptance. Students
petitioning for transfer credit(s) must
submit to the Admissions Office an
official transcript from each college
attended prior to enrollment. Additional
transcripts will not be accepted for
transfer credit evaluation after the
beginning of the student’s first semester
at Pratt. Accepted students who seek
AP, IB, or CLEP credit must submit
official copies of score reports to the
Admissions Office prior to enrollment.
Transfer Credit after Matriculation
Every student, once matriculated at
Pratt, whether as a freshman or a transfer
student, is expected to complete his or
her degree requirements at Pratt, both
in major areas and in liberal arts and
sciences. In exceptional circumstances,
a student who is in good academic
standing may request to take a course at
another college. These students must get
permission in advance to take courses
at other colleges for transfer to their
Pratt record. Credit for courses taken
at another institution while matriculated
at Pratt is limited to a maximum of three
credits for associate degree students and
six credits for baccalaureate students,
only three credits of which can be
transferred as studio and three as liberal
arts and sciences. Transfer credit is given
ing transfer credits for studio courses in
only for the credit-bearing course at the
art, design, or architecture are required to
other institution and must be passed with
submit a portfolio reflective of their studio
a grade of C or higher. A grade of C- is
coursework completed in a prior institution
not acceptable for transfer purposes.
as part of the admission application.
Grades of transfer credits are not
included in the GPA.
The student must first secure
written approval on the permission form
available in the Office of the Registrar
to take courses at another college.
Permission for major course credit must
be approved by the dean of the student’s
school, and permission for liberal arts
credit must be approved only by the
dean of the School of Liberal Arts and
Sciences. The approved permission must
311
How to Petition
Student Status
• Petition in person at the office of the
appropriate chair. You will be advised
as to the feasibility of your request
and given a Statement of Intent to be
completed. You should keep a copy of
the document and be sure another is
in your permanent file.
• Present a copy of the Statement of
be signed for clearance and filed in the
Intent to the Registrar’s Office with
Office of the Registrar before the course
a $100 deposit. The Office of the
is taken. Upon completion, an official
Registrar will give you an application
transcript must be sent to the Registrar’s
form, which should be returned to
Office for the credit to be transferred.
that office after completion. When
the entire process is complete, the
Portfolio/Work Experience Credit
Registrar’s Office will apply the deposit
Based on previous work experience and/
to a fee schedule of 30 percent of
or portfolio, credit may be granted for
the regular per-credit tuition rate per
undergraduate professional courses in
credit evaluated.
the School of Architecture, School of Art,
and School of Design. When applying for
admission, the student should indicate
his or her intention to seek credits for
work experience. Students must submit
the following documentation for credit
consideration:
• Résumé
• Professional portfolio
• Letters from employers detailing
responsibilities and areas of expertise
To apply for portfolio/work
experience credit, the following
steps must be followed.
• Submit documentation as described
above to appropriate departmental chair.
Please allow one week for evaluation.
• Return the application with the proper
authorization to the Office of the
Registrar to complete the process.
You will be billed accordingly. Payment
is due upon billing. A maximum of 32
credits can be evaluated for those
programs requiring fewer than 150
credits for graduation and up to 42
credits for those programs requiring
more than 150 credits for graduation.
Credits earned through this procedure
are not included in the GPA. They
will not count toward the Institute’s
minimum residence requirement.
Full-Time Undergraduate
To be classified as a full-time student,
undergraduate students must enroll
for 12 or more semester credits (or an
equivalent combination of credits and
activities recognized as applicable).
Students registered for Intensive English
are considered registered in activities
equivalent to two credits for each section.
Part-Time Undergraduate
Undergraduate students are classified
as part-time if they schedule or drop to
fewer than 12 credits (or equivalent, see
above) of registered coursework.
Attendance Policy
Faculty members are encouraged to
take attendance. There are no excused
absences or cuts. Students are expected
to attend all classes. Any absences may
affect the final grade. Three absences
may result in course failure at the
discretion of the instructor.
312
Enrollment Verification Letters
A student may request an enrollment
Applying for a Change of Major
Students can generate a watermarked
verification letter on Pratt Institute
(Same School)
PDF record of their periods of
letterhead several ways:
If the departments are in the same
enrollment and current status at Pratt
• Through the Academic Tools student
school, a Change of Major form (available
Institute online through the National
Student Clearinghouse. This service can
be accessed at any time through www.
pratt.edu/mypratt:
1. Log in with your OneKey at
www.pratt.edu/mypratt;
2.Click on “Academic Tools” on the
left side of the page. Click on “log in”
under “Verifications and Transcripts.”
Through the Self-Service menu, a
student may also:
• Obtain a Good Student Discount
Certificate.
• View the enrollment information
on file with the National Student
menu (under My Courses).
• A written request including ID number
and mailing/fax destination from a
student’s Pratt email account.
• In person at the Registrar’s Office with
a Pratt ID.
• A written request by fax with copy of
student ID and signature.
In all cases where the student is not the
direct recipient,where student must
provide written permission to release
the information as well as the name and
address of the company or person that is
to receive the verification letter.
in the Registrar’s Office) needs to be
completed and signed by the student
and the chairs of both the current and
new department.
1. Meet with an academic advisor to
review the effect the change of major
will have. Be sure to print out a degree
audit for the new major before the
meeting to see the difference in the
requirements.
2.Pick up an application for a change of
major in the Office of the Registrar;
complete and sign the form.
3.Turn in the completed form,
with required signatures, to the
Clearinghouse. (Enrollment
information is provided to the National
Changes and Withdrawals
Student Clearinghouse by many post-
Applying for a Change of Major
Program/Major Changes
(Different Schools)
Each student must follow the program
If the departments are in different
and major for which she or he has been
schools, students must apply for this
secondary institutions. Enrollment in
those schools is included.)
• View the student loan deferment
admitted to Pratt. The Institute will not
change in the Admissions Office (for
notifications that the Clearinghouse
recognize a change of major as official
example, School of Architecture to
has provided to your loan holders
unless the change is processed with the
School of Art or School of Design).
(lenders and guarantors).
appropriate approvals and recorded
in the student information system. A
Course/Section Changes
the Clearinghouse has provided to your
student who wants to change a major
The Institute recognizes no change of
health insurers and other providers of
must first speak with his or her academic
course(s) or section(s) as official unless
student services or products.
advisor. Course requirements for the new
the change is processed online through
major reflect the current catalog year.
Academic Tools or with a Drop/Add
Hence, a change in major may result in
form submitted with the appropriate
more credits being required to graduate.
approvals to the Registrar’s Office.
It may also have an effect on the number
Courses and course sections may be
of transfer credits allowed.
changed online during the first two weeks
• View the proof(s) of enrollment that
• Order or track a transcript.
• View specific information about your
student loans.
of each semester. Once this add period
313
is over no courses may be added to the
No course withdrawal will be
The date that the Complete Withdrawal
student’s schedule. Students paying by
accepted after the published deadline.
form is turned into the Registrar’s Office
the credit who drop a course on or after
WD grades earned via the official
is the official date used for withdrawal.
the first day of the term will be charged
withdrawal procedure cannot be
This date determines eligibility for WD
a percentage of the course fee. (See
changed.
grades and a student’s charges for the
term of withdrawal. Only the submission
refund period schedule below.)
It is the responsibility of the
student to officially withdraw from
any registered course or section. This
decision must be completed online
through Academic Tools or by filing a
properly completed Drop/Add form with
the Registrar’s Office. Failure to attend
classes, to notify the instructor, or to
make or complete tuition payment does
not constitute an official withdrawal. A
student who does not officially withdraw
from a registered course will receive a
WF for nonattendance. Students who
stop attending a course without having
officially dropped the course during
Last day to add
a class or change
sections
Fall
Spring
Summer
of a Complete Withdrawal form will
Sep. 4
Feb. 1
May 23
deactivate your status as a currently
enrolled student. Until that time,
Last day to drop Aug. 24
a class with 100%
refund
Jan. 19
Last day to drop
a class with 85%
refund
Aug. 31
Jan. 26
N/A
Last day to drop
a class with 70%
refund
Sep. 7
Feb. 2
N/A
Last day to drop
a class with 55%
refund
Sep. 14
May 16
and grades of F will be issued for class
absences.
None of the following actions causes
an official withdrawal or reduces financial
liability for a semester:
• Notifying a faculty member,
Feb. 9
May 23
Complete Withdrawal from the Institute
the published refund period will not be
Students who are leaving Pratt without
eligible for a retroactive refund.
graduating are required to fill out a
Students may withdraw from a
registration and billing stay in effect
Complete Withdrawal form in the
course during the first 11 weeks of
Registrar’s Office. This form permits the
the fall or spring semesters. A class
Registrar to drop or withdraw a student
that is dropped from a student’s
from all registered classes (a student
schedule after the second week of the
cannot do this online). The form also
semester will remain on the student’s
serves to advise relevant offices that a
academic record with the non-credited
student is no longer enrolled. Students
designation of WD (withdrawal).
who withdraw need to be advised
about any financial obligations and any
academic repercussions of their actions.
They also will be required to complete
and Exit Interview.
department chair, or academic
advisor.
• Failure to pay the student account.
• Failure to attend classes.
The Complete Withdrawal form must be
signed by the student, their department
chair or academic advisor, a financial aid
counselor, the bursar, and the Director of
Residential Life (if the student is living in
a residence hall). International students
must also obtain the signature of the
Office of International Affairs. Students
who are not enrolled during either the
fall or the spring semester and have not
completed a Complete Withdrawal or
Leave of Absence form will be officially
withdrawn from the Institute and will
need to apply for readmission.
314
Leave of Absence
Readmission
A student in good academic and financial
standing may request a leave of absence
for not more than two consecutive
semesters (excluding summer sessions).
Students must apply with a Leave of
Absence Request form in the Office of
the Registrar.
• Students must apply for a leave
of absence on or before the last
Preferred Name
Students who do not attend Pratt for
a semester or more without receiving an
official leave of absence must apply for
readmission. Applications for readmission
are available from the Registrar’s Office.
Those applying for readmission must
submit a $55 application fee payable to
Pratt Institute.
Degree requirements are updated
day to withdraw from classes for
to reflect the current catalog when a
any given semester.
student is readmitted to a program
• Only students in good academic and
financial standing will be approved.
• A leave of absence will not be granted
once a student’s thesis is in progress.
(rather than the one used in the initial
acceptance).
The readmission application
deadlines for each semester are below.
• International students must obtain
authorization from the Office of
International Affairs.
• Students applying for a leave
Application
Deadline
Pratt Institute recognizes that many
members of the Pratt Community prefer
to use names other than their legal ones
to identify themselves. As long as the
use of this preferred name is not for
the purposes of misrepresentation, the
Institute acknowledges that a “preferred
name” can and should be used where
possible in the course of Institute
business and education.
Therefore, beginning the fall
semester of 2015-16, any member of
the Pratt Community may choose to
identify a preferred name in addition to
their legal name. The preferred name
will be used in all Institute business,
Fall
Spring
Summer
except where the use of the legal name
Aug. 15
Dec. 15
May 1
is required. For example, some records,
such as paychecks and transcripts,
require use of a legal name; in such
Personal Data Changes
of absence must pay a $20
circumstances, the Institute will not
All personal data changes must be made
processing fee.
be able to use the preferred name.
in written form only by the student.
However, whenever reasonably possible,
Students are responsible for reporting
“preferred name” will be used.
• A student who wishes to register after
an undocumented leave must apply
the following personal data changes to
for readmission.
the Office of the Registrar:
name, including but not limited to
• Change of name (requires legal
misrepresentation or attempting to
• Students requesting leave for medical
reasons must obtain authorization
from Health and Counseling.
documentation)
• Change of address
• Change of major
Note: Consult the Office of the
Registrar for procedural details on
reporting these changes.
Inappropriate use of the preferred
avoid a legal obligation, may be cause for
denying the request.
315
Parent Module
Transcripts
Online Orders
Students can authorize parents,
Unofficial Transcripts are available for
guardians, or sponsors to view current
viewing and printing through the online
schedules, grades, degree progress
Academic Tools at www.pratt.edu/
and/or access the tuition bill to see the
mypratt.
current balance and make payments.
Students manage (grant or rescind) these
permissions through their Academic
2.Click on “Academic Tools” on the left
Tools. Parents and Sponsors can then
side of the page, and click “log in”;
access the system and log in at parents.
pratt.edu. To access the module:
2.Click on “Academic Tools” on the left
side of the page, and click “log in”;
3.After the system logs you in, click on
the “Students” menu on the sidebar;
4.Click on the “Unofficial Transcripts”
option under “My Grades and
Transcripts.”
Official Transcripts may be ordered
online by students and alumni through
Official transcripts may be ordered
online through the National Student
Clearinghouse with a valid major credit
card at www.getmytranscript.com. You
will receive a confirmation sheet that
must be signed and returned by one of
the following methods:
• Fax it to 1.703.742.4238
(remember to dial 1.703 first).
• Scan and email to transcripts@
studentclearinghouse.org (scanned
attachment must be a GIF, JPEG, BMP,
or TIFF).
• Mail it to:
www.getmytranscript.com. Official
National Student Clearinghouse
transcripts may also be ordered in
2300 Dulles Station Boulevard, Suite 300
Rights” (listed under “My Personal
person or by mail at the Office of the
Herndon, VA 20171.
Information”), students decide which
Registrar. Records containing financial
Payment is by credit card only.
4.Through “Grant Parent/Sponsor
information they allow each account
to see or even rescind previously
given access. Students can request
to add people not listed on this
screen by returning to the Students
menu and clicking “Request New
Parent/Sponsor” (under “My Personal
Information”). If a person is missing
an email address or other important
information, a request to update his or
her account can be made through the
same process.
holds will not be processed until the
There is a $2.25 transaction fee per
hold is cleared. More information can
destination. Regular service (mailed first
be found at www.pratt.edu/registrar.
class from Pratt in three to five business
Your request must have the following
days) is $5 per copy. Rush service (mailed
information to be processed:
first class from Pratt in one business day)
• Name while attending Pratt Institute.
• Nine-digit Social Security or seven-
is $10 per copy. Express service with UPS
digit student ID number.
• Date of birth.
• Telephone number.
• Dates of attendance and/or
graduation.
• Destination information where
transcript is to be mailed.
shipping (mailed via UPS from Pratt in one
business day) is $18.50 per copy.
Orders at the Registrar’s Office
Official transcripts may be picked
up in person or ordered for delivery
during office hours. The office can only
accept cash or checks made out to
Pratt Institute. Requests for immediate
processing and pick up are $15 per copy.
Requests to send official transcripts by
regular service (mailed first class from
Pratt in three to five business days) are
$10 per copy.
316
U.S. Mail Orders
• Copies of transcripts from other
To order an official transcript by mail,
please send a written request and check
or money order (no cash) to:
In accordance with federal regulations,
must be requested directly from those
a credit/semester hour is the amount of
schools. We cannot release or copy
work represented in intended learning
transcripts in our file.
outcomes and verified by evidence of
student achievement. Pratt Institute
Pratt Institute
Office of the Registrar
Organization of Course Offerings
Myrtle Hall, Sixth Floor
Courses Numbered 100 through 499
are primarily reserved for under
graduates. Graduate students will not
receive credit toward graduation for
Payment is by check or money order
only. Only regular service (mailed first
taking these courses.
Courses Numbered 500 through 599
class from Pratt in three to five business
may be open to both undergraduates
days) is available using the mail service.
with junior or senior class standing
The charge is $15 per copy. Records
and graduate students. Courses in this
containing financial holds will not be
range are considered either 1) Technical
processed until the hold is cleared.
Elective; 2) Qualifying; or 3) Graduate
courses whose content complements
General Policies on Transcripts
• The Registrar’s Office must have
the student’s written request or
authorization to issue a transcript.
Parents cannot authorize the
Registrar’s Office to mail a transcript.
• Official Transcripts bear the Institute’s
seal and Registrar’s signature.
• Partial transcripts are not issued. A
transcript is a complete record of all
credit work completed at Pratt.
• Allow five business days from receipt
of the transcript request for the
transcript to be mailed. At certain
peak times, such as registration and
commencement, the processing time
may be longer.
• Transcripts are not released until a
student’s account has been paid in full.
Semester Hour Credit
schools that you may have attended
advanced undergraduate studies. Credit
earned within the 500-numbered
courses by undergraduate students
may not be applied toward a graduate
degree. Graduate students enrolled
in 500-level courses are expected to
perform with greater productivity and
capacity for research and analysis than
their undergraduate colleagues enrolled
in the same courses. Significantly more is
expected of graduate students in course
projects, papers, and conferences.
Courses Numbered 600 and above
are generally for graduate students
only. A graduate course embraces
highly developed content that demands
advanced qualitative and quantitative per
formance and specialization not normally
appropriate to undergraduate courses.
Courses Numbered 900 and above
are elective internship courses.
operates on a semester calendar and
awards credit on a semester basis. Each
semester is a minimum of 15 weeks.
One credit is awarded for at least three
hours of student work per week, or
the equivalent amount of work over a
different amount of time. Student work
may take the form of classroom time,
other direct faculty instruction, or outof-class homework, assignments, or
other student work. A minimum of one
clock hour per week, or equivalent time
in variable-length courses, represents
classroom or direct instruction time.
To determine the appropriate
amount of classroom time required for
each course, Pratt follows the standards
established by its accrediting agencies.
Typically, for each credit hour awarded to
lecture or seminar courses, the students
receive 15 clock hours of direct instruction and are required to perform an additional 30 hours of out-of-class work. For
each credit awarded to a studio course,
undergraduate students typically receive
22.5 clock hours, and graduate students
receive 15 hours of direct instruction and
are required to complete a minimum of
30 additional hours of out-of-class work.
317
Grading System
Grades That Do Not Affect the
INC (Incomplete)
Letter Grades That Affect the
Academic Index
Designation given by the instructor at
Academic Index
A, A– excellent
The student has consistently
AUD (Audit, no credit)
Students must register for courses they
plan to audit by contacting the Registrar’s
demonstrated outstanding ability in the
Office in person or by way of their Pratt
comprehension and interpretation of the
email account.
content of the course. (Numerical Value:
A = 4.0; A– = 3.7)
CR (Credit)
Grade indicates that the student’s
B+, B, B– average
The student has acquired a
achievement was satisfactory to assure
proficiency in subsequent courses
comprehensive knowledge of the content
in the same or related areas. The CR
of the course. (Numerical Value: B+ = 3.3;
grade does not affect the student’s
B = 3.0; B– = 2.7)
academic index. The CR grade is
to be assigned to all appropriately
C+, C acceptable
The student has shown satisfactory
documented transfer credits.
The CR grade is applied to credit
understanding of the content of the
earned at Pratt only if:
course. C is the lowest passing grade
• The student is enrolled in any course
for undergraduate students. (Numerical
Value: C+ = 2.3; C = 2.0 )
D+, D less than acceptable
The student lacks satisfactory
understanding of course content in some
important respects. (Numerical Value: D+
= 1.3; D = 1)
F failure
The student has failed to meet
offered by a school other than the one
in which the student is matriculated,
and had requested from the professor
at the start of the term a CR/NCR
option as a final grade for that term.
• The instructor has received approval
requirements of the course, and has
furnished satisfactory proof that the
work was not completed because of
illness or other circumstances beyond
his or her control. The student must
understand the terms necessary to fulfill
the requirements of the course and the
date by which work must be submitted.
If the work is not submitted by the
understood date of submission, the
incomplete will be converted to a failure.
If unresolved at the end of the following
semester, the grade is changed to failure
with a numerical grade value of 0.
NCR (No Credit)
Indicates that the student has not
demonstrated proficiency. (See CR for
conditions of use.)
NG (No Grade Reported)
registered for the course but the faculty
liberal arts courses within the School
member issued no grade. The student
of Liberal Arts and Sciences.)
should contact the professor. Students
Designation used only for graduate
F (0.0). The +/– grading system went into
student has satisfied all but the final
Indicates that the student was properly
(Numerical Value: F= 0)
(1.0), not D–, is the only grade preceding
in regular attendance, to indicate the
of the Provost. (This does not apply to
IP (In Progress)
for recording is A (4.0) and not A+; D
available only if the student has been
to award CR grades from the Office
the minimum standards for the course.
Note: The highest grade acceptable
the written request of the student and
student thesis, thesis project for which
satisfactory completion is pending,
or Intensive English course for which
satisfactory competence level is pending.
cannot graduate with an NG on
their record.
NR (No Record)
Grade given for no record of attendance
in an enrolled course. (All NR
designations must be resolved by the
effect as of the fall 1989 semester and is
end of the following term or the grade
not acceptable for recording purposes
is changed to a letter grade of F with a
for prior semesters.
numerical value of 0.)
318
WD (Withdrawal from a registered class)
Final Grades, Grade Disputes,
to repeat a course that was passed with
Indicates that the student was permitted
and Grade Appeal Policies
a grade of D or higher without specific
to withdraw from a course in which he
or she was officially enrolled during the
drop period for that semester.
WF (Withdrawal Failing)
Grade given to a student with a failing
grade due to lack of attendance.
Grade Reports
All grades are final as assigned by the
instructor. If a student feels that a grade
received is an error, or that he or she
was graded unfairly, it is the student’s
responsibility to make prompt inquiry
of the instructor after the grade has
been issued. Should this procedure not
prove to be an adequate resolution, the
student should contact the chair of the
Grade reports are not mailed to
department in which the course was
students. Grades may be obtained via
taken to arrange a meeting and appeal
www.pratt.edu/mypratt (see instructions
the grade. If this appeal is unsuccessful,
below). Professors submit final grades
a further and final appeal can be made
online and students are able to view their
to the dean of the school in which the
grades as soon as the instructor enters
course was taken. It is important to note
them. If there are any questions about
that the faculty member who issued the
the grade received, a student should
grade holds the authority to change the
contact the instructor immediately.
grade except in cases of appealed grades.
Only the instructor can change a grade
If a grade is to be changed, the
by properly completing, signing, and
student must be sure that the change
submitting a Change of Grade form
is submitted within the following
directly to the Office of the Registrar.
semester. Petitions of change of any
Time limits have been allotted for
grade will be accepted only up to the
resolving grade problems. Spring and
last day of the semester following the
summer grades may not be changed after
one in which the grade was given. Other
the last day of the following fall semester.
than resolution of an initially assigned
Fall grades cannot be changed after the
incomplete grade or of a final grade
last day of the following spring semester.
reported in error, no letter grade may
Once this time limit has passed, all INC
be changed following graduation.
and NR grades will convert to Fs. To view
authorization from the chair or dean.
Graduate students must repeat all
required courses in which F is the final
grade. The initial grade will remain, but
only the subsequent grade earned will be
averaged in the cumulative index from
the point of repeat onward.
Grade Point Average
A student’s Grade Point Average is
calculated by dividing the total Grade
Points received by the total Credits
Earned. A Grade Point is computed by
multiplying the Credits Attempted for
each class by a numerical value called
Quality Points earned for completing that
class. Only credits evaluated with letter
grades that earn quality points (see table
below) are used in GPA calculations.
Each semester has a minimum length
of 15 weeks. In courses that are passed,
a credit is earned for each period (50
minutes) of lecture or recitation, and for
approximately one and one-half periods
of laboratory or studio work, each week
throughout one term or the equivalent.
Quality Points
A = 4.00
C+ = .30
A– = 3.70
C = 2.00
grades online:
Repeated Courses
B+ = 3.30
C– = 1.70
1. Log in with your OneKey at www.pratt.
A repeated course must be the same
B = 3.00
D+ = 1.30
course as the one for which the previous
B– = 2.70
D = 1.00
edu/mypratt;
left side of the page, and click “log in”;
4.Choose from the options offered
under “My Grades and Transcripts.”
final grade was awarded. Undergraduate
F = 0.00
students must repeat all required
courses in which F is the final grade.
(HMS 101 and 103 courses must be
repeated if a grade of C is not earned.)
No undergraduate student may choose
(If unresolved at the end of the
following semester, INC = F = 0.00
and NR = F = 0.00)
319
In the following example the GPA is 3.33:
Academic Standing
Qualitative Standards of
Grade = Quality Points × Credits Earned =
Pratt Institute’s policies on academic
Academic Standing
Grade Points
standing intend to ensure that all
A=
4.00 × 3 =
12.00
students receive timely notification when
B+=
3.30 × 3 =
9.90
they are subject to academic discipline
B–=
2.70 × 3 =
8.10
or achieve academic honors.
=30.00
Each student is responsible at all
times for knowing his or her own standing.
Total Grade Points ÷ Total Credits
These standings are based on the
Attempted = Grade Points
published academic policies, regulations,
30 ÷ 9 = 3.33
and standards of the Institute. Students
30 (total grade points) divided by 9 (total
subject to academic discipline are
credits) makes a GPA of 3.33.
encouraged to take advantage of support
services available to them, including
INC (incomplete) and NR (no record)
academic advisement, in an effort to help
carry no numerical value for one semester
them meet Institute academic standards.
after the grade is given. Thereafter,
All students’ records are reviewed at
if unresolved, the INC and NR grades
the end of each semester to determine
convert to an F and carry
whether any student who has failed to
a numerical value of 0.
remain in Good Standing may continue in
The following grades do not
the program.
carry numerical values and are never
calculated in the GPA:
P
Pass
CR
Credit
U
Unsatisfactory
WD
Withdrawal
WF
Withdrawal Failing
AUD
Audit
NCR
No Credit
IP
In Progress
Good Standing
All undergraduate students must
maintain a cumulative GPA of at least a
2.0 (equivalent of a C) to remain in Good
Standing. An undergraduate student
whose GPA falls below a 2.0 at any time
may be subject to academic discipline.
The specific conditions under which this
policy will be invoked are as set forth
by the dean of each school. Written
Final grades for credit transferred from
notification will be furnished to the
other institutions to the student’s Pratt
student by the dean.
record are not computed in the GPA.
The staff of each school’s advisement
office evaluates the academic standing
of its students twice during the academic
year. The evaluations take place at the end
of each major semester (fall and spring).
Academic standing is based
on cumulative GPA (for academic
discipline) and term GPA (for academic
honors). Beginning with the spring 1992
semester, a student’s GPA above 2.0
will be rounded to one decimal point in
evaluating eligibility for President’s List
and Dean’s List honors and eligibility for
restricted and/or endowed scholarships.
Rounding is not utilized if a student’s
cumulative average is below 2.0.
Standard notification letters are
mailed to students in the following
categories:
• President’s List Honors recipients
• Dean’s List Honors recipients
• Academic probation standing
• Candidates for academic dismissal
Semester-based distinctions are only
available to undergraduate students
carrying a full-time program. Semesterbased distinctions are only available to
students without any incomplete grades.
President’s List Honors recipients
are defined as students whose term GPA
is 3.6 or higher, and who have completed
12 or more credits in that term with no
incomplete grades.
320
No indication of academic probation will
Associate Degree
defined as students whose term GPA
appear on a student’s transcript, but a
Credits Completed
is between 3.0 and 3.5, and who have
record of probation will be maintained in
1–23
< 1.500
completed 12 or more credits in that
the student’s academic file.
24–58
< 1.500
59 or more
< 2.00
Dean’s List Honors recipients are
term with no incomplete grades.
Academic advisement staff
Cumulative GPA
schedules progress meetings as necessary
Academic Probation
Students are, without exception, placed
on academic probation in the first
semester that their cumulative GPA falls
in the ranges shown below:
Associate Degree
with each student during his or her
4-Year Degree
probation semester.
Credits Completed
Cumulative GPA
1–23
< 1.500
Academic Dismissal
24–58
< 1.500
Students are limited to two
59–97
< 1.700
nonconsecutive probation semesters.
98–134
< 2.00
Students who complete their first
135 or more
< 2.00
Credits Completed
Cumulative GPA
probation semester without achieving
1–23
1.500–1.999
the required 2.0 cumulative average are
5-Year Degree
24–58
1.500–1.999
subject to dismissal as described in item
Credits Completed
59 or more
< 2.00
1. If a student has been granted two prior
1–23
< 1.500
probationary semesters, and his or her
24–58
< 1.500
Cumulative GPA
cumulative average falls below 2.0 for
59–97
< 1.700
Credits Completed
Cumulative GPA
a third time, that student is subject to
98–134
< 2.00
1–23
1.500–1.999
dismissal. Students who are dismissed can
135 or more
< 2.00
24–58
1.500–1.999
apply for readmission to Pratt and can
59–97
1.700–1.999
seek advice on readmittance from the
Extenuating circumstances such as
98–134
< 2.00
academic advisement staff of their school.
serious medical or personal disorders
4-Year Degree
135 or more
< 2.00
5-Year Degree
Credits Completed
Cumulative GPA
1–23
1.500–1.999
24–58
1.500–1.999
59–97
1.700–1.999
98–134
1.700–1.999
135 or more
< 2.00
Students are subject to academic
can lead to waiver of the academic
dismissal if their cumulative GPA is 2.0 or
dismissal. Probation may be offered to
less at the end of an academic probation
a student who completes an Appeal of
semester. Students are also subject
Academic Dismissal form and obtains
to dismissal without prior probation if
written approval from the dean of the
they do not meet minimum cumulative
school in which he or she is enrolled.
averages for their grade classification:
Standards of Degree Progress and Pursuit
321
program, the student will no longer be
Summer sessions do not count as
Students must make reasonable progress
terms in the table. Students do not
eligible for financial aid (grants or loans)
in terms of credits completed each term
have to meet credit requirements to
during any future semesters.
in addition to meeting the standard for
enter those terms and, if needed, can
cumulative GPA. These standards ensure
use those periods to “catch up” to meet
that students are making steady progress
the credits required for the next fall or
4-Year Bachelor’s Degree
201
spring term.
4-Year Writing Bachelor’s
Degree
195
5-Year Bachelor’s Degree
263
2-Year Associate’s Degree
104
toward graduation and can help students
In order to maintain financial aid
avoid excessive student loans. The total
number of semesters a full-time student
eligibility, the maximum number of
may be awarded financial aid is indicated
attempted credits for completion of a
in the table below. In order to be
degree is 150 percent of the required
considered in good academic standing
credits for that particular degree. Pratt
and to remain eligible for financial
will review each student’s eligibility at
aid, full-time students must meet the
the end of each year. If the student
following completed credit requirements
has exceeded the maximum number
to start the term shown.
of attempted credits for their degree
Maximum Number of
Attempted Credits
Transfer students are evaluated for
quantitative standards based on the
number of transfer credits accepted. For
example, a student entering a four-year
degree program who has 42 transfer
credits accepted would need 59 credits
Standards of Degree Progress and Pursuit
Bachelor’s Degree
4 Year
Term
Cumulative
GPA
Credits
Completed
(Writing Major Only)
Bachelor’s Degree 4 Year
Bachelor’s Degree
5 Year
Associate’s Degree
2 Year
Master’s and Post
Master’s
Cumulative
GPA
Cumulative
GPA
Cumulative
GPA
Cumulative
GPA
Credits
Completed
Credits
Completed
Credits
Completed
Credits
Completed
1
N/A
0
N/A
0
N/A
0
N/A
0
N/A
0
2
2.0
22
2.0
20
2.0
22
2.0
23
2.0
12
3
2.0
33
2.0
31
2.0
33
2.0
35
2.0
21
4
2.0
44
2.0
42
2.0
44
2.0
46
2.0
30
5
2.0
55
2.0
53
2.0
55
2.0
58
2.0
39
6
2.0
66
2.0
64
2.0
67
2.0
69
2.0
48
7
2.0
77
2.0
75
2.0
78
2.0
57
8
2.0
88
2.0
86
2.0
90
2.0
66
2.0
75
9
2.0
100
2.0
97
2.0
101
10
2.0
111
2.0
108
2.0
113
11
2.0
123
2.0
119
2.0
124
12
2.0
134
2.0
130
2.0
136
13
2.0
147
14
2.0
159
15
2.0
170
322
completed at the end of his or her first
Degree Audits
semester to start the next semester
Degree audits are computerized
Courses that usually do not count
in good academic standing. Transfer
checklists of graduation requirements.
towards a program’s requirements
students must comply with Institute
These reports are similar to transcripts
are listed in this bottom section.
qualitative standards from the time of
because they list all academic activity.
Sometimes a course will not count
enrollment.
They are different from transcripts,
toward graduation because it was
however, because they organize the
dropped, or carries a grade that
the time frames shown on page 329
coursework attempted into logical blocks
makes it ineligible for consideration
to complete their studies. Credit
that represent what is required. They
requirements for students who combine
also clearly flag what has been taken and
full- and part-time studies will be
what has yet to be taken.
evaluated on an individual basis.
There are four parts to an audit:
Part-time students have double
Students who are recipients under
1. Student Information
4.Other Courses
such as an F or an INC. Also, some
students choose to take an extra
class for additional knowledge even
though it doesn’t fulfill any particular
degree requirement.
the New York State Tuition Assistance
The top of the first page lists the
Program must also meet academic
student’s name, the academic program
How to Get a Copy of a Degree Audit
standards mandated by the State of
being evaluated, the catalog year that
the requirements are being checked
Students may view or print an audit at any
New York.
• Be a U.S. citizen or eligible noncitizen.
• Be a legal resident of New York State a
year prior to matriculation.
• Be a graduate of high school within
the U.S., earned a GED or passed
a federally approved “Ability to
Benefit” test.
Be registered for 12 credits or more in
published required courses.
• Complete minimum 12 credits from
previous semester in published
required courses.
Be in good academic standing with a
cumulative grade point average of 2.00
or better.
In addition, any account with the
Bursar’s Office and all other obligations
to the Institute must be cleared.
against, and the student’s anticipated
graduation date (based on the date
of admission). This section may also
contain one or many text messages
specific to the student, depending on
his or her status at Pratt.
2.Credit and GPA Information
This area lists the total credits required
for graduation, the number required to
be taken at Pratt (residency), and the
time using their Academic Tools.
1. Log in with your OneKey at www.pratt.
edu/mypratt;
left side of the page, and click “log in”;
4.Click on “Degree Audit” under
“Course Planning”;
5.In order to review an audit for the
GPA required for graduation.
current academic program (major),
3.Required Course Information
click “OK.” In order to see what the
This section is usually the longest. It
lists the entire range of requirements
and electives specific to the academic
program being evaluated. Fulfilled
requirements will be listed with the
grade earned (or CR for transfer
credit). Missing requirements are also
noted with credits needed.
results would look like in a different
program, use the drop down list of
majors next to Evaluate New Program
to select a potential major to review.
Students may go online and receive
a degree audit at any time. If you do
not have a computer or access to a
computer lab, come to the Office of the
323
School of Art and School of Design
Academic Integrity Code
At Junior Class Standing
Credits
Students are expected to have completed:
When a student submits any work for
academic credit, he or she makes an
implicit claim that the work is wholly his
HMS–101
Introduction to Literary/
Critical Studies I
3
HMS–103A
Critical Studies II
3
the Office of the Registrar during office
HA-111
Themes in Art and Culture I 3
previously been submitted for academic
hours for an explanation.
HA-112
Themes in Art and Culture II 3
credit in any area. Students are free to
9
study and work together on homework
Total credits (depending on program)
68–72
assignments unless specifically asked
of Art, School of Design, and School
At Senior Class Standing
Credits
of Architecture are expected to make
Students are expected to have completed
the above courses plus:
Registrar. Students who have questions
about how to read the audit should visit
their academic adviser’s office or stop by
Satisfactory Academic Progress Policy
major, as well as in Liberal Arts and
Sciences and in History of Art and Design
not to by the instructor. In addition,
students, especially international
students, are encouraged to seek the
editorial assistance they may need
CH–300
3
CH–400
3
and theses. The Writing and Tutorial
9
Center staff is available to clarify issues
104–107
of academic standards and to provide
or History and Theory of Architecture.
To ensure a smooth progression and
of any person or source not explicitly
noted, and that the work has not
Undergraduate students in the School
appropriate academic progress in their
or her own, done without the assistance
timely graduation, by the time they attain
for writing assignments, term papers,
writing and tutorial help for all Pratt
junior and senior class standing, students
are expected to have completed the
At Junior Class Standing
number of credits in Liberal Arts and
Students are expected to have completed:
also implicitly claims that he or she
Sciences and in History of Art and Design
HMS–101B
Critical Studies I
3
has obtained no prior unauthorized
HMS–103B
Critical Studies II
3
ARCH–106
History and Theory
of Architecture I
3
ARCH–107
History and Theory
of Architecture II
3
9
are not limited to the following:
102
1. The supplying or receiving of
or History and Theory of Architecture
specified below. Students may be
prevented from registering for further
courses in their major until these
requirements have been met.
students. In the case of examinations
Credits
(tests, quizzes, etc.), the student
information about the examination, and
neither gives nor obtains any assistance
during the examination. Moreover, a
student shall not prevent others from
completing their work.
Examples of violations include but
completed papers, outlines, or
At Senior Class Standing
Credits
Students are expected to have completed
the above courses plus:
research for submission by any person
other than the author.
2.The submission of the same, or
CH–300
3
essentially the same, paper or report
CH–400
3
for credit on two different occasions.
9
136
324
3.The supplying or receiving of
Plagiarism*
unauthorized information about the
form or content of an examination
prior to its first being given, specifically
including unauthorized possession of
exam material prior to the exam.
4.The supplying or receiving of partial or
complete answers, or suggestions for
answers, of assistance in interpretation
of questions on any examination from
any source not explicitly authorized.
(This includes copying or reading of
another student’s work or consultation
of notes or other sources during
examinations.)
5.Plagiarism. (See statement following
which defines plagiarism.)
6.Copying or allowing copying of
assigned work or falsification of
information.
7.Unauthorized removal or unnecessary
Plagiarism means presenting, as one’s
own, the words, the work, information,
or the opinions of someone else. It is
dishonest, since the plagiarist offers, as
his or her own, for credit, the language
or information or thought for which he or
she deserves no credit.
Plagiarism occurs when one uses
Graduation and Degrees
Degrees are conferred by the Institute
upon the recommendation of the dean
and faculty of the various schools. This is
done three times a year.
Commencement Ceremony
One commencement ceremony is
held each year at the end of the spring
the exact language of someone else
semester. Students who successfully
without putting the quoted material
complete their studies in October or
in quotation marks and giving its
February are invited to attend the
source. (Exceptions are very well
ceremony that is held following their
known quotations, from the Bible or
graduation. Students who anticipate
Shakespeare, for example.) In formal
a Summer/October completion
papers, the source is acknowledged in a
date should attend the ceremony
footnote; in informal papers, it may be
that is held the May following their
put in parentheses, or made a part of the
graduation. Students who will graduate
text: “Robert Sherwood says...”
in Summer/October and cannot attend
This first type of plagiarism, using
Commencement the following spring
without acknowledging the language
may apply for Permission to Walk in
“hoarding” of study or research
of someone, is easy to understand and
May Commencement in the Registrar’s
materials or equipment intended for
to avoid. When a writer uses the exact
Office. Their names will not appear in the
words of another writer, or speaker, he
commencement program, nor will they
or she must put those words in quotation
receive their diplomas early. Attendance
marks and give their source.
at commencement does not guarantee
common use in assigned work, including
the sequestering of library materials.
8.Alteration of any materials or
apparatus that would interfere with
another student’s work.
9.Forging a signature to certify
A second type of plagiarism is more
complex. It occurs when the writer
presents, as his or her own, the sequence
completion of a course assignment or
of ideas, the arrangement of material, or
a recommendation and the like.
the pattern of thought of someone else,
even though he or she expresses it in his
or her own words. The language may be
his or hers, but he or she is presenting as
his or her work, and taking credit for, the
work of another. He or she is, therefore,
guilty of plagiarism if he or she fails to
give credit to the original author of the
pattern of ideas. *Reprinted with permission of Macmillan
Publishing Company from Understanding and Using
English by Newman P. Birk. 1972.
graduation from the Institute.
325
Graduation with Honors
Using the application, candidates
Institute will be graduated; however, the
Undergraduate
indicate:
diploma will be held and no transcript will
1. Their anticipated graduation term.
be released until their financial account
2.The exact spelling and punctuation
is cleared in full.
For all associate and baccalaureate
degrees to be graduated with honors,
a student must have earned a final
of their name as it is to appear on
cumulative GPA no lower than 3.5 in all
the diploma.
work. A minimum final cumulative GPA
3.Their hometown and state/country
Graduation Requirements
Final graduation requirements include
of 3.75 is required for graduation with
as it is to appear in the
the following:
highest honors. To be considered for
commencement program.
1. Grade Requirements
honors, a student must have completed a
minimum of 50 percent of degree credits
4.The Diploma Mailing Address to be
used to mail diplomas.
at Pratt. These credits must be earned in
Information can be updated before the
semesters evaluated with a GPA.
application deadline by simply filling
out and submitting the graduation
Graduation Procedures
application again. If the candidate is not
To be eligible for a degree, the student
cleared for the announced graduation,
must satisfy all Institute, school, and
a new application must be filed for each
department requirements as stated
subsequently requested graduation.
in undergraduate announcements.
Only after the application has been
Where applicable, students must also
submitted to the Office of the Registrar
meet specific academic requirements
will the candidate’s name be placed on a
concerning prerequisites, course
tentative graduation list. At that time, the
sequences, or program options as posted
graduation review is scheduled.
by academic departments.
Graduation Clearance
Undergraduate students must be in
good standing, with a cumulative GPA
of at least 2.0. In courses constituting
the student’s major as formally
specified in advance by his or her
departmental chair, the student must
have received a grade of C or better
in each or have a cumulative GPA in
these courses of at least 2.0. Any
outstanding INC, NG, or NR grades
from any previous semester(s) that are
pending resolution must be resolved
by the following deadlines:
Graduation
File on or Before
Summer Term/October
September 15
Fall Term/February
January 15
Spring Term/May
May 2
Application for Graduation
Within the schedules mentioned earlier,
Students wishing to be considered
the candidate must check for clearance
Failure to do so will result in removal
for graduation must file a Graduation
at the following offices:
from the graduation list. When final
Application. The application is available
grades are reported for the last term
on the student’s online Academic Tools
Office of The Bursar:
of active registration, any reported
available through www.pratt.edu/
Outstanding Balance on Tuition Account
INC or NR grade for a graduation
mypratt. Applications must be filed on or
before the following deadlines:
Graduation
candidate will automatically remove
Library:
the candidate from the graduation
Outstanding Materials or Account
list. Students who have been removed
File on or Before
from consideration must complete
Summer Term/October
March 25
All financial indebtedness to the Institute
Fall Term/February
August 25
must be cleared prior to graduation.
order to be considered for another
Students who have completed their
graduation date.
Spring Term/May
December 15
academic requirements but who have
outstanding financial obligations to the
a new application for graduation in
326
1. Curriculum Requirements
these, a minimum of 32 additional credits
Each student must fulfill all
in residence for a four-year program
requirements for graduation. No
of study, or a minimum of 48 additional
credits required for graduation will be
credits of residence in a five-year
waived. All requests for an exception
program of study must be taken within
to this rule must be referred to the
the new program.
Dean’s office for consideration. A
course requirement in a student’s
major may be substituted by the
Department Chair/Advisor of the
department in which the student is
An Accredited Institution Other
Than Pratt Institute
Persons holding a baccalaureate degree
enrolled; however, another course in
from an accredited institution other
the same subject area must be taken.
than Pratt Institute will be evaluated
2.To earn a baccalaureate degree,
students are required to complete a
minimum of 48 credits of work
at the Institute, 32 of which are the
last chronological credits registered
within Pratt.
Requirements for a Second Pratt
Baccalaureate Degree
Candidates for a second baccalaureate
degree must first be accepted by
the Office of Admissions for degree
matriculation in an area essentially
different in content from that of the first
degree. The following conditions are
applicable when the first baccalaureate
degree was granted by:
Pratt Institute
Persons holding a baccalaureate
degree from Pratt Institute and
who are matriculated for a second
baccalaureate degree from the Institute
will be evaluated according to the major
background to determine their remaining
program and credit requirements. Of
according to the type of baccalaureate
and the major background in order to
determine their remaining program and
credit requirements, of which a minimum
of 48 credits must be taken in residency
at Pratt.
Changes to This Bulletin
While every effort has been made to
make the material presented in this
Bulletin timely and accurate, the Institute
reserves the right to periodically update
and otherwise change any material,
including faculty listings, course offerings,
policies, and procedures, without
reprinting or amending this Bulletin.
327
Student Affairs
Life at Pratt can be intense. Often
Student Involvement
The Department of Student Involvement
coordinates and assists students to
students need assistance to cope with
challenges encountered at Pratt and in
Director
plan social, cultural, educational,
the city of New York. The staff members
Emma Legge
and recreational programs. Student
activities at Pratt are planned to
of the Office of Student Affairs are able
and willing to help each student in as
Associate Director
contribute to each student’s total
many ways as necessary and possible
Meredith Crain
education, as well as to meet social
and recreational needs. Students are
to make meeting these challenges a
positive experience. In addition, the
Assistant Director
responsible for managing their own
Office of Student Affairs performs many
Alex Ullman
group activities, thus gaining experience
in community and social affairs and
ombudsperson services.
The Office of Student Affairs is
located on the ground floor of Main Hall
Office Manager
playing a role in shaping Institute policy.
Karen Smith
Students are represented on Institute
decision-making bodies such as the
and can be found on the Web at www.
pratt.edu/student-life/student-affairs/.
Office
Board of Trustees, trustee committees,
Student Affairs also has an office in
Tel: 718.636.3422
and the Student Judiciary.
Room 207A on the Pratt Manhattan
[email protected]
campus. Specific hours and services
www.pratt.edu/involvement
provided are posted there and on the
The main functions of the
Department of Student Involvement are:
• Allocation and administration of
Student Affairs website.
funds collected through the student
activity fee.
• Overseeing the Student Union
complex.
• Programming of student activities.
• Promoting leadership and
professional development.
Vice President
Office
Helen Matusow-Ayres
Nadine Shuler
Tel: 718.636.3639 | Fax: 718.399.4239
[email protected]
Assistant to the Vice President
Grace Kendall
328
Student Affairs
Student Organizations
New student orientation is an exciting time
Student Government Association (SGA)
at Pratt. In order to acclimate to campus,
The Student Government’s primary
students have a four-day orientation during
responsibility is to represent the
the week before classes begin. Brooklyn
student body’s interests and to
campus students attend orientation on
encourage students’ involvement in
that campus, while students attending
the life of the Institute.
Pratt Manhattan will attend orientation at
14th Street.
Detailed information will be sent to
new students beginning in June.
The orientation program is staffed
by an exemplary group of student leaders
The Student Government has an Executive Committee in which undergraduate or graduate students are encouraged
to become involved. The SGA can be
The mission of Parent and Family
Programs at Pratt is to provide parents
with the resources to support and
encourage the success of their Pratt
student. Pratt Institute recognizes that
parents are valuable members of the
Pratt community and have much to
•Static Fish – Comic Book
•Ubiquitous – Arts and Literary Magazine
•WPIR Pratt Radio
Professional and Academic
•American Institute of Architecture
Students
•Art and Design Educators
•Association for Information Science &
Active Organizations
Technology
•ComD Agency
•Communications Committee
•Bako Tribe
•Diversity Initiatives Group
•Chinese Student Scholars Association
•Fashion Society
•Korean Student Association
•Graduate ComD
•Latin American Student Association
•History of Art and Design Student
•Pratt International Students Association
•Queer Pratt
Association
•Industrial Design Club
•Jewelry Club
contribute to Pratt. We encourage parent
Special Interest
involvement in the Pratt community. We
•Anime Club
offer programs for parents including
•Ceramics
Parent Orientation, our Annual Family
•Prattonia – Yearbook
emailing [email protected].
Cultural
Parent and Family Programs
•The Prattler – Student Newspaper
reached by calling 718.399.4468 or by
who assist new students in any and
many ways.
Student Media
•Keyframe Animation Club
•Leadership in Environmental
Advocacy and Policy
•Comic Club
•Painting Club
•Dance Club
•Photo League
•Drawing Club
•Pratt Artists’ League
office at 718.636.3422 or email family@
•Games Club
•Pratt Historical Preservation
pratt.edu.
•Envirolutions
Weekend, and our quarterly parents’
newsletter, The Institute Insider. For
further information, please contact our
•Founders Entrepreneurship Club
•Music Club
•Pratt Feminists
•Pratt Film Cult
•Reef Club
•Strive Student Mentors
Organization
•Pratt Institute Planning Student
Association
•Pressure Printmaking
•School of Information and Library
Sciences Student Association
•Sculpture Club
Student Affairs
329
•Special Archivists’ Association
Campus Ministry
Residential Life and Housing
•Special Libraries Association
The chapel, one of the central spaces
•Type Directors Club
on campus, is the setting for meditation
Director
and for interdenominational and
Christopher Kasik
•User Experience/Information
Architecture
Greek Letter Organizations
•Inter-Greek Council (Fraternity/Sorority
denominational rites to celebrate
important events of the campus
Associate Director
community. Currently, Jewish, Catholic,
Katherine Hale
and Protestant (in English and Korean)
services are offered on a regular basis.
Associate Director for Housing
Any group wishing to use the chapel
Administration
•Kappa Sigma Fraternity
may contact the director of Student
Tuan Vu
•Pi Sigma Chi Fraternity
Involvement, whose only requirement is
•Sigma Sigma Sigma Sorority
respect for the space and its purpose.
Governing Body)
•Theta Phi Alpha Sorority
Religious and Spiritual
Assistant Director North Campus
Christopher Ruggieri
Assistant Director South Campus
Benjamin Fabian
•Art/Faith Collective
•Gospel Christian Fellowship
Assistant Director Housing
•Jewish Student Union
Jason LeConey
•Newman Club
•Remnant Christian Fellowship
Community Engagement Board
Also known as C-Board, these students
Lillian Jennas
Receptionist
Steven Spavento
are dedicated to giving back to their
community, both local and global.
Office
Tel: 718.399.4550
Program Board
[email protected]
The Program Board is a group of
www.pratt.edu/reslife
students who plan many on- and offcampus events.
The mission of Residential Life and
Housing is to efficiently and effectively
administer a housing program in a
learning-centered environment that
challenges and supports students to:
• enhance self-understanding
• value community responsibility
• learn from their experiences
Student Affairs
330
Residential Life and Housing holds the
Residential Life and Housing at
The Residence Halls
belief that student development and
Pratt Institute is based on a specific
learning goes on outside the classroom,
set of values. These values guide the
as well as inside the classroom. The
expectations the department has for
policies, procedures, and programs
itself and the students who reside on
that are established and encouraged by
campus and extend to the residence halls
Residential Life and Housing are those
in many direct ways. They are:
that enhance student learning and
• Personal rights and responsibilities
to become integral members of the
• Integrity
• Respect
• Fairness and justice
• Open communication
• Involvement
campus community. This is fostered
involvement outside the classroom.
The department takes very seriously
its role as guarantor of a residence
hall atmosphere conducive to work
and study. We also strive to provide
an atmosphere in which students are
encouraged to make informed decisions
on their own, take responsibility for
their actions, and learn from their
experiences.
Leadership development
opportunities are offered to students in
the residence halls through participation
in Residence Hall Councils, the Residence
Hall Advisory Committee (a student
advisory committee to Residential Life
and Housing), Sustainability Reps, Dining
Services Reps, and the Connections
leadership class.
The Residential Life staff wants
to provide a memorable, enjoyable,
and successful academic year but
reminds students that the success
of this experience lies with all of us.
Through participation, cooperation,
understanding, and communication,
all can enjoy the time spent in the
residence halls at Pratt Institute.
Pratt Institute maintains six residence
halls that accommodate approximately
1,600 undergraduate students. The
focus of our residential life program
is on providing a comfortable yet
challenging environment for students
by educational approaches and
programming.
Pratt residence halls offer a variety
of housing options, including rooms with
and rooms without kitchens, doubles,
and singles. All rooms on campus have
CATV and Internet access. Pratt also
The educational mission of Pratt Institute
offers campus meal plans for students
is actively pursued in the residence halls.
who like the convenience of eating on
An expected outcome of the on-campus
campus. Those students who live on
experience is to have students learn
campus in rooms without kitchens are
to cope and deal with problems that
automatically enrolled in a mandatory
arise. Though this is not always an easy
meal plan.
task, if a student is able to learn from
an adverse situation, the goal has been
Cannoneer Court
achieved. Along with this is the ability for
Cannoneer Court accommodates 175
students to take responsibility for their
students. This traditional corridor-style
choices and behaviors. If students make
residence houses students in double
an inappropriate choice, they should
rooms. Rooms are single sex, but floors
expect to be held accountable, the hope
are co-ed. Bathrooms are communal.
being that a different choice will be made
The traditional nature and small size
the next time, more in keeping with the
of this residence hall promote strong
community expectations set forth.
community and allow a great deal of
building-wide student social exchange.
The building has a TV lounge, work
area, and laundry facilities as well as
a garden courtyard. The rooms are
air-conditioned and carpeted. Room
measurements are 15’ x 12’. Students
may not reside in Cannoneer Court
during the summer months.
Student Affairs
331
Esther Lloyd-Jones Hall
The Townhouses
Willoughby Residence Hall
Esther Lloyd-Jones Hall (ELJ) is named for
Pratt Institute’s newest and most exciting
Willoughby Residence Hall is a former
a trendsetter in modern American higher
housing option, the Townhouses are
17-story apartment coop and is the
education. ELJ accommodates a total of
remodeled historic row houses located
largest residence hall. It accommodates
82 students in suite-style accommodations
near the center of campus. Six students
over 800 undergraduate and graduate
of single and double occupancy rooms.
reside in each house in single rooms on
students. The building houses offices
Suites are single sex, but floors are co-ed.
three floors. Each house is co-ed and
(Residential Life and Housing, Health
Rooms vary in size from 11’ x 16’ to 12’ x 18’.
offers a full kitchen, living room, parlor,
and Counseling, and the Disability
Students are responsible for the healthy
backyard area, and basement. Each room
Services Center) as well as a student
upkeep of their rooms, including shared
is provided with the standard campus
work room, TV lounge, convenience
suite bathrooms. The building has a TV
furniture (bed, armoire, dressers, desk,
store, laundry facilities, and other
lounge and laundry facilities.
chair, and bookshelf). Amenities include
common student lounge areas. Suites are
CATV, washer and dryer, and Internet
single sex, but floors are co-ed. Rooms
Leo J. Pantas Hall
access. Preference for this housing option
vary in size from 9’ x 12’ to 15’ x 18’. In
Leo J. Pantas Hall is a suite-style
is given to junior- and senior-level students.
addition to the standard furniture, all
suites have a kitchen table, stove, and
undergraduate hall that accommodates
212 residents. Students live in four–person
suites, which consist of two double rooms
(two people in each double room). Each
suite has its own bathroom. Suites are
single sex, but floors are co-ed. Each suite
is responsible for the healthy upkeep of
the common bathroom area. The building
boasts a large work area in addition to
a dramatic main lounge area with large
screen TV, foosball table, and kitchenette.
Its central location on campus makes
it desirable to students. Its clock tower
serves as a campus landmark. Rooms
have an 8’ x 9’ entry that leads to a 10’ x
16’ large bedroom. All rooms are airconditioned. Pantas Hall is not open
during the summer months except to
house special conference groups.
Vincent A. Stabile Hall
Vincent A. Stabile Hall opened in fall 1999.
Named for the donor and graduate of
the Engineering School, Stabile Hall was
designed for new students. It houses 212
first-year students in four-person suites.
Each suite consists of two double rooms
and its own bath. Suites are single sex, but
floors are co-ed. With few exceptions,
the room dimensions, not including the
small entry foyer, are 12’ x 12’. Each suite
is responsible for the healthy upkeep of
the common bathroom area. There are
kitchenettes located on each floor. The
award-winning design of the building boasts
a large common lounge. Smaller work and
lounge spaces on each floor contribute
to a vital living and working environment.
All rooms are air-conditioned. Stabile Hall
is not open during the summer months
except to house special conference
groups.
refrigerator. Each resident is provided
with a bookcase. All students assigned
to double, triple, and single spaces will
share kitchen and bathroom facilities
with other residents of the suite. The
converted apartments consist of at
least one double or triple that occupies
the former living room space of the
apartment and at least one private single
room that occupies the former bedroom
space of the apartment. The number of
students residing in a given suite ranges
from two to six students (depending upon
the size of the converted apartment—
one bedroom, two bedroom, or three
bedroom). Willoughby Residence Hall
remains open all year. However, residents
on certain floors might have to relocate
to different floors during the summer
months for the purpose of maintenance
and upkeep. To accommodate additional
graduate students, select double
332
Student Affairs
rooms are converted to a semi-private
Gender Blind Community
life choices. Floor activities will be
single space. The semi-private space
Gender Blind Community has been
planned based on the concept of making
occupies the former living room space
operating since 2003 and continues to
healthy lifestyle choices and providing
of the apartment, is occupied by only
be an option for upper-class and transfer
alternative social activities. Healthy
one student, and shares kitchen and
students in Willoughby Hall. It provides
Choices floors are offered in both first
bathroom facilities with other private
an alternative to single-sex housing.
year and upper-class halls.
single rooms in the apartment. The semi-
This opportunity allows students to live
private option is only available to graduate
with others of differing genders in a
Global Learning Community
students and on an as-needed basis.
community supporting cross-gender
Global Learning Community is a living
understanding. Students are placed in
environment that promotes cultural
apartments with roommates and/or
exchange among resident students.
apartmentmates who may not be of the
The community, composed of both
same gender.
international and domestic students,
Special Housing Options
In addition to the traditional housing
choices offered, several special housing
options are provided for undergraduate
students. Preference for these options
is made during the online housing
preference process.
Quiet Floors
Quiet Floors are an option for both
continuing and new students. Though
all residence hall floors have quiet
hours (10 PM–9 AM weekdays and 11
PM–9 AM weekends), some students
desire a more controlled environment.
Students who choose to live on a quiet
floor are provided a living and working
environment where noise levels are
kept to a minimum 24 hours a day.
Noise levels include sound inside
student apartments, in the hallway,
and among apartmentmates. Students
residing on the quiet floors will serve
as self-regulatory agents. Similar to the
courtesy-hours policy on non-quiet
floors, it is expected that all students on
the quiet floors will abide by requests of
fellow students to lower noise levels.
is a diverse group willing to learn from
Healthy Choices Floors
others and share their experiences.
Healthy Choices Floors provide an
Programs focus on social interactions
environment conducive to living and
promoting cultural exchange, exploration
study while promoting healthy life
of diverse resources in the city, and
choices. The floors are substance
connecting culture to the students’
free. This means there is no smoking;
work. Students in the community
consumption, serving or possession of
agree to be active participants through
alcohol is not permitted regardless of
attending programs and getting to know
age; and as in all residence halls, illegal
others. Students are also encouraged
drugs are prohibited. The guidelines
to plan events and programs. A central
for the Healthy Choices floors indicate
goal of this housing option is to enhance
that while on the floor residents will be
understanding of the global community
substance-free. However, it is expected
and various cultures and nations. Global
that respect be shown to those who
Learning Communities are offered in both
choose to lead a substance-free lifestyle
first year and upper-class halls. In the
on and off the floor. Therefore, residents
freshman Global Learning Community,
must acknowledge that choices they make
residents have a unique experience that
off campus have an effect on the floor
pairs their Freshman English class with
community and make these choices with
the special interest housing theme. The
respect for others on the floor.
English class incorporates global issues
All residents are responsible for
and receives special funding to attend a
participating as positive members of the
course-related performance off-campus
community. For example, this may take
and other exceptional activities. Learning
the form of participating in or planning
communities allow students to interact
programs that center on making healthy
more with their English faculty and make
Student Affairs
333
it easier to seek out study partners, ask
Art History Learning Communities
Room Rates
homework questions, and share insights
Art History Learning Communities
and information with classmates who are
are available for first-year students
also neighbors.
in Cannoneer Court, Pantas Hall,
and Stabile Hall. Students from one
Community Service Floors
residence hall make up an entire Intro to
Community Service Floors are an
Art History survey section (required of
option for upper-class, transfer, and
all School of Art and Design students).
freshman students. The floors provide
The learning community emphasizes
an opportunity for students to work to
engagement and discussion and receives
improve their communities and learn from
special funding to attend a course-
their service. The floors are great places
related performance or tour. Learning
for likeminded individuals to meet and
interact. The community’s mission is to
explore service initiatives that improve
the quality of life for others around them.
Previous projects include art murals, park
beautification, animal shelter work, card
also neighbors.
making, and food and clothing drives.
Residents of the floor determine service
projects and topics of interest. On the
freshman Community Service Floor,
residents have a unique experience that
pairs their Freshman English class with the
special interest housing theme. The English
class incorporates social justice issues
and receives special funding to attend a
course-related performance off-campus
and other exceptional activities. Learning
also neighbors.
Room Assignment
Upon acceptance to the Institute,
Room rates vary according to the type
of accommodation. Typical costs for
each residence hall for an academic
year are as follows:
Cannoneer Court
$7,430 (double room)
Esther Lloyd-Jones Hall
$8,234 (shared single)
$6,130 (double)
Leo J. Pantas Hall
The Townhouses
$9,608 (single room)
Vincent A. Stabile Hall
students are sent an Accepted Student
Guide, which includes a housing
Willoughby Hall
request and brochure describing each
$5,104 (triple with kitchen)
housing option. The process is two
$6,550 (double with kitchen)
part: (1) payment of deposit and (2)
$8,870 (single with kitchen)
online housing preferences. Students
$9,272 (single with kitchen and
are assigned rooms in the order their
private bath)
application was received. Space is
limited, and students are advised to meet
all deadlines. Assignment notifications
are made in early July.
Students who have not applied by
May 1 can anticipate being assigned only
if and when space becomes available. All
correspondence should be addressed to:
Residential Life and Housing
[email protected]
*All rates include free access to laundry
334
Student Affairs
Meal Plan
Athletics and Recreation
In an effort to ensure that students
receive options for proper daily
nutritional requirements, Pratt Institute
offers its students a number of meal
plans. The meal plans are designed
on a debit card system; the student’s
meal plan points decrease as he or she
purchases items in the main dining room,
convenience store, or pizza shop. A meal
plan point equals $1.
All students living in rooms without
kitchens and all freshmen, regardless
of their assignment, are automatically
enrolled in the minimum mandatory meal
plan. This meal plan is in effect for both
semesters and provides the student the
purchasing power of roughly 14 meals
per week. Students may opt for a larger
plan that offers additional purchasing
power of roughly 19 meals per week. The
cost of meals does not include incidental
purchases students may make at the
convenience store. The annual meal plan
rates for 2015–16 are $1,730, $2,033, and
$1,025 per semester.
Students not living in mandatory
meal plan areas, upper-class students,
and commuters may opt for any annual
or semester-only plan. Two semester
plans exist to accommodate a variety
of student needs. These plans are per
semester only. The semester meal plan
rates for 2014–15 are $250 and $695.
Purchasing a meal plan can save the
student almost 10 percent over paying
cash. With all meal plans, students have
the option to add points at any time
during the semester in $25 increments.
Additional details pertaining to the meal
plans are provided in the Enrollment
Guide and are available from Residential
Life and Housing.
There are full locker room facilities with
saunas for men and women. The second
Director
floor houses a fully equipped and newly
Dave B. Adebanjo
renovated weight and fitness room, a
dance studio, and administrative offices.
Associate Director for
Recreational and intramural
Intercollegiate Athletics
activities are scheduled throughout
Ryan McCarthy
the year in conjunction with PrattFit
programming and range from individual
Associate Director for
to team sports and special events. Men’s
Wellness And Recreation
intercollegiate athletics teams include
Shena Faith
basketball, cross-country, indoor and
outdoor track and field, tennis and
Assistant Director for Athletics
volleyball. Women’s teams include
Facilities and Event Management
basketball, cross-country, indoor and
Keisha Lynch
outdoor track and field, tennis and
volleyball. Pratt Institute is a member
Administrative Secretary
of the Hudson Valley Intercollegiate
Linda Rouse
Athletic Conference and fields a total of
12 teams.
Office
Tel: 718.636.3773 | Fax: 718.636.3772
The Activities Resource Center (ARC)
houses a 325 x 130-foot athletic area,
the largest enclosed clear-span area
in Brooklyn aside from the newly
constructed Barclays Center. The
complex includes five regulation-size
tennis courts, two volleyball courts, and
an NCAA basketball court. This same
area provides 650 bleacher seats for
intercollegiate basketball, volleyball,
the Colgate Women’s Games, and other
spectator sports events. This enclosed
area has a seating capacity for up to 1,000
people for special events. The four-lane,
200-meter indoor track completely
encircles the athletic court areas.
Career and Professional Development
Student Affairs
335
development resources, workshops,
• Individual and Group Career Advising:
and entrepreneurial education. We
Individual career advising is available
Director
combine an excellent academic creative
to Pratt students and alumni for life.
Rhonda Schaller
experience with a lifetime job and career
All CCPD staff have backgrounds as
transition support system.
working creatives in major-related
Associate Directors
CCPD staff members stay abreast of
industries. Group counseling sessions
Hera Marashian
changing trends and employer needs, and
and major-specific career workshops
Brynna Tucker
guide Pratt students into an easy transition
are scheduled throughout the year.
from college into the work environment.
Assistant Director
We maintain relationships with employers
Deborah Yanagisawa
and internship providers nationally and
internationally, and offer many ways for
Assistant Director for Experiential
employers to reach and recruit from the
Education
talented Pratt community.
Laura Burrell
Professional staff work with students
on professional learning goals for
Communications Manager
internship placements and career goals
Robert Carabay
for their job search and small business
planning. Extended support is offered
Career Development and Customer
in the areas of exhibition submissions,
Relations Coordinator
grants, fellowships, and residencies. We
Alex Fisher
encourage peer learning through our
Pratt Success program to expand the
Office
Tel: 718.636.3506
leadership opportunities on campus.
The CCPD provides resources
[email protected]
designed to foster meaningful connections
www.pratt.edu/career
between emerging artists and professionals
through the following services:
The Center for Career and Professional
Development (CCPD) inspires, supports,
and educates students and alumni
about emerging trends, the job market,
and what it takes to be a professional
creative in the workplace. We believe
that preparing for a fulfilling, meaningful,
and productive career is one of the
most important co-curricular activities
for Pratt students. The CCPD augments
the state-of-the art curriculum with
career and internship counseling,
industry mentoring, professional
• Professional Development Programming:
We welcome classroom visits to the
Center every semester and offer
presentations on résumé building,
networking, interviewing skills,
developing an online presence,
portfolio presentation, selfpromotion, freelancing, and starting
your own business. Guest speakers
and recruiters come to campus every
semester to speak on careers in
creative industries, review portfolios,
and hold interview sessions.
• Entrepreneurship Training: The CCPD
has developed resources to help
students and alumni build skills and
strategies to become successful
entrepreneurs. The Meditation
Incubator project offers the Creative
Mind, Business Mind course, which
teaches participants meditation,
visualization, and self-reflection
techniques to deepen their creative
process and use as business planning
tools. The Student Startup Center
provides resources that help students
and alumni pursue entrepreneurship,
intrapreneurship, and business
development goals.
• Industry Outreach and Pratt Pro Job
Board: CCPD manages the Pratt Pro
job board—thousands of new positions
are posted each year. We perform
outreach to employers around the
world to develop a pipeline to help
move Pratt students and alumni into
their job openings. We visit studios
and organize firm trips for students
to learn about the latest industry
trends. Pratt Institute hosts numerous
portfolio reviews and thesis exhibitions
of current and graduating student
work, including multiple end-of-year
events highlighting the best work of
the graduating class. Each year, CCPD
hosts opportunity fairs, roundtable
336
discussions, and creative career
conferences with visiting partners,
recruiters, and industry leaders. All
of our programs are developed to
educate students and alumni as well as
provide networking opportunities with
the creative professional community.
• Developing an Online Portfolio: The
Student Affairs
Pratt Institute Internship Program
Each Pratt student has the opportunity
to gain hands-on professional
experience in New York City and
beyond through an academic internship
program supervised in collaboration
with department faculty. The CCPD
supports students in gaining hands-on
CCPD professional staff can help
professional experience interning at
students develop their portfolio and
companies such as Condé Nast, Unified
online presence. Pratt Institute and the
Field, Knoll, and many, many more.
CCPD have partnered with Behance
Internships play a crucial role
also allow students to develop a
professional network of contacts
and build relationships in the field,
which will serve them well as emerging
professionals.
Some key components of a Pratt
Internship are:
• The experience is a full semester.
• The experience can be paid or unpaid.
• Internships are available to all
domestic, international, and transfer
students during their time at Pratt.
to launch Pratt Institute Portfolios at
in developing skills and offering
portfolios.pratt.edu. This is an exciting
professional perspectives. An internship
opportunity for students to promote
at Pratt is an academic opportunity
3 credits based on student need,
their work under the Pratt brand. With
available to full-time matriculated
number of hours worked, and
the Behance platform, Pratt Institute
students every semester, including
Portfolios reaches a wide audience of
summer semester. For more information
To obtain academic credit for an
industry professionals on the lookout
about internships such as eligibility, the
internship, students must be enrolled in
for the best creative talent.
registration process, and deadlines, log
an internship course at the same time
on to www.pratt.edu/career and click
they are participating in the internship.
The staff of CCPD welcomes your
on “Students & Alumni,” then “Internship
Students are required to attend one
questions. To make an appointment
Program.” In most cases, students must
of the internship information sessions
or to find out how the CCPD can help
complete one full semester to be eligible
offered throughout the year in the
you, contact [email protected] or call
for academic credit for an internship.
CCPD to learn more about the internship
718.636.3506.
• Internship credits vary from 0 to
individual departmental policy
program, how to begin an internship
What is an internship?
search, and how to find departmental
Internships are learning experiences in
eligibility information.
the workplace that relate to a student’s
To make an appointment or to
major or professional pursuits. Interns
learn the dates of the next internship
are able to take the skills and theories
information session, contact career@
learned in the classroom and apply them
pratt.edu or call 718.636.3506.
to real-life work experience. Internships
are an opportunity to try a specific field,
organization, or company and participate
as a trainee within that site. Internships
Disability Resource Center
Director
Mai McDonald Graves
[email protected]
Learning Specialist/Counselor
Anna Riquier, L.M.H.C.
[email protected]
Student Affairs
337
Services to Students
• Collaborates with Health and
The DRC provides the following services
directly to students:
• Offers full-service Center where
students can meet with professional
support staff and use computer, study,
and exam-taking areas.
• Maintains confidential records of
documentation of disability.
Learning Specialist
Maegan D’Amato, L.M.S.W.
[email protected]
Marie A. McLaughlin
[email protected]
Office
Tel: 718.802.3123 | Fax: 718.399.4544
• Determines program eligibility for
services based upon documentation
of disability and staff assessment, and
Counseling services in meeting the
needs of students with medical or
psychological conditions.
• Consults with community, local, and
regional services, such as rehabilitation
agencies on behalf of students.
• Serves as an advocate for students with
faculty and staff.
• Provides DRC program information to
the campus community.
• Assists students in monitoring
determines appropriate, individualized
the effectiveness of services and
classroom accommodations and
accommodations.
support services.
• Responds to inquiries from
prospective students and parents.
• Develops and administers appropriate
assessment tools to determine efficacy
of accommodations and services.
• Coordinates support services for
www.pratt.edu/disabilityresourcecenter
students such as note taking, tutoring,
Students with disabilities may utilize the
[email protected]
time management coaching, and
DRC to receive various support services,
counseling.
including attending time-management
The mission of the Disability Resource
Center (DRC) is to ensure students
with disabilities can freely and actively
participate in all facets of Pratt life.
To this end, the office provides and
coordinates services and programs
that support student development,
enable students to maximize their
educational and creative potential,
and assist students in developing their
independence to the fullest extent
possible. The DRC aims to increase the
level of awareness among all members
of the Pratt community so that students
with disabilities are able to perform at
a level limited only by their abilities, not
their disabilities.
• For deaf and hard-of-hearing students,
available services include FM units, sign
language interpreters, and remote and
in-class Computer Assisted Realtime
Translation (CART) services.
• Arranges auxiliary aids for students,
such as assistive learning software, FM
units, and books in alternative formats.
• Consults with faculty regarding the
instructional needs of students.
• Consults with campus department
administrators regarding specific needs
of students, such as special housing and
dietary accommodations, and access to
campus facilities.
and self-advocacy workshops and
scheduling weekly one-on-one sessions
with staff. Students may work on writing
and reading assignments on computers
containing assistive learning technologies,
and may also arrange to take quizzes and
exams in our distraction-free study and
exam room.
338
Student Affairs
To receive classroom accommodations
Health and Counseling Services
Case Manager and Staff Counselor
Hali Brindel, L.C.S.W.
and/or support services through the
DRC we encourage students to schedule
Director
an appointment to meet with DRC staff
Martha Cedarholm, A.R.N.P.-B.C., F.N.P.
to discuss their needs. Students may
[email protected]
[email protected]
Student Health Insurance Specialist
Josefina Soto
also be referred for formal evaluation
that is conducted by appropriate
Associate Director for Counseling
professionals to receive documentation
Vincent Kiefner, Ph.D.
of recommended academic support.
[email protected]
[email protected]
Nurses
Christine Susca, RN
For more information about
[email protected]
the Disability Resource Center visit
Nurse Practitioner/Associate Director
our website at www.pratt.edu/
for Health
disabilityresourcecenter. You may also
Debbie Scott, A.R.N.P.-B.C., F.N.P.
Sheriezah Shiwprashad, LPN
contact the DRC at 718.802.3123 to
[email protected]
[email protected]
classroom accommodations and services
Nurse Practitioner
Administrative Aides
you may need.
Alison Altschuler, A.R.N.P.-B.C., F.N.P.
Giovanni Glaize
[email protected]
[email protected]
Consulting Physician
Sandra Davis
Kristen Harvey, M.D.
[email protected]
Staff Counselors
Consulting Psychiatrist
Sarika Seth Ph.D.
Jane Zirin, M.D.
schedule an appointment to discuss
[email protected]
Psychiatric Nurse Practitioner
Victoria Chun Kwon Ph.D.
Lori Neushotz, DNP
[email protected]
[email protected]
Assistant Director for Counseling and
Office
Staff Counselor
Tel: 718.399.4542 | Fax: 718.399.4544
Lonette Belizaire, Ph.D.
[email protected]
[email protected]
www.pratt.edu/health
Clinical AOD Services Coordinator
Jernee Montoya, L.C.S.W.
[email protected]
Student Affairs
Health and Counseling Services operates
The counseling staff includes clinical
339
Students are automatically enrolled
both by appointment and as a walk-
psychologists, clinical social workers, and
in a health and accident insurance
in clinic. All care provided is strictly
a consulting psychiatrist who are available
plan. They may waive this insurance fee,
confidential and remains separate from
by appointment to meet with students.
which will be deducted from their bill,
a student’s academic and social conduct
Students may receive counseling on a
by providing insurance information in
record. The office is open on weekdays
short-term basis for personal, emotion-
the online student insurance system,
9 AM to 5 PM, with the last appointments
al, family, interpersonal, and situational
Aetna Student Health, prior to the waiver
made at 4 PM. Check the website for
problems. Consultation is available on
deadline, which is always the last day to
updated hours and services.
campus, and referrals for specialty ser-
drop or add courses for the fall semester.
vices are made.
All students who were born after January 1,
The medical staff includes the director, who is a family nurse practitioner, two
Since the Health and Counseling
1957, must provide proof of immunity against
nurse practitioners, a physician attending
Services Center is not designed to
measles, mumps, and rubella. New York
the clinic weekly during the academic year,
meet the total health care needs of
State law requires written documentation
and two nurses. Services provided include
students, referrals are sometimes made
of two measles-mumps-rubella vaccines or
treatment of illnesses; first aid for injuries;
to outside clinics and agencies. The staff
written documentation of immunity to these
physicals, including sports and women’s
is committed to helping students find
diseases proved by a blood test. Written
health examinations; health education; and
the best source of health care at the
documentation is absolutely required in
medical testing.
lowest cost. Hospital and medical care
order to attend classes.
Pregnancy testing is performed
beyond that provided by the Health
Immunization against meningococcal
in the office for free; however, other
and Counseling Services is the financial
meningitis is strongly recommended for
tests are sent to a laboratory service,
responsibility of the student and his
students planning to live in on-campus
which will bill the student or the student’s
or her family. For this purpose, Pratt
housing. † A complete medical history and
insurance provider. Some commonly
Institute requires all students to carry
a comprehensive physical examination are
used medications (over-the-counter
health and accident insurance.
also required for all new students.
and prescription) are dispensed free
or for a nominal fee. Students must
purchase all other medication at a
pharmacy. Referrals are made to local
medical resources for care not provided
on campus.*
*Numerous and varied resources are available
at the Health and Counseling page of the Pratt
website at www.pratt.edu/health.
†New York State does not require this vaccine
but does require a signed acknowledgment of
receipt and review of vaccine information.
340
Student Affairs
International Affairs
The Office of International Affairs (OIA)
welcomes about 500 new international
Director
students each year. There are about
L. Jane Bush
1,329 international students from 77
countries. In addition to providing
Associate Director
services to international students, the
Saundra Hampton
OIA takes care of J1 Exchange Visitors
including inbound exchange students,
Assistant Director
professors, and scholars. The OIA is
Mia Schleifer
the office in charge of keeping Pratt
in compliance with the Department of
Sevis Coordinator
Homeland Security and the Department
Silvana Grima
of State.
Receptionist
staff members are here to help students
Zoila Dennigan
make a successful transition to the Pratt
The well-traveled and experienced
community and help address some of
Office
the challenges students might encounter
Tel: 718.636.3674
during their academic program. They
[email protected]
create a friendly environment, providing
www.pratt.edu/oia
direct support with immigration issues,
employment authorization, financial
issues, personal issues, and crosscultural events.
The OIA advises the Pratt
International Student Association (PISA),
which is open for all to join.
341
Libraries
The Libraries are dedicated to an active
titles are accessible. The Brooklyn
Management, AOS/AAS Program, Design
partnership in the academic process. The
Campus Library houses microfilm,
Management, and Continuing and
Libraries’ primary mission is to support
multimedia, rare books, and the
Professional Studies.
the Institute’s academic programs by
college archives. Visual and Multimedia
providing materials and information
Resources has a collection of DVDs, VHS
instructional programs to help patrons
services to students, faculty, staff,
tapes, and 16mm films. The department
use information resources more
alumni, and visiting scholars. A state-
also circulates cameras, projectors, light
effectively. Other services offered
of-the-art integrated library system
kits, audio recorders, and a half dozen
throughout the year include orientation,
interfaces with an up-to-date website
laptops. The Visual Resources Center
individualized instruction, information
providing broad access to electronic
holds a collection of 35mm slides and
literacy instruction, and research
materials as well as information about
provides access to over 1.3 million images
assistance and referrals to other libraries
the Libraries. Connect to the Libraries’
through ARTstor. Comfortable reading
in the metropolitan area.
website and catalog at library.pratt.edu.
and study spaces are available in this
The collection at the Brooklyn
Campus Library provides broad-based
coverage of the history, theory, criticism,
Librarians at both facilities offer
All of the Library units are dedicated
New York City landmark building on the
not only to providing access to
Brooklyn campus.
information, but to assisting information
The Pratt Manhattan Library
seekers in developing successful
and practice of architecture, fine arts,
holds more than 17,024 monographs,
strategies to locate, evaluate, and employ
and design, while also supporting the
subscribes to over 170 current
information to meet a full range of needs.
liberal arts and sciences. The collection
periodicals, and maintains a small
encompasses over 176,674 monographs
fiction collection. The book and
and bound periodicals and also maintains
periodical collection provides support
776 current periodical descriptions. The
for the following programs: Graduate
Libraries also provide students access
Communications Design, Information and
to 38 online resources and electronic
Library Science, Creative Arts Therapy,
periodical indexes. Through these
Facilities/Construction Management,
resources over 11,474 full-text periodical
Historic Preservation, Arts and Cultural
Director
Library Services Coordinator,
Visual Resources Curator
Russell S. Abell
Manhattan Campus
Johanna Bauman
Jean Hines
Library Audiovisual Coordinator
Head of Public Services
TBA
Evening and Weekend Library Manager
Kate McDermott
Head of Technical Services
John A. Maier
Visual and Multimedia Resources
Director
Chris Arabadjis
Mike Nemire
342
343
Library Faculty
Steven J. Cohen
Maggie Portis
Associate Professor/Cataloger and Librarian
B.A., Cornell University; M.S.L.S., Columbia
University; professional organization memberships
include: American Library Association, Art
Libraries Society of North America, Association
of College and Research Libraries, Association for
Library Collections and Technical Services New
York Library Club.
Assistant Professor/Art and
Architecture Librarian
B.A., The University of Texas at Austin; M.S.
LIS, The Palmer School, Long Island University;
professional organization memberships include
ARLIS/NA and ARLIS/VRA.
Cheryl M. Costello
Assistant Professor/Art and
Architecture Librarian
B.A., M.S., Library and Information Science,
University of Illinois at Urbana-Champaign;
curator of exhibit, La Gazette du Bon Ton: Art
Deco Fashion Plates from 1913-1922 at the Pratt
Library; published in ARLIS/NA Reviews; peer
reviewer for Art Documentation; professional
organization memberships include: American
Association of Museums, Art Libraries Society of
New York, Art Libraries Society of North America;
awarded the Celine Palatsky Travel Award for the
Art Libraries Society of North America Annual
Conference 2008.
Bill McMillin
Assistant Professor/Emerging
Technologies Librarian
B.F.A., Photography, Maryland Institute College
of Art and Design; M.L.S. with Digital Libraries
Specialization, Indiana University at Bloomington;
publications include “One Size Does Not Fit All: a
multi-layered assessment approach to identifying
skill and competency levels” and “Library
Technology and Applications for the Classroom”;
professional organization memberships include
ALA, ACRL, and ASIS&T.
Paul Schlotthauer
Associate Professor/Librarian and Archivist
B.S., Gettysburg College; M.M., Indiana University;
M.L.S., St. John’s University; publications include
“Pratt Institute: A Historical Snapshot of Campus
and Area” in Digitization in the Real World: Lessons
Learned from Small and Medium-Sized Digitization
Projects; professional organization memberships
include: Association of American Archivists, MidAtlantic Regional Archives Conference, Archivists
Round Table of Metropolitan New York, New York
Library Club (board member), American Library
Association, Association of College and Research
Libraries, American Association of Museums.
Holly Wilson
Associate Professor/Research and
Instruction Librarian
B.A., Baldwin-Wallace; M.L.I.S., University of
Pittsburgh; publications include “Touch, see,
find: serving multiple literacies in the art and
design library” in The Handbook of Art and
Design Librarianship; professional organization
memberships include: American Library
Association, Association of College and Research
Libraries; Reference and User Services Association,
Art Libraries Society of North America.
344
345
Board of Trustees
Bruce J. Gitlin
Gary S. Hattem
Adam D. Tihany
Chair of the Board
President and CEO, Milgo Industrial Inc.
President, Deutsche Bank Americas Foundation
and Managing Director, Deutsche Bank Community
Development Finance Group
Principal, Tihany Design
Mike Pratt
Vice Chair of the Board
President and Executive Director,
The Scherman Foundation
Robert H. Siegel
Vice Chair of the Board
Founding Partner, Gwathmey Siegel & Associates
Architects, LLC
Thomas F. Schutte
June Kelly
June Kelly Gallery
Roelfien Kuijpers
Global Head of AWM Relationship Management,
Institutional Head of WM Relationship
Management, Americas, Deautsche Bank
David S. Mack
Senior Partner, The Mack Company
President, Pratt Institute
Dr. Joshua L. Smith
Secretary
Professor Emeritus, New York University
Howard S. Stein
Treasurer
Retired, Managing Director, Operational Risk
Global Corporate and Investment Bank, Citigroup
Kurt Andersen
Trustee, The Halycon Foundation, Trustee
Emerita, The American Museum in Britain,
Member of the Board, The American Associates of
the National Theatre in London
Katharine L. McKenna
Kelsey Miller
Recent Graduate Trustee
Diane Hang Nguyen
Chief Marketing Officer, Lutron Electronics, and
Chief Creative Officer, Ivalo Lighting Incorporated
Faculty Trustee
Michael S. Zetlin
Attorney, Zetlin & De Chiara LLP
Trustees Emeriti:
Richard W. Eiger
Young Ho Kim
Not-for-Profit Consultant
Ralph Pucci
Malcolm MacKay
President, Ralph Pucci International
Leon Moed
Stan Richards
Bruce M. Newman
Principal, The Richards Group
Kate Selden
Graduate Student Trustee
Arts Activisit
Susan Hakkarainen
Susan Young
David O. Pratt
Undergraduate Student Trustee
Anne N. Edwards
Ellery Washington
Charles J. Hamm
Attorney
David Cutler
Founding Partner, Two Trees
Management Co., LLC
Recent Graduate Trustee
Founder and Principal, Art Agency, Partners
Kathryn C. Chenault
David C. Walentas
Artist, Designer, and Owner, KLM Studios
Artist, Interior Designer, and Owner, Buck House
Amy Cappellazzo
Former Director, Architecture, Planning and
Design Program and Capital Projects, NYSCA and
Adjunct Assistant Professor, Graduate School
of Architecture, Planning and Preservation,
Columbia University
Faculty Trustee
Carolyn Bransford MacDonald
Writer
Deborah J. Buck
Anne H. Van Ingen
Mark D. Stumer
Principal, Mojo-Stumer Associates, P.C.
Juliana C. Terian
Chairman of the Rallye Group
Heidi Nitze
Marc A. Rosen
346
347
Administration
Dr. Thomas F. Schutte
Russell Abell
Anthony Gelber
President
Director of Libraries
Director of Administrative Sustainability
Kirk E. Pillow
Sylvia Acuesta
Glenn Gordon
Provost
Comptroller
Executive Director of Planning, Design,
Construction, and Physical Plant
Marianthi Zikopoulos
TBA
Associate Provost
Director of Athletics and Recreation
Judith Aaron
Sinclaire Alkire
Vice President for Enrollment
Director of Enrollment Marketing and Research
Helen Matusow-Ayres
Nedzad Goga
Vice President for Student Affairs
Director of Financial Aid
Joseph M. Hemway
Christopher Arabadjis
Vice President for Information
Technology and CIO
Director of Multi-Media Services
Mai McDonald-Graves
Director of Disability Services
Thomas Greene
Director of Human Resources
Imani Griszell
Director of Events
Nancy Walker
Director of Graduate Admissions
Nicholas Battis
Director of Exhibitions
Interim Vice President for
Institutional Advancement
Vladimir Briller
Cathleen Kenny
Executive Director of Strategic Planning
and Institutional Research
Vice President for Finance
and Administration
L. Jane Bush
Thomas Hanrahan
Dean, School of Architecture
Gerald Snyder
Dean, School of Art
Anita Cooney
Young Hah
Lisle Henderson
Registrar
Director of International Affairs
Dustin Liebenow
Director of Marketing Communications and
Enrollment Management
Debera Johnson
Academic Director of Sustainability
Martha Cedarholm
Director of Health and Counseling Services
Berti Jones
Director of Enterprise Systems
Randy Donowitz
Director of the Writing and Tutorial Center
Christopher Kasik
Director of Residential Life and Housing
Dean, School of Design
Grace Kendall
Andrew Barnes
Director of Special Projects/Assistant to the
Vice President for Student Affairs
Emma Legge
Adam Friedman
Ludovic Leroy
Dean, School of Liberal Arts and Sciences
Tula Giannini
Dean, School of Information and
Library Science
Director of Pratt Center for
Community Development
Director of Student Involvement and Parent
and Family Programs
Director of Corporate Relations
348
Administration
Yvette Mack
Professional Development
Bursar
John Maier
Richard Scherr
Head of Technical Services
Director of Facilities Planning
and Design
Emily Mack Marshall
William J. Schmitz
Director of Foundation Relations
Director of Safety and Security
Ellery Matthews
Michael Sclafani
Director of Academic Computing
Director of Alumni Relations
and Annual Giving
Patti McCall
Head of Public Services
Nancy Seidler
Director of Intensive English
Mara McGinnis
Executive Director of Communications
Lorraine Smith
Curator, Visual Resource Center
Emily Moqtaderi
Executive Director, Campaign
and Major Gifts
Richard Soto
Christopher Paisley
William Swan
Director of Processing and Technology
Director of Undergraduate Admissions
Dmitriy Paskhaver
Vicki Weiner
Director of Research
Director of Planning
Director of Budget
Warren White
Director of HEOP
Bryan Wizemann
Director of the Web Group
Rhonda Schaller
Director of the Center for Career and
349
Academic Calendar
Last day for 100% tuition refund
Fall 2015
Spring 2016
Summer 2016
August 24
January 19
May 16
August 24
January 19
May 16
upon withdrawal (WD)
First day of classes
(See schedule of classes)
Last day to add or drop without a
September 7
February 1
May 23
November 13
April 8
June 27
Dates that classes do
September 7 (Labor Day)
January 18
May 30
not meet
October 12–13 (Midterm Break)
(Martin Luther King Day)
(Memorial Day)
November 25–29 (Thanksgiving)
March 14–20
July 4 (Independence
(Spring Break)
Day)
WD grade
Last day to withdraw (WD) from a
course
Studio Days
December 8–11
May 3–6
Final exams
December 12–18
May 7–13
Last day of classes
December 18
May 13
July 22
(See schedule of classes)
Grades due online
December 22
May 17
July 26
Please note: This calendar must be considered
as informational and not binding on the Institute.
The dates listed here are provided as a guideline
for use by students and offices participating in
academic and registration related activities.
This calendar is not to be used for nonacademic
business purposes. Pratt Institute reserves the
right to make changes to the information printed
in this Bulletin without prior notice.
Important Telephone Numbers
Academic Advisors Admissions (toll-free): 800.331.0834
International Affairs Office: 718.636.3674
Architecture: 718.399.4333
Admissions: 718.636.3514
Library (Circulation Desk): 718.636.3420
Art and Design: 718.636.3611
Bursar: 718.636.3539
Registrar: 718.636.3663
Information and Library Science:
Career Services: 718.636.3506
Residential Life: 718.399.4550
212.647.7682
Financial Aid: 718.636.3599
Security: 718.636.3540
Intensive English Program: 718.636.3450
Health and Counseling Services:
Student Activities and Orientation:
Writing Programs: 718.399.4497
718.399.4542
718.636.3422
350
Academic Calendar
Fall 2015
Registration
Academic
Monday, February 2
Tuesday, August 18–Sunday, August 23
Monday, August 17
PMC SU/FA schedule due to
New student orientation held; loan
Arts and Cultural Management
entrance interviews.
classes begin.
Wednesday, August 19
Monday, February 2
Brooklyn SU/FA schedule due to
Payment/Financial
Design Management classes begin.
Wednesday, July 1
Monday, August 24
Monday, March 2
Student loan application deadline.
Classes begin.
Fall schedule goes live on the Web.
Saturday, August 1
Monday, September 7.
Monday, March 9
Continuing students’ tuition payment
Labor Day. No classes.
Academic advisement begins.
deadline.
Monday, April 6
Saturday, August 1
Last day to add a class.
Online registration begins for continuing
New students’ tuition payment deadline.
Last day to drop a class without a WD
students.
Sunday, August 2
rade recorded.
Friday, May 15
Late payment fee of $80 in effect for all
Monday, October 12–Tuesday,
Last day of preregistration for continuing
students.
October 13
students.
Monday, August 24
Midterm Break. No classes.
Monday, June 15–Friday, June 19
Last day for 100 percent tuition refund
Friday, November 13
Tentative date for new student online
upon withdrawal.
Last day for course withdrawal.
registration.
Monday, September 7
Housing
Monday, September 7
Wednesday, November 25– Sunday,
November 29
Tuesday, August 18
Thanksgiving. No classes.
Entering freshman, transfer, and graduate
Offices open on 11/25 only.
grade recorded. No new registrations
students check in to residence halls,
accepted after this date.
9 AM to 5 PM.
Friday, November 13
Friday, August 21–Saturday, August 22
Continuing students check in to
residence halls, 9 AM to 5 PM.
Saturday, December 19
Noon checkout deadline for graduating
students and those who cancelled spring
residence hall license.
Note: Students residing on campus spring
2016 do not check out of their fall rooms.
Tuesday, December 8– Friday
December 11
Studio Days
Saturday, December 12– Friday,
December 18
Final exams week. Fall semester ends.
Tuesday, December 15
Last day for students to submit
graduation applications to the Registrar’s
Office for May graduation. Review for
graduation begins January 4.
Academic Calendar
351
Refund Schedule
Late Payment Fees
Last day to change grades from previous
Course Withdrawal Refund Schedule
spring/summer semesters.
Fall 2015
Prior to and including August 24
All final grades due online by 3 PM.
August 25–August 31
85% refund
Thursday, December 24–
September 1–September 7
70% refund
Sunday, January 3
September 8–September 14
55% refund
Winter vacation. No classes.
After September 14
Institute offices closed.
International Students
Friday, August 14; Monday, August 17;
Tuesday, August 18
Mandatory compliance and check-in
workshops with OIA (choose one day on
MyPratt).
Thursday, August 13; Friday, August 14;
Saturday August 15
Mandatory English Proficiency exams
given for international students (choose
one day on MyPratt).
Saturday, August 15
New international students check in to
residence halls, 9 AM to 5 PM.
Sunday, August 16
Welcome dinner for all new international
students and their families
• A late payment fee of $80 will be
charged for any unpaid balance after
Full refund
No refund
the initial disbursement of financial aid
has been applied for each semester.
•
A late fee of $55 will be charged after
the first 15 days of each semester/
session for students who did not
The refunds above are calculated using
complete their registration during their
the date you dropped your course online
designated registration period.
or submitted your completed drop/
add form to the Office of the Registrar
(Myrtle Hall 6th Floor). No penalty is
assessed for undergraduate withdrawals
when a full-time credit load (12–18
credits) is carried before and after the
drop/add date.
Housing Cancellation Refund
Schedule Fall 2015
Please refer to the housing license
to determine the cancellation penalty/
refund.
Meal Plan Cancellation Refund Schedule
Please refer to the cancellation penalty
schedule on the back of your meal plan
Tuesday, August 18–Sunday August 23
contract to determine the cancellation
New student orientation.
penalty/refund.
352
Academic Calendar
Spring 2016
Registration
Payment/Financial
Housing
Wednesday, August 19
Sunday, November 1
Thursday, January 14
PMC spring schedule due to Registrar’s
Recommended date to file spring
New international students’ residence
Office.
financial aid and student loan
hall check-in, 9 AM to 5 PM.
Tuesday, September 8
applications for students who did not
Brooklyn spring schedule due to
file for fall term.
Entering freshman, transfer, and graduate
Friday, December 18
students’ check-in to residence hall, 9 AM
Monday, September 21
Continuing students’ tuition payment
to 5 PM.
Spring schedule goes live on Web.
deadline for spring.
Saturday, May 14
Monday, October 19
Monday, January 4
Noon check-out deadline for non-
Academic advisement begins.
All continuing students should begin to
graduating students and those students
file financial aid forms for financial aid
without a Summer Session residence
award packages.
hall license.
Friday, January 15
Day after Commencement, TBA
New students’ tuition payment deadline.
Noon checkout deadline for graduating
Tuesday, January 19
students the day after commencement.
Last day for 100 percent tuition refund
grade recorded.
upon withdrawal.
No new registrations accepted after
Monday, February 1
this date.
Recommended filing deadline for
Friday, April 8
financial aid applications for the next
academic year.
Monday, November 2
Continuing students’ online registration
for spring begins.
Monday, February 1
Tuesday, April 5
Recommended filing deadline for 2016/17
Thursday, January 14–Friday January 15
student loan applications.
New international student
orientation held.
Friday, January 15
New student orientation held.
Note: Students residing on campus
Summer 2016 Session do not check out
of their spring room until notified by
their SU that summer room is ready.
Academic Calendar
353
Academic
Tuesday, May 17
Housing Cancellation Refund Schedule
Saturday, January 9
Last day to change grades from previous
Spring 2016
Graduate Design Management and Arts
fall semesters.
and Cultural Management classes begin.
Tuesday, May 17
determine the cancellation penalty/
All final grades due online by 3 PM.
refund.
English proficiency exam for international
TBA
students.
Graduation Awards Convocation.
Monday, January 18
TBA
Martin Luther King Day.
Commencement.
Please refer to the housing license to
No classes.
penalty/refund.
Tuesday, January 19
Refund Schedule
Weekday classes begin.
Monday, February 1
Late Payment Fees
Spring 2016
Last day to add a class or drop without
Prior to and including January 19
a WD grade recorded.
January 20–January 26
85% refund
Monday, February 15
January 27–February 2
70% refund
Presidents’ Day. Classes meet. Offices
February 3–February 9
55% refund
closed.
After February 9
Monday, March 14–Sunday, March 20
Spring break.
Friday, March 25
Last day to submit a graduation
application for summer and fall
graduation.
Full refund
No refund
The refunds above are calculated using
the date you completed your transaction
online or submitted your completed
drop/add form to the Office of the
Registrar (Myrtle Hall, sixth floor). No
penalty is assessed for undergraduate
Saturday, March 26–Sunday, March 27
withdrawals when a full-time credit load
Spring Holiday. No classes. Institute
(12–18 credits) is carried before and after
closed.
the drop/add date.
Friday, April 8
Tuesday, May 3–Friday May 6
Studio Days
Saturday, May 7–Friday, May 13
Final exams week. Classes end.
• A late fee of $55 will be charged after
354
Academic Calendar
Summer 2016
Registration*
Housing
Academic
Monday, April 4
Students check in to their residence
Saturday, May 7
Registration for summer classes begins.
hall room the Sunday prior to the start
Graduate Design Management and Arts
of their classes, 9 AM to 5 PM. (Consult
and Cultural Management classes begin.
course schedule to determine the weeks
Monday, May 16
desired for on-campus housing.)
Summer classes begin.
Monday, May 23
Monday, May 23
Last day to drop summer classes without
a WD grade recorded.
No new Summer Session registrations
Students check out of their residence
hall room on the Saturday following the
conclusion of their classes by noon.
(Consult course schedule to determine
Monday, June 27
the weeks desired for on-campus
Last day for withdrawal (WD) from a
housing.)
summer class.
*The last day to add a class, drop a class, or
withdraw from a class with a grade of WD is
dependent on the start date and length of
the class
Payment/Financial
Friday, April 8
Summer Session tuition payment
deadline for continuing students;
Note: Students residing on campus for
Monday, May 23
Last day to drop without a WD grade
recorded.
No new Summer Session registrations
Monday, May 30
Memorial Day. No classes.
the last week of the Summer Session
Monday, June 27
and residing on campus for the fall 2016
Last day for course withdrawal from
semester do not check out of their
Summer Session.
summer room until they are notified their
Monday, July 4
fall room is ready.
Independence Day. No classes.
Friday, July 22
Summer classes end.
thereafter, an $80 late payment fee
Tuesday, July 26
charged to continuing students for
Summer Grades due online by 3 PM.
Summer Session.
Academic Calendar
Refund Schedule
Summer 2016
Prior to and including May 16
Full refund
May 17 through May 23
55% refund
After May 23
No refund
The above refunds are calculated using the date
you dropped classes online or submitted your
completed drop/add form to the Office of the
Registrar (Myrtle Hall, sixth floor).
Housing Cancellation Refund Schedule
Please refer to the housing license
to determine the cancellation penalty/
refund.
penalty/refund.
Late Payment Fees
• A late fee of $55 will be charged after
355
356
B54
B54
B54
B54
B54
B
1. ISC Building
2. Library
3. DeKalb Hall
4. Higgins Hall
5. North Hall
6. Memorial Hall
7. Student Union
8. Main Building
9. East Building
10. South Hall
11. Jones Hall
12. Thrift Hall
13. Pantas Hall
14. Willoughby Hall
15A. Willoughby Security Booth
15B. Pantas Security Booth
15C. Hall Security Booth
16. Chemistry Building
17. Machinery Building
18. Engineering Building
19A. Pratt Studios
19B. Juliana Curran Terian Design Center
19C. Steuben Hall
20. Film/Video Building
21. Pratt Townhouses
22. ARC building
23. Stabile Hall
24. Cannoneer Court
25. Myrtle Hall
26. 100 Grand
27. 248 Flushing
28. Newman Mall and Clock
357
How to Get to Pratt
Brooklyn Campus
By Car
From Newark-Liberty Airport
From BQE, Heading West/South
Brooklyn, NY 11205
Exit 31, Wythe Avenue/Kent Avenue. Stay straight
to go onto Williamsburg Street W., which becomes
Williamsburg Place, then Park Avenue. Turn left
onto Hall Street. Proceed two blocks to Willoughby
Avenue. Make a left on Willoughby. Campus is
on right.
After the exit, continue toward US-1/US-9/
Newark-Elizabeth (US-22.) Continue on US-1 and
9 North toward Port Newark. US-1 and 9 North
become 12th Street. Continue on Boyle Plaza,
which becomes the Holland Tunnel. Take the
tunnel toward Brooklyn/Downtown and continue
on Beach Street to Walker Street. Continue on
Canal Street to the Manhattan Bridge. Cross the
bridge to Flatbush Avenue Extension. Turn left
onto Myrtle Avenue. Proceed 15 blocks. Make a
right turn onto Hall Street. Go one block. Make a
left turn onto Willoughby. Campus is on right.
By Subway
From Grand Central Station
Take the downtown 4 or 5 train to the Fulton
Street station. Take the Brooklyn-bound A or C
train to the Hoyt-Schermerhorn station. Cross
platform and take the G train (front car) to the
Clinton-Washington station. Use Washington
Avenue exit. On Washington, walk one block north
to DeKalb Avenue. Turn right onto DeKalb and
proceed one block to Hall Street/Saint James
Place to the corner gate of the Pratt campus.
From Penn Station and
Port Authority Bus Terminals
Take the Brooklyn-bound A or C train to the
Hoyt-Schermerhorn station. Cross platform and
take G train (front car) to the Clinton-Washington
station. Use Washington Avenue exit and follow
directions above to campus.
From BQE, Heading East/North
Exit 30, Flushing Avenue. Bear left onto Classon
Avenue, then turn left onto Flushing Avenue. Turn
left onto Washington Avenue. Proceed two blocks
to Willoughby Avenue. Make a left on Willoughby.
Campus is on right. Myrtle Hall is across the street
from the main gate (first left parking lot).
From West Side of Manhattan
Via Manhattan Bridge
Travel east on Canal Street to Manhattan Bridge.
Exit bridge to Flatbush Avenue. Turn left onto
Myrtle Avenue. Proceed 15 blocks. Make a right
turn onto Hall Street. Go one block. Make a left
turn onto Willoughby. Campus is on right.
From East Side of Manhattan
By Bus
From Downtown Manhattan
Take the B51 bus from City Hall to Fulton and
Smith streets in downtown Brooklyn. Change to
B38 bus and take it up Lafayette Avenue to the
corner of Saint James Place, which turns into Hall
Street. Entrance to the campus is one block north
on Hall Street.
Via Brooklyn Bridge
Travel south on the FDR Drive (also called East
River Drive) to Brooklyn Bridge exit. Exit bridge
to Tillary Street. Turn left on Tillary to Flatbush
Avenue. Turn left onto Myrtle Avenue. Proceed 15
blocks. Make a right turn onto Hall Street. Go one
block. Make a left turn onto Willoughby. Campus
is on right.
From LaGuardia Airport
Follow signs toward Airport Exit/Rental Cars.
Take ramp (right) onto Grand Central Parkway
toward Parkway West/Manhattan. At exit 4, take
ramp (right) onto BQE/ I-278 W. toward the
Verrazano Narrows Bridge. Take BQE to exit 31,
Wythe Avenue/Kent Avenue. Stay straight to go
onto Williamsburg Street W., which becomes
Williamsburg Place, then Park Avenue. Turn
left onto Hall Street. Proceed two blocks to
Willoughby Avenue. Make a left on Willoughby.
Campus is on right.
From Kennedy Airport
Take the Airport Exit on I-678 South and continue
towards Terminals 8 and 9. Go toward Terminal
9 Departures. Bear right towards the Van Wyck
Expressway/Airport Exit. Continue on the Van
Wyck/I-678 North. Take the 1B-2/Belt Parkway
exit towards the Verrazano Bridge. Take exit 1B
to North Conduit Avenue, which becomes North
Conduit Boulevard. Take Belt Parkway West
towards the Verrazano Bridge. Take the North
Conduit Avenue exit 17W. Continue on Nassau
Expressway/North Conduit Avenue. Bear left on
Atlantic Avenue. Proceed five miles. Turn right
onto Washington Avenue and go seven blocks.
Turn right onto Willoughby Avenue. Campus is
on right. Myrtle Hall is across the street from the
main gate (first left into parking lot).
358
Manhattan Campus
By Subway
Going from Pratt Brooklyn
144 West 14th Street
Take the A, C, or E train to 14th Street/Eighth
Avenue, the F or M train to 14th Street/Sixth
Avenue, the 1, 2, or 3 train to 14th Street/Seventh
Avenue, or the 4, 5, 6, N, R, or Q train to 14th
Street/Union Square. Take crosstown buses or
the L train to travel east or west on 14th Street.
Pratt is located between Sixth and Seventh
Avenues on the south side of the block, closest
to Seventh Avenue.
to Pratt Manhattan
New York, NY 10011
By Car
From Queens
Via 59th Street Bridge
Go south on the FDR Drive. Take 23rd Street exit.
Make a right turn onto 23rd Street. Make a left
turn on Second Avenue. Take Second Avenue to
14th Street. Make a right turn. Pratt is located
between Sixth and Seventh Avenues on the south
side of the block, closest to Seventh Avenue.
From Brooklyn
Via Brooklyn Bridge, north on FDR Drive
Drive to Houston Street exit. Take left on Houston
to Third Avenue. Make a right. Take Third Avenue
to 14th Street, and make a left turn. Pratt is
located between Sixth and Seventh Avenues
on the south side of the block, closest to
Seventh Avenue.
From New Jersey
Take the Holland Tunnel to Manhattan. Take
Exit 3 toward Brooklyn, merge onto Beach St./W.
Broadway and continue to follow W. Broadway.
Make a slight left onto Sixth Avenue/Avenue of
the Americas. Turn left onto 14th Street. Pratt
is located between Sixth and Seventh Avenues
Seventh Avenue.
From Westchester
Take the West Side Highway South. Make a left
turn onto 14th Street. Pratt is located between
Sixth and Seventh Avenues on the south side of
the block, closest to Seventh Avenue.
Parking in Manhattan
Limited street parking is available on weekdays
and weekends. Parking is available for a fee in
nearby garages.
By Bus
If uptown, take the M20 to 14th Street/Eighth
Avenue. Or take the M6 to 14th Street/Avenue of
the Americas. If downtown, take the M20 to 14th
Street/Seventh Avenue.
Or take the M6 to 14th Street/Union Square. Take
crosstown buses or the L train to travel east or
west on 14th Street. Pratt is located between Sixth
and Seventh Avenues on the south side of the
block, closest to Seventh Avenue.
By PATH Train
From New Jersey
Take the PATH train to 14th Street in Manhattan.
Exit at Sixth Avenue and 14th Street. Pratt is
located between Sixth and Seventh Avenues
Seventh Avenue.
By Subway
Take the G train from the Clinton-Washington
station. Go two stops to Hoyt-Schermerhorn.
Change for the A or C train, and take it to 14th
Street/Eighth Avenue. Walk east, or take the
crosstown buses or L train for eastbound travel.
Pratt is located between Sixth and Seventh
Avenues on the south side of the block, closest to
Seventh Avenue.
By Bus and Subway
Take the M38 bus to Flatbush Avenue. Exit at
DeKalb Avenue station. Take the N, R, Q or W train
to 14th Street/Union Square. Walk west, or take
crosstown buses, or the L train for westbound
travel. Pratt is located between Sixth and Seventh
Avenues on the south side of the block, closest to
Seventh Avenue.
Courses
Department: ARCH
ARCH/ARCHITECTURE
Design I
ARCH-101 | 5 CR
Design I provides a conceptual framework for the
student beginning the architecture curriculum with
an exploration of fundamental design principles.
Design II
ARCH-102 | 5 CR
Design II translates the conceptual framework into
small-scale architectural projects in a variety of
contexts. Prerequisite course: ARCH-101.
Representation I
ARCH-111 | 3 CR
This is the first course of the required
three-semester sequence in architectural
representation. The focus of this sequence is to
not only begin to understand the representational
possibilities that are enabled by architectural
drawings, but to also highlight drawing’s ability
to aid in the understanding and simplification
of complex form and idea. The primary goal of
this course is an introduction to fundamental
architectural drawing skills. The course enriches,
extends, and supports two-dimensional drawings
as a method of development and communication
and exploration. Students learn to construct
measured architectural hand drawings in a
variety of mediums. Faculty presentations and
demonstrations on various drawing techniques
and applications, and review of student drawing
projects take place in the studio setting.
Representation II
ARCH-112 | 3 CR
This is the second course of the required
three-semester sequence in architectural
representation. The primary goal of this course is
to introduce the beginning student of architecture to basic 2-D digital software package (i.e.,
Photoshop, Illustrator, and 2-D AutoCAD or their
equivalents) essential to explore representation
on a contemporary and critical level. The course
is intended to highlight a menu of techniques that
will prepare the student to use digital software
as a primary communication tool throughout
their architectural education. This newfound
knowledge can be used for highly descriptive as
well as transformative applications in the context
of design and technical coursework. Faculty
presentations and demonstrations on various
techniques and applications, and review of
student drawing projects take place in the studio
setting. Sections of this course are reserved
for Architecture majors. Prerequisite course:
ARCH-111.
Technics
ARCH-131 | 3 CR
This course is an intuitive and analytical
exploration of the nature of basic processes,
material properties, and the forms and structures
they generate. Emphasis is on geometry of
architecture, employing physical modeling in
creating such structures, and theoretical analysis
of basic structural systems.
History and Theory I
ARCH-151 | 3 CR
This course is the first of a required four-semester sequence. It covers the history of architecture
in non-Western cultures and in the West from the
Paleolithic to the Gothic. Instructors’ lectures on
history will be complemented by presentations on
theoretical issues and current works offered by
architects teaching in the school.
History and Theory II
ARCH-152 | 3 CR
The course covers key non-Western cultures
(pre-Columbian America, India, China, and Japan)
and the history of architecture in the West from
the early Renaissance to the Rococo. Instructors’
lectures on history will be complemented by
presentations on theoretical issues and current
works offered by architects teaching in the
school. Prerequisite course: ARCH-151.
Representation III
ARCH-211 | 3 CR
This is the third course of the required four-semester sequence in architectural representation.
This course extends the user of the computer
as a tool for architectural representation by
engaging in digital three-dimensional modeling.
Prerequisite course: ARCH-112.
Statics & Strength of Material
ARCH-231 | 3 CR
Topics covered include analysis of co-planar
forces, moments, and couples in equilibrium,
applications to typical structural systems in
buildings, trusses, behavior of structural materials
in tension, compression, and bending, buckling,
design of beams, and framing loads. Prerequisite
course: MATH-150 or passing the math placement
exam. Contact the Department of Mathematics
and Science for information on taking the exam:
ARC LL G-37, [email protected], 718.636.3764.
Structures: Steel
ARCH-232 | 3 CR
Topics covered include analysis of determinate
and continuous structures as well as the design of
structural members, connections, and buildings
in steel and concrete; analysis of framing simple
indeterminate structures and the design and
detailing of reinforced concrete members and
foundations; and consideration of new materials
and structural systems, including aluminum and
composites. Prerequisite course: ARCH-231.
Technics for Non-Architects
ARCH-201 | 5 CR
This course emphasizes the fundamental role of site,
program, material, and technology as determinants
of architectural projects scaled to address issues of
dwelling. Prerequisite course: ARCH-102.
ARCH-233 | 3 CR
Technics for Non-Architects is an introduction to
the physical properties and structural behavior
intrinsic to all full-scale architectural assemblies.
The course will highlight for the student a range of
performative, dynamic, and emergent principles
specific to a series of material constructs derived
from one week to the next. Working in real-time,
students will be exposed to a broad range of
material practices as an opportunity to discover
the critical correspondence between any specific
itinerary of construction and its underlining
dynamic behavior.
Intermediate Design II
History and Theory III
ARCH-202 | 5 CR
This course expands upon ARCH-201, emphasizing the design of site, program, material, and
technology as determinants of architectural
projects scaled to address issues related to
public buildings.
ARCH-251 | 3 CR
This course is an introduction to the unique
character of the modern architectural discourse.
It maps the different ways in which architectural
theory was developed and transformed from the
late 18th century to the Modernist movements
of the first half of the 20th century. Instructors’
lectures will be complemented by presentations
Intermediate Design I
School of Architecture Courses
on theoretical issues and current works offered
by architects teaching in the school. Prerequisite
course: ARCH-152.
History and Theory IV
ARCH-252 | 3 CR
This course is an introduction to the architectural
discourse in the world from 1945 to the present.
It will explore the strategic role of architectural
theory in relation to the political and social
conditions, the technical and technological
transformations, and construction techniques.
Instructors’ lectures will be complemented by
presentations on theoretical issues and current
works offered by architects teaching in the
school. Prerequisite course: ARCH-251.
Architectural Materials
ARCH-261 | 3 CR
This course reviews basic building materials
in the context of fundamental building issues.
Materials studied include wood, masonry, and
concrete. Each major material is examined in
the context of its chemical structure, historical
evolution, relevance to contemporary practice,
and utilization in new and future products. This
course will examine the relationship between
materials and issues of sustainability. The course
format consists of weekly lectures followed by
discussion seminars. Slide lectures introduce
each building material and its major contextual
issues and provide a survey of visual information
related to that material. Seminar sections
provide students with the opportunity to ask
questions and clarify the content of the lecture.
Prerequisite course: MSCI-110.
Architectural Assembly Systems
ARCH-262 | 3 CR
This course reviews assemblage of materials
in the context of fundamental building issues.
Materials studied include steel and concrete
systems, and selection criteria for nonstructural materials such as glass, plastics, and other
building components. This course brings together
issues of fire, water, movement, and sound
and temperature control. The course format
consists of weekly lectures followed by discussion
seminars. Prerequisite course: ARCH-261.
Comprehensive Design I
ARCH-301 | 5 CR
This course emphasizes the comprehensive
nature of architectural design. One project of
moderate program complexity on a visitable site
allows students to engage in many design issues
and carry concepts to a level of high solution.
Comprehensive Design II
ARCH-302 | 5 CR
This studio class expands the comprehensive
development of ARCH-301’s architectural design.
One project of high complexity on a challenging
visitable site allows students to further develop
comprehensive strategies and to carry concepts
to a level of higher resolution than in the 301
Design studio. Prerequisite course: ARCH-301.
Concrete Structures
ARCH-331 | 3 CR
This is an applied science course in which
advanced applications of scientific technology in
structures, materials, and energy are developed.
The lecture format is supplemented by exercises
and individual research projects pertinent to
the technology of design and construction.
Building Environment
ARCH-361 | 3 CR
This course focuses on the interior environment
of buildings, and how comfort is designed
and maintained. Topics include site, solar
orientation, heating, cooling, ventilation, lighting,
and acoustics. Special emphasis will be placed
on natural systems, energy efficiency, LEED,
and other issues of sustainability. Prerequisite
course: MSCI-271.
Building Services
ARCH-362 | 3 CR
This course examines the service systems
employed in contemporary buildings: electricity,
communications, alarms, movement, water, waste,
and other services are covered. In addition, there
will be an emphasis on LEED, energy efficiency,
and other sustainability issues. Prerequisite
course: ARCH-361.
ARCH-363 | 3 CR
This course covers all aspects of the profession
of architecture. Issues include a conceptual
understanding of architectural practice, its definition and historical and theoretical models, and
methods of managing and delivering a complete
architectural project. The course also clarifies
the contractual and ethical responsibilities of an
architect and collaborative business practices for
maintaining an architectural office. Prerequisite
courses: ARCH-202, ARCH-262.
Construction Documents
ARCH-364 | 3 CR
The purpose of this course is to achieve a
level of understanding and competence in the
preparation of construction documents for the
construction of a medium sized steel structure.
Students will build upon and apply principles
through the phases of a project’s development.
Schematic Design defines the design intent of a
project and site conditions. Design Development
continues the exploration by adding specificity
of systems and defining building components.
Construction Documents further develops
the project through the buildings’ details.
The student will examine all the phases of a
projects evolution and understand the efforts
necessary to representationally communicate the
construction of a building. Prerequisite courses:
ARCH-211, ARCH-301, ARCH-312 or ARCH-33.
Advanced Design (Rome)
ARCH-400I | 5 CR
The studio focuses initially on an analysis of
historic models to reveal distinct architectural
patterns within Rome. The design process
explores the transformation of Roman conditions
and prototypes. Critical issues include understanding urban form as an accommodation of the
city’s growth and accretive intervention within a
fragmented historic context. Studies conclude
with formal propositions within the context of the
city fabric. Prerequisite course: ARCH-302.
Advanced Design I
ARCH-401 | 5 CR
Arch-401 Advanced Design Studio I expands
upon the knowledge and skills acquired in the
core design curriculum. Emphasis is on the
development of individual approaches to the
design process through the investigation of
specific architectural topics in the areas on
site, program, and technology. It focuses on the
research and design of architectural proposal,
carried to a level of advanced conceptual
programmatic technical inquiry and resolution
at various scales of project development.
Advanced Design II
ARCH-402 | 5 CR
ARCH-402 Advanced Design Studio II expands
upon the knowledge and skills acquired in
ARCH-401 design studio. Broader development
of individualized approaches to the design
process. Topics in the areas of site, program, and
technology presents the student with the broad
range of concerns of architectural design in
anticipation of ARCH-403 design and the degree
project year. One semester long project focuses
on the research and design of an architectural
proposal carried to a highly advanced level
of conceptual, programmatic, and technical
inquiry and resolution of various scales of project
development. Prerequisite course: ARCH-401.
Advanced Design III
ARCH-403 | 5 CR
This course completes the sequence of
advanced option studios and presents the broad
range of issues and concerns of architectural
design in anticipation of the degree project
year. Expanded development of individualized
approaches to the design process refines
the student’s ability to work independently.
Investigation into the architectural issues relative
to site, program, and technology prepares the
student to define specific topics of investigation.
Emphasis is on the research and design of an
architectural proposal carried to the most
advanced preprofessional level of conceptual,
programmatic, and technical inquiry and resolution at various scales of project development.
Urban Studies (Rome)
ARCH-451 | 2 CR
This course gathers together the ancillary
visits and site work that supplement the design
studio. Beginning with a survey of Rome (from
its foundation through the 13th century), sites
of architectural, archaeological, and historical
significance are examined. It includes three
organized field trips intended to maximize the
students’ exposure to critical sites and buildings
encompassing diverse historic periods. Northern
Trip: Palladio and the Venuto (one week), Spoleto,
Assisi, Urbino, Rimini, Modena, Mantua, Verona,
and Vicenza. Includes private tours of the work
of Palladio (Villa Rotunda, Teatro Olimpico, Villa
Emo) and Carlo Scarpa (Castle Vecchio, Brion
Cemetery, Canova Museum). Florence Trip: Italian
Renaissance (four days). Southern Trip: Naples
and Pugia (one week)—Naples, Pompeii, Paestum,
Matera, Villa Franca, and Bari. In conjunction with
the field trips, there will be required reading,
research, on-site analysis, observation, and
presentation to the faculty and students by
smaller groups. Prerequisite course: ARCH-302.
Italian Modern Arch (Rome)
ARCH-452 | 2 CR
This course surveys the history and theory of
Italian modern architecture covering the period
that begins with G.B. Piranesi through to the
present. Prerequisite course: ARCH-302.
Urban Genetics: History of Urban
ARCH-461 | 3 CR
The course will focus on four historical and
sociocultural milestones of urban form which
economic forces affecting the are the definitive
architectural shape of the urban fabric and the
plans for the city: Renaissance to viability of
communities and the Baroque Plan of Rome,
the 19th-century neighborhoods. The roles of
Century Plan of Paris, the 20th century Plan of La
Cité Industrielle, and the World War Period Plan
of the Radiant City. The course will study the
projects sequentially and discuss the links and
relationships among these plans. The sequence
will demonstrates how the city form responded
to the innovations realized by each of these
plans. Each of the ideal urban plans was enacted
through singular buildings designed by a singular
architect. These projects were embodied in plans
that address the structure and spatial attributes
of the entire city. The progression of singular
works that one by one were the models that
impacted the entire city plan is presented: from
the Renaissance to the 20th century. Prerequisite
course: ARCH-252.
Degree Project: Research
ARCH-501 | 3 CR
Thesis research is a preparatory course for a
design thesis and/or a senior degree project.
Students review and write short essays on
selected subjects and produce an illustrated
manifesto, documentation, and bibliography for
their design thesis. The final project includes
two credits of research followed by five credits
of design. Proposals, portfolios, and choice of
designs are reviewed the semester before the
research begins and require the approval of the
chair of undergraduate Architecture. Submission
of written proposals for the degree project must
be submitted to the chair’s office in the previous
semester, prior to the completion of all requirements for entering the ninth semester of design.
Completion of all required architectural history,
technology, methods, and practice courses are
required. Prerequisite course: ARCH-403.
Degree Project: Design Studio
ARCH-503 | 5 CR
The required studio is an investigation of a
specifically researched topic developed into an
architectural proposition. The degree project
should represent a synthesis of the student’s
understanding of architecture, in addition to
research in the potential of architecture. Prior
to undertaking the Degree Project Studio,
students must have satisfactorily completed
the Degree Project Research course, ARCH484P. All students who are candidates for a
bachelor’s degree in architecture are required to
satisfactorily complete three credits of project
research and five credits of Degree Project Design
Studio. Prerequisite course: ARCH-501.
Representation from Perception
ARCH-511A | 3 CR
This course focuses on analog/traditional forms
of representation. Students are introduced to
various two-dimensional representations in black
and white and in color.
Rep: Freehand Drawing Rome
ARCH-511B | 3 CR
This course explores freehand drawing as a means
of investigating and comprehending Rome’s
urban space. Various techniques and media are
introduced including figure and ground, shade
and shadow, multiple perspective, collage,
pen and ink, pastel, and charcoal. Prerequisite
course: ARCH-302.
Freehand Drawing Now
ARCH-511C | 3 CR
This course explores freehand drawing and its
digital manipulation as a means of investigating,
comprehending, and representing urban space.
Various techniques will be introduced including
overlapping perspectives, contrasting shadow,
negative space, figure ground, contouring, and
line versus surface. Various media will be explored
including charcoal, ink wash, pastel, conte,
marker, and collage. All of the work of the hand
will be altered by its transfer and reconsideration
in the digital format.
ARCH-513B | 3 CR
This course examines the mechanics of portfolio
preparation. The individual is encouraged to
organize a comprehensive assemblage of
architectural work through the intensive study
of presentation principles and representational
techniques. Prerequisite course: ARCH-211.
Introduction to BIM
ARCH-521A | 3 CR
This course introduces students to Building
Information Modeling (BIM) as a revolution in
both architecture profession and design, and
covers the basic skill sets to utilize Revit, the
BIM software. Students will be introduced to
modeling and design, the creation of parametric
families, sunlight studies, and the documentation
and presentation of their semester long project.
Prerequisite courses: ARCH-202, ARCH-211.
Introduction to 4D BIM
ARCH-521B | 3 CR
This class is intended to simulate the real-life
design and construction process, using Building
Information Modeling (BIM) tools as the nave for
all exchanges of information. It’s a collaborative
class where Construction Management (CM) and
undergraduate Architecture Design students
work on a small sustainable project that will
be developed throughout the semester.
Architecture students will generate the BIM
model, produce whole building analysis, and
coordinate and exchange data with CM students.
On the CM side, the students will quantify and
provide a cost estimate of the whole building
as well as simulate the assembly of the building.
Prerequisite course: ARCH-521A.
Advanced Arch Imaging
ARCH-523B | 3 CR
This class is intended for students who want to
develop an intense engagement with the theory
and the craft of architectural imaging. “Imaging” is
defined to include both images made by physical
cameras and those made by virtual cameras
(i.e., computer renderings). Topics covered
include Theory and Practice of Available Light in
Digital Photography, Image Processing in Adobe
Lightroom and Adobe Photoshop, Render Setup
in Autodesk Maya (including UV mapping, texture
creation, and flythrough animation), Rendering
with Advanced Engines (Maxwell Render and
VRAY for Maya), and Basic Motion Graphics and
Compositing Techniques in Adobe After Effects.
Digital Fabrication
ARCH-527A | 3 CR
This seminar will investigate the design and fabrication of architectural components as a function
of digital modeling and fabrication practices.
Via an immersive environment of 3-dimensional
scanning. Computational modeling, and CNC
(computer numerically controlled) fabrication,
we will explore the generative relationship
between design and fabrication. Undergirding this
instrumental process will be an investigation and
conceptualizing of the ornamental and material
effects of applied wood molding. Over the course
of the semester, students will be responsible
for the ongoing research and development of
digital models and prototypes. The seminar
will culminate in a series of class-wide scaled
mock-ups. Prerequisite course: ARCH-211.
Digital Crafting
ARCH-527C | 3 CR
This course introduces students to the history,
theory, and application of procedural design
methods. The course pedagogy centers on an
association between practices of craft production and computational techniques, whereby
students will develop research using scripted
interfaces and digital fabrication technology.
The course will make extensive use of the 3-Axis
CNC router at the School of Architecture.
Alvar Aalto
ARCH-551A | 3 CR
This comprehensive survey examines the wide
range of work—architecture, furniture, writing, and
interior design—by the 20th-century Finnish architect Alvar Aalto. The course explores his unique
formulation of a contemporary architecture that,
using 20th-century aesthetic theory, synthesizes
the conflicts of the modern and traditional, the
rational and natural, the classical and vernacular,
the technological and human, and the pragmatic
and poetic. Prerequisite course: ARCH-252.
Frank Lloyd Wright
ARCH-551B | 3 CR
This is a survey course of the buildings and writings
of Wright looks at influences on Wright from
Sullivan, Emerson, and Eastern spiritual thought. It
also examines Wright’s influences and his relevance
to us today. Prerequisite course: ARCH-252.
Kahn and Venturi
ARCH-551C | 3 CR
The work and philosophies of Louis Kahn and
Robert Venturi are presented as a detailed study
of two major trends in modern architecture:
organic or “integrated” architecture, typical of
Wright, Mies and Corbu and exemplified by Kahn;
and “decorated construction,” typical of the
19th-century eclectics and the postmodernists
and exemplified by Venturi. Besides slide-illustrated lectures and reading, there will be in-class and
take-home drawing assignments to give students
graphic familiarity with the material. Prerequisite
course: ARCH-252.
Scarpa + Piecnik
ARCH-551D | 3 CR
This is an in-depth course on the relationship
among the works of two major figures of
20th-century architecture: Carlo Scarpa, Italian,
and a unique voice in modern architecture after
World War I, and Joze Plecnik, Slovenian, also a
unique voice, particularly between the two world
wars but appearing to be a late Classicist on the
surface yet a true Modernist at core. Prerequisite
course: ARCH-252.
Legacy of Roman Form
ARCH-553A | 3 CR
This course is a prerequisite for students enrolling in the undergraduate architecture spring
Rome program and is offered to all interested
upper-level students. It examines the value of
history to architectural invention and introduces
the lasting achievement of Roman culture, as
demonstrated by its architecture, and reflects
on the way in which that culture has influenced
and continues to influence ideas. Prerequisite
course: ARCH-252.
Islamic Architecture
ARCH-555A | 3 CR
This course is a historical survey of Islamic
architectures within the context of Mohammedan
tradition and its reemergence in the modern
world. Topics covered include the environmental,
cultural, and artistic influences of design in the
Middle East, Spain, North Africa, China, and India
to new developments and the renewals of towns
drawn from on-site research by the instructor.
There is a continuing emphasis on the underlying
geometry of architectural examples, which
students choose to draw and analyze. Prerequisite
Pre-Columbian Architecture
ARCH-555B | 3 CR
This architectural history course provides an
important area of discourse of architecture In
South and Central America. Students will explore
the pre-Columbian cultures of the Aztecs, the
Maya, and the Incas as well as other Native
American groups which can be compared in a
broader civilization context. As European nations
settled or influenced the Native American cultures,
changes would occur which have repercussions
in modern-day life and architecture. Students
will examine the environment in which indigenous
architecture arose In the Americas and how the
architectural forms have changed or found reexpression today. Prerequisite course: ARCH-252.
Architectural Creativity
ARCH-557A | 3 CR
Through interviews, readings, and invited
lecturers, this course explores a cross-section
of contemporary understanding of what the
creative process is and how it can be applied
to architectural practice. Through research
papers and projects, students document
original material contributing to the knowledge
of creative architectural problem solving. (Open
to undergraduate students in their third year or
above and to graduate students.)
Dialogical & Poetic
ARCH-557C 12 | 3 CR
This seminar is based on the phenomenological
analysis as a theoretical frame. The course will
also teach and demonstrate the application of
the phenomenological in architecture and art.
This seminar will introduce key critical concepts
through weekly lectures which will tie together
theoretical readings and illustrated references to
contemporary architecture, art, and literature.
Genealogies of Program
ARCH-557D | 3 CR
This seminar will investigate contemporary theories of the architectural program as a complex
and paradoxical set of ideas. Beginning as a
reaction to early modernist functionalist doctrines
where form was thought of as a direct expression
of a building’s use, a culture of inquiry beginning
in the 1960s sought to reposition program
through theories of indeterminacy and excess.
The seminar establishes a field of complementary
and competing theories of program—from the
narrative and diagrammatic to the organizational
and informational—that is by no means complete
or exhausted. Replete with a rich and enigmatic
catalog of projects, each week will explore a
different thread of programmatic thought through
the lens of architectural production. Prerequisite
course: ARCH-252.
Digital Tracery
ARCH-557E | 3 CR
This seminar will interrogate digital prototyping
as a working method and form of research
that differs from classical “iconic” models of
representation. Working within two parallel
forms of inquiry—the design/fabrication of laser
cut wood models and the analysis of selective
readings—the seminar will expose the potentials
of contemporary digital modeling as a speculative
practice the embraces iterative making as
“design intelligence.” Critical to this method is
the scalability of the prototyping process—each
consecutively scaled model is a rehearsal for the
realities of one-to-one construction. Prerequisite
course: ARCH-301.
Re-Definitions
ARCH-559A | 3 CR
This research seminar is intended to provide
students an environment to develop their
own re-definitions of the course topics and to
communicate them imaginatively. The seminar
is also meant to allow students to engage in
stimulating dialogue related to the predetermined
topics with the instructor and invited guests.
Critical Thinking: Evolution
ARCH-559C | 3 CR
This class explores the evolution or making of form
as a process of change, in art and architecture, in
nature, and in the social and cultural forms that
are the context of our lives and work. It reveals
the ‘hidden likeness in diversity,’ providing a fresh
perception and organization of the subjective
processes of the creative process; clarifying
relationships between separate fields of study
and ‘forms’ existing and new. Specific examples in
art and architecture, illustrated in lectures, clarify
the broad subject matter of the seminars. The ‘art
of crafting’ a project in order to fulfill a concept is
examined and is essential to its formal realization.
Understanding the process of ‘creating’ can
illuminate obstacles hindering the success of
aesthetic goals. The course is open to students
from Art and Design and Architecture in order to
engage in collaborative research. Both groups of
students contribute respective technical, visual,
and conceptual perspectives to the learning
environment. Prerequisite course: ARCH-252.
Independent Study: Undergraduate
ARCH-561A | 3 CR
Students pursuing advanced projects not
available in regular course offerings may apply
for independent study if they have a minimum
GPA of 3.0 and have at least sophomore status.
Students must submit a written description of the
project and its relationship to their curriculum.
The application must be approved by the faculty
member directing the work, chair, and dean.
ARCH-561B | 2 CR
ARCH-561C | 1 CR
Pedagogy of Arch Design
ARCH-561D | 3 CR
After design students have gone through the
fundamentals of architectural design in the first
and second year, this elective seminar is offering
the examination of the history and theories
of architectural design teaching. Pedagogy of
architectural design examines the history of
architectural design teaching and learning, focusing
on the writings of the modern movement of
architectural teaching, the construction of the
U.S. American Architecture School starting in the
19th century, and the cultural challenges that were
posed on architectural design teaching through
the cultural and political upheaval of the 1960s to
the current times. Prerequisite course: ARCH-301.
Research Topics
ARCH-563A(R) | 3 CR
Research Topics is a learning experience at a
field-related faculty supported research site. It
provides students with an opportunity to extend
academic knowledge and skills in a research
setting and obtain additional knowledge and
skills in preparation for research development or
graduate school. Students experience the reallife context and application of their course-work,
thus enriching their educational experience.
They deepen their knowledge about important
aspects of their field, enhance their research
skills in a real-world context, build their research
network, and inform their career choices in
this area of academic architectural research.
Additional faculty-supervised activities provide
the opportunity for an in-depth reflection on
the directed research experience. It is highly
suggested that students take this course for
a minimum of two consecutive semesters.
Lighting Lab
Tall Building Research and Design
ARCH-563B | 3 CR
Lighting Lab course and facilities provide an
introduction to basic natural and artificial lighting
systems. Lighting simulation of architectural
models at all stages of design and site planning
is conducted in sunlight or in various electrical
lighting setups in the lab. Each semester there
is an emphasis on a particular timely topic such
as “photovoltaic within window glass” as a group
workshop within the course while each individual
student concentrates on lighting of all types
which relates to a current or past design project.
ARCH-569A | 3 CR
The seminar provides the background material
for the design of a high-rise building in terms of
structure, life safety issues, mechanical integration, and building skin. The criteria will focus on
building within an urban context. Prerequisite
Organic Approach to Design
ARCH-563C | 3 CR
This course investigates the evolution of
architectural space vis-à-vis technological
advances and how the material performance
and construction methods affect a building’s
complexity in form and function. Exemplary
projects will be used as catalysts to reveal the
relationship between built form/architecture
and cultural, formal, and tectonic tendencies
especially involving environmental concerns and
the ecology. Prerequisite course: ARCH-252.
Materials and Methods
ARCH-565A | 3 CR
This course introduces joinery techniques of
connecting wood and metal. The primary goal of
this course is to understand and fabricate basic-tocomplex types of wood joints, including metal as a
mechanical method of fastening wood. Using hand
and power tools, students investigate and learn to
select joints to suit different design conditions as
well as the critical role of joinery in the making of
architecture. Prerequisite course: ARCH-262.
Construction Failures
ARCH-565B | 3 CR
This course is an in-depth look at famous (and
infamous) structural collapses, with an eye toward
analyzing them and taking away lessons that can be
learned. This is most relevant to the application
of new ideas in the design process, seen by
examining common errors that led to failure.
Form and Space: Analog
ARCH-571A(R) | 3 CR
Exploration of space structures through geometry
and topology leads to new ways of shaping form
and space. The studio explores their generation,
visualization, and construction for potential
architectural applications. Fall semester focuses
on analog methods and technologies for these
explorations. Prerequisite course: ARCH-211.
Form and Space: Digital
ARCH-571B(R) | 3 CR
Exploration of space structures through geometry
and topology leads to new ways of shaping form
and space. The studio explores their generation,
visualization, and construction for potential architectural applications. Spring semester focuses
on digital methods and technologies for these
explorations. Prerequisite course: ARCH-211.
Form and Force: Analog
ARCH-571C(R) | 3 CR
Experimental technologies for architecture are
combined with concepts from mathematics and
science to explore new ways of shaping form and
space. As part of the Center for Experimental
Structures, this course explores visualization
of structural morphologies as a basis for
Experimental architecture. Fall semester focuses
on analog modes of thinking as well as construction to explore the fundamental relation between
form and force. Prerequisite course: ARCH-211.
Form and Force: Digital (R)
ARCH-565C | 3 CR
This course covers technical discipline and
performance requirements in the detailing of the
exterior and interior of structures.
ARCH-571D(R) | 3 CR
Experimental technologies for architecture are
combined with concepts from mathematics and
science to explore new ways of shaping form and
space. As part of the Center for experimental
Structures, this course explores visualization of
structural morphologies as a basis for experimental architecture. Spring semester focuses on
digital modes of thinking as well as construction
to explore the fundamental relation between form
and force. Prerequisite course: ARCH-211.
Healthcare Facilities I
Form and Time: Analog
ARCH-567A | 3 CR
Introduction to Healthcare Facilities will provide
an overview of healthcare project development,
including terminology, project initiation, programming, planning, design, and construction-related
issues. Healthcare reform legislation and our
aging population will impact the growth of the
healthcare facilities market in a variety of ways.
This course will serve as a primer for professionals
requiring basic knowledge to evaluate pursuing
a career in this challenging and robust specialty
area. Prerequisite course: ARCH-364.
ARCH-571E(R) | 3 CR
Morphological methods of changing form
combined with appropriate construction and
fabrication technologies lead to new ways of
realizing dynamic architecture. Principles and
precedents in architecture, nature, and geometry
provide a starting point. Fall semester focuses on
analog modes of thinking as well as construction.
Tech Disciplines & Detailing
Form and Time: Digital
Elements of Landscape Arch
ARCH-571F(R) | 3 CR
Morphological methods of changing form
combined with appropriate construction and fabrication technologies lead to new ways of realizing
dynamic architecture. Principles and precedents
in architecture, nature, and geometry provide a
starting point. Spring semester focuses on digital
modes of thinking as well as construction.
ARCH-591A | 3 CR
This course introduces the elements, which
comprise the design palette of landscape
architecture. The use of plant materials is
explored by examining plant forms, general
and specific characteristics, and physical
requirements. Examples of planting design include
roof tops, urban sites, public places, interiors,
and residential projects. Other elements of
landscape are illustrated to reveal the kinesthetic
experience, including water as ornament, the
ground plane, lighting, seating, follies, and other
structures. For all elements, both aesthetic and
construction considerations will be highlighted.
Nanotectonica
ARCH-575A | 3 CR
This course examines the relationship between
natural and architectural systems in the context
of emerging technologies. It is a research and
production seminar that studies structures
and organizations as they occur in nature at
multiple scales, and it utilizes generative design
and fabrication techniques to arrive at intricate
architectural assemblies. The exploration is based
on the study of recent architectural history and
a lineage of naturalists, engineers, and designers
who pioneered ecological thinking and building.
Sensation Tectonics
ARCH-575B | 3 CR
Sensation Tectonics immerses students into
the sensual space of digital 3-D design. In the
same way that our fingers, hands, arms, and mind
tectonically engage the pencil and the page, we
can use virtual environments for dynamic form and
system design. We will explore many powerful 3-D
modeling, animation, and visualization techniques
with software packages including Autodesk Maya,
Rhinoceros, Adobe Illustrator, Photoshop, and
Aftereffects. These fundamental tools enable
us to enter a sensual digital world of tectonic
simulation. Prerequisite course: ARCH-211.
Special Topics
ARCH-581A | 3 CR
The basic premise underlying this seminar is that
to better define what architecture can be and do
in a hyper-mediated world, we must turn, not to
computer paradigms, but to narrative film. To this
end, this seminar examines films as if they were
works of architecture and imagines architecture
as film. Architecture is anything but certain, and
the fiction of films, as opposed to the insistent
actuality of buildings, frees us from the pretense
of knowing with certainty. Also, in the tradition
of architecture theory at its best, looking at films
through architecture reveals them in ways not
possible through literature or theater.
Impact of Technology
ARCH-581B | 3 CR
This course is a sequence of lectures (mostly
slide illustrated) in the philosophical foundations
of science and technology and their relation to
creative architectural and engineering design.
The course correlates specific construction
techniques, building studies, and environmental
design with questions of aesthetics, perception,
performance, and understanding. Prerequisite
course: ARCH-208.
Urban Planning
ARCH-593B | 3 CR
This is an introduction to the field of planning
and how planning is both shaped by and shapes
the historical, sociocultural, environmental, and
economic forces affecting the urban fabric and
the viability of communities and neighborhoods.
The roles of government policies and programs,
developers, community groups, designers, and
advocacy planners are investigated through
readings, discussion, and a hands-on community-based planning studio project.
Undergraduate Internship
ARCH-9400 | 0 CR
The internship is a learning experience at a
discipline-related professional site. It provides
students with an opportunity to apply academic
knowledge and skills in a practical setting
while obtaining new knowledge and skills in
preparation for professional work or graduate
school. Students experience the application of
coursework lessons into a real-life context, thus
enriching their education. They deepen their
knowledge about important applied aspects of
their discipline, enhance their professional skills
in a real-world context, build their professional
network, and inform their career choices.
the opportunity for an in-depth reflection on the
internship experience. Fourth- and fifth-year
undergraduate Architecture students may
participate in full-time, architectural-office
summer internships in selected architectural
firms after a formal selection process. An
internship is intended to include all phases of
office experience under the supervision of senior
members of the firm. Internships may be applied
to elective credits depending on the nature of
each work assignment and the length of the
internship period.
ARCH-9401 | 1 CR
internship experience. Fourth- and fifth- year
internship period.
ARCH-9402 | 2 CR
internship period.
ARCH-9403 | 3 CR
internship period.
Department: FM
CM/CONSTRUCTION MANAGEMENT
CM-111 | 3 CR
Construction Graphics is designed to provide the
student with the necessary skills to communicate
graphically with other professionals associated
with the field of construction, including architects,
engineers, interior designers, project managers,
and building officials. The student will develop the
basic vocabulary and skills needed to participate in
the field of construction management.
Construction: Wood & Masonry
CM-131 | 3 CR
This course is an introduction to construction
methods and materials: wood frame, plank
and beam, and plywood skins; mill and other
fireproof and nonfireproof wall-bearing masonry
construction; interior materials and finishes; and
environmental factors affecting selection and
application of various materials.
Construction: Concrete & Steel
CM-132 | 3 CR
Topics covered in this course include steel
and concrete structures, heavy foundations,
structural systems, components, and typical
details; a general study of construction materials
and methods; and a review of the construction
process. Prerequisite course: CM-131.
Safety Management
CM-140 | 3 CR
An advanced, comprehensive approach to
construction safety management, this course
will deal with federal, state, and local laws and
requirements involving worker, public, and
client safety practices. Topics will also include
developing and implementing a Site Safety Plan,
Pre-Task Planning, and Site Worker Orientations.
An OSHA 30-hour training course will also be
included as part of the curriculum.
History of Construction Technology
CM-152 | 3 CR
The course traces the history of construction
technologies through architecture from prehistory to the present day. There is an emphasis on
the role of technology in shaping architecture as
well as an examination of the cultural social forces
that underlie the built environment. The course
will relate history to the development of various
building technologies and how these technologies
influenced design.
Professional Bid Proposal Simulation
CM-191 | 1 CR
The goal of this course is to provide Construction
Management students with hands-on experience
in a simulated bid proposal situation. The
students will need to collaborate to develop a
professional proposal binder including a company
description, résumés, relevant experience, cost
estimate, schedule, logistics plan, safety plan,
Quality Assurance and Quality Control (QA/QC)
process, Equal Opportunity Employment (EOE)
policy, union/nonunion labor issues, contract,
sustainable initiatives (USGBC LEED), BIM strategy,
and value engineering recommendations. In
addition the students will need to develop
Requests for Information (RFIs) and respond to
Addenda and simulated subcontractor telephone
negotiations. The students will need to assess
each other’s strengths and assign traditional
construction manager roles: project executive,
project manager, superintendent, cost estimator,
scheduler, and safety officer. Time management
and public presentation skills are essential.
Intro to Construction Management
CM-201 | 3 CR
In this course the contemporary construction
team—the interrelationship of the owner,
construction manager, architect, engineer,
contractor, subcontractor, and supplier—is
studied. Roles, functions, and responsibilities
of each, as applicable to private, corporate,
institutional, and governmental construction,
including some contract documents and forms
which may be used in the various relationships,
are reviewed. Prerequisite courses: ENGL-101,
ENGL-103, HMS-101A, HMS-103B.
CM-231 | 3 CR
The first term covers structural theory, including
an introduction to mechanics, shears, moments,
and deflections. Emphasis in the second term
covers the design of wood and steel systems
and concrete and reinforced concrete design,
including beams, columns, slabs, and foundation
supports. The course objective is to provide a
basic understanding of the various structural
principles in building design. Prerequisite courses:
CM-132, PHYS-131.
CM-232 | 3 CR
The first term covers structural theory, including an
introduction to mechanics, shears, moments, and
deflections. Emphasis in the second term covers
the design of wood and steel systems and concrete
and reinforced concrete design, including beams,
columns, slabs, and foundation supports. The
course objective is to provide a basic understanding of the various structural principles in building
design. Prerequisite course: CM-231.
Mechanical & Electrical Equipment I
CM-233 | 3 CR
Students examine mechanical and electrical
equipment installation in modern building
construction and operation: water supply,
plumbing, sewage disposal, heat losses, heating
systems, ventilation, air conditioning, refrigeration,
elevators, escalators, illumination, and electrical
systems. CM-273 covers small building equipment.
CM-274 covers equipment for medium and large
buildings. Prerequisite course: CM-132 or CM-112.
Mechanical & Electrical Equipment II
CM-234 | 3 CR
Students examine mechanical and electrical
equipment installation in modern building
construction and operation: water supply,
plumbing, sewage disposal, heat losses, heating
systems, ventilation, air conditioning, refrigeration,
fire protection, elevators, escalators, illumination,
and electrical systems. CM-233 covers small and
medium building equipment. CM-234 covers
equipment for medium and large buildings.
CM-242 | 3 CR
The constructor must have an understanding of
the relationship of the site and topography to
the act of building and be capable of applying
surveying standards on a construction project.
The Construction Surveying course introduces
the Construction Management student to plane
and geodetic surveying and the principles of
horizontal and vertical measurement using a
transit, level and rod, and steel tape; in addition
Total Station instruments will be observed on a
construction site. Students will also examine the
physical character of soil constituents, natural soil
deposits, soil index properties, soil classification,
stress analysis and engineering properties,
interpretation of soils reports, embankment
construction and control, dewatering, excavations
and excavation supports, foundation construction, and construction access and haul roads.
CM-291 | 1 CR
Construction Manager roles: project executive,
Project Controls I
Value Management
CM-321 | 3 CR
Starting with the development of measured
program or project objectives, this course,
delivered over the fall and spring semesters
consecutively provides the complete step process
and project-tested examples and templates of
how to establish and maintain an effective cost
and schedule management system from project
inception through to completion to ensure that
project requirements are addressed. The fall
semester will focus on Pre-Project and PreConstruction project controls, up to the point of
issuing bids for construction work.
CM-344 | 2 CR
The course objective is to understand the
performance, time, and cost relationship—how
to analyze the function of a building or system
and achieve its objectives at minimum cost and in
minimum time without sacrificing performance,
quality or aesthetics.
Project Controls II
CM-322 | 3 CR
Starting with the development of measured
program or project objectives, this course,
delivered over the fall and spring semesters
consecutively provides the complete step
process and project-tested examples and
templates of how to establish and maintain an
effective cost and schedule management system
from project inception through to completion to
ensure that project requirements are addressed.
The spring semester will start with the award
process for construction work, and focus on
all aspects of project controls during project
execution, completion, and start-up. Prerequisite
course: CM-321.
Specifications
CM-331 | 2 CR
This course reviews specifications—role, intent,
use, bid documents, development of format,
specification procedures, and various types of
outline, performance, descriptive reference, and
proprietary specifications. Prerequisite courses:
ENGL-101, ENGL-103, HMS-101A, HMS-103B.
Design Theory
CM-341 | 3 CR
Design Theory is a two-part course focusing on
the role that design theory plays in our built environment. Students will first become acquainted
with the principles of design theory. They will
then explore how these principles, in conjunction
with the concerns of the environment, specificity
of site, and building typology, come together
to create the structures of our modern world.
Prerequisite courses: CM-232, CM-234.
CM-343 | 3 CR
This course covers practical procedures for
building construction estimating of most major
trades; analysis of factors and methods affecting
construction costs; preparation of preliminary
budget; and complete working estimates with
quantities and costs of material, labor, and
overhead. Framing, interior and exterior finishes,
life safety and support equipment, packaging
of budget, design, construction, bid estimates,
contingencies, and bidding strategies are also
covered. Prerequisite courses: ENGL-101,
ENGL-103, HMS-101A, HMS-103B.
Estimating
CM-346 | 3 CR
The focus of Estimating is understanding how to
prepare a detailed construction cost estimate
including performing material quantity takeoffs,
pricing labor and equipment, and evaluating
overhead costs. Prerequisite courses: CM-111,
CM-232, CM-234.
CM-347 | 3 CR
The contractor is responsible for preparing and
submitting the construction schedule to the
owner and the architect (refer to AIA Document
A-201 (2007), General Conditions of the Contract
for Construction, Section 3.10.1). This course
introduces the Construction Management student
to concepts of planning and scheduling that
are the responsibility of the contractor. Topics
covered include Parameters Affecting Project
Planning, Schedule Information Presentation,
Network Diagramming and Calculations with
CPM, and Resource Allocation and Management.
Students will have the opportunity to apply their
knowledge of planning and scheduling to a set
of actual construction documents. Prerequisite
course: CM-321.
Construction Failures
CM-352 | 3 CR
This course is an in-depth look at famous (and
infamous) structural collapses, with an eye toward
analyzing them and taking away the lessons that
can be learned. This is most relevant to the
application of new ideas in the design process,
seen by examining common errors that led
failures. Prerequisite courses: CM-231, CM-232.
CM-391 | 1 CR
CM-401 | 3 CR
This course covers construction project
management from conception to completion.
Students explore feasibility studies, site selection,
planning, programming, design coordination, and
contracting procedures of actual construction.
Emphasis is on contractor operations, project
administration, job planning, CPM scheduling, and
subcontract coordination. Prerequisite courses:
CM-232, CM-234.
CM-402 | 3 CR
This course covers construction project
management from conception to completion.
Students explore feasibility studies, site selection,
planning, programming, design coordination, and
contracting procedures of actual construction.
Emphasis is on contractor operations, project
administration, job planning, CPM scheduling,
and subcontract coordination. CM-521 applies
procedures to an actual construction project.
Students are required to sit for the Level I
Associate Constructor (AC) Exam. Submission to
the professor of a photocopy of either the exam
results or (if the student has not yet received
results) a photocopy of the entrance ticket with a
date stamp or receipt indicating that the student
actually attended is mandatory. Prerequisite
course: CM-401.
Project Management
CM-404 | 3 CR
Construction project management is the art and
science of organizing the work. The construction
project manager requires an understanding
of all aspects of the project including bidding
and estimating, procurement, labor relations,
scheduling, project controls, legal and contractual
issues, construction technology, means and methods of construction, site safety regulations, and
administrative procedures. This course introduces
the Construction Management student to the
following concepts: roles and responsibilities of
the construction team; labor relations; administrative systems and procedures; cost control
data and procedures; documentation at the job
site and office; quality control philosophies and
techniques; and computer applications. Ethics will
also be addressed. Prerequisite course: CM-401.
BIM for CM Studio
CM-420 | 2 CR
The focus of this class is to get fundamental
knowledge of the concept of BIM and how to
manage the model and extract the data that
is useful for construction management. It will
simulate the path of design and construction of a
significant building type, such as a 30-story office
tower. A range of cutting-edge software will be
used to model and then harvest the embedded
data from the building information model, which is
then used to inform the design and construction.
Through BIM we create buildings that are well
designed, accurately built, economical, and
sustainable throughout their complete life cycle.
BIM for CM Lab
CM-421 | 1 CR
The focus of this class is to get fundamental
knowledge of the concept of BIM and how to
manage the model and extract the data that
is useful for construction management. It will
simulate the path of design and construction of a
significant building type, such as a 30-story office
tower. A range of cutting-edge software will be
used to model and then harvest the embedded
data from the building information model, which is
then used to inform the design and construction.
Through BIM we create buildings that are well
designed, accurately built, economical, and
sustainable throughout their complete life cycle.
BIM for CM II
CM-423P | 3 CR
This class is simulating the real-life design and
construction process, using Virtual Design and
Construction (VDC) tools as the nave for all
exchanges of information. It’s a collaborative
class where Construction Management (CM) and
undergraduate Architecture (BArch) students
work on a small project that will be developed
throughout the semester. Architecture students
will generate the BIM model, produce whole building analysis, and coordinate, and exchange data
with CM students. On the CM side, the students
will perform constructability review, quantify,
provide a cost estimate, review logistics as well
as simulate the assembly of the building with 4-D
tools. Prerequisite courses: CM-420, CM-421.
Sustainable Construction Management
CM-446 | 3 CR
This course explores thee methodologies of
construction management for sustainable
projects. The course will enable students to meet
the challenges of green building construction
and the benefits of construction environmentally
friendly, sustainable buildings. Topics include
project management, field management,
project delivery, documentation, and risk. Case
studies are discussed throughout the course
and students present sustainable procurement
proposals individually and in teams at the
conclusion of the term.
Architecture of NYC
CM-451B | 3 CR
New York City is a virtual storehouse of American
architecture. The stock of buildings includes
examples of nearly every style of architecture
from Colonial to Postmodern. This course reviews
the various historical eras of architecture in New
York City and analyzes how they were affected by
construction technology and social and economic
forces. Lectures present the stylistic groupings
of architecture and are supplemented by visits to
the unique historic districts and architectural sites
of the city.
CM-461 | 2 CR
This course is a study of zoning and building code
requirements. Special emphasis is placed on
the life safety and accessibility sections of the
building code and roles of building departments
and their authority. The approval and permit
process is discussed as it relates to various types
of alterations and building structures.
Restoration & Renovation
CM-462 | 3 CR
This course consists of a series of lectures
and readings to enable students to assess and
restore property damage and to recognize
and appreciate the techniques necessary to
rehabilitate and renovate old structures. The
lectures are designed in the chronological order
employed by an architect, construction manager,
and/or general contractor in the restoration
and renovation of historic buildings. This course
concentrates on the construction methods, tools,
and materials necessary to restore the style and
grace required to protect our housing stock and
American heritage. Prerequisite courses: CM-132,
CM-232.
Real Estate Development
CM-463 | 3 CR
This course introduces the principles of real
estate development with an emphasis on economic issues. Topics covered include participants
in the development process, types of real estate
development, contract and closing procedures
and tools, tax shelters, and an overview of the
development process. The roles played by the
public and private sectors are examined with
an emphasis on discerning the differences in
perspectives associated with each sector.
Independent Study I
CM-491A | 1 CR
member directing the work, and the chair.
Independent Study I
CM-491B | 2 CR
member directing the work and the chair.
Independent Study I
CM-491C | 3 CR
Independent Study II
Architecture of NYC
Construction Law
CM-451A | 2 CR
New York City is a virtual storehouse of American
architecture. The stock of buildings includes
examples of nearly every style of architecture
from Colonial to Postmodern. This course reviews
the various historical eras of architecture in New
York City and analyzes how they were affected by
construction technology and social and economic
forces. Lectures present the stylistic groupings
of architecture and are supplemented by visits
to the unique historic districts and architectural
sites of the city.
CM-471 | 3 CR
This introduction to law and contracts helps
students to avoid entanglements and disputes
and to develop awareness of legal rights so
that construction claims can be settled by
negotiation, not litigation.
CM-492A | 1 CR
Prof. Bid Proposal Simulation
CM-491 | 1 CR
CM-492B | 2 CR
CM-492C | 3 CR
Capstone Project
CM-499 | 3 CR
The Capstone Project is the culmination of all of
the knowledge accumulated during the first three
years of the Construction Management Program.
Students will be assigned a set of construction
documents for a real project. The students will
develop a Construction Management project proposal based on the construction documents. The
project proposal will include (at minimum) Project
Approach; Project Cost; Project Schedule;
Project Staffing; Safety Plan; Value Engineering
Proposals; and Site Logistics Plan. Following
the preparation of the Project Proposal, the
students will prepare a public presentation to be
reviewed and critiqued by a jury of Construction
Management professionals. Prerequisite courses:
CM-347, HMS-497A (prerequisite or taken
concurrently with CM-499).
Internship I
CM-9400 | 0 CR
Students wishing to combine practical experience
with Construction Management study may apply
for an internship with participating companies
if they have a minimum GPA of 3.0 and at least
sophomore status. Students, in conjunction
with the faculty advisor and employer, prepare
a written description of the studies to be
accomplished as part of the internship and their
relationship to the curriculum. The application
must be approved by the faculty adviser, the
chair, and the employer.
Internship I
CM-9401 | 1 CR
Internship I
CM-9402 | 2 CR
Internship I
CM-9403 | 3 CR
Internship II
CM-9410 | 0 CR
Internship II
CM-9411 | 1 CR
Internship II
CM-9412 | 2 CR
must be approved by the faculty adviser, the chair,
and the employer.
Internship II
CM-9413 | 3 CR
MGMT/MANAGEMENT
Fundamentals of Accounting
MGMT-201 | 3 CR
This course covers basic accounting principles
and practices.
Small Business Basics
MGMT-205 | 3 CR
Students explore various aspects of opening up
one’s own business or engaging in entrepreneurial
activity, whether service- or product-oriented.
Drawing upon the fields of economics, sociology, and psychology, the class helps students
understand the dynamics of small business and
situate them in society. Specific subjects covered
include site location, partnerships, agreements,
insurance, financial statements, accounting
systems, leases, franchising, promotion, and
business management systems.
Business Law
MGMT-303 | 3 CR
This course covers legal fundamentals, rights,
and remedies in business transactions, contracts
and sales, business organizations, negotiable
instruments and security devices, and government
regulations and licenses.
Advertising
MGMT-305 | 2 CR
This is a basic overview of the concepts and
techniques of advertising. Special topics are
assigned as projects.
Management
MGMT-307 | 3 CR
This course presents the concepts and principles
of management as they relate to institutional and
business organizations. The study of planning,
organizing, staffing, coordinating, directing,
controlling, and innovating as they apply to the
management process is also covered.
Marketing
MGMT-308 | 3 CR
Basic elements of marketing are studied as they
relate to sales, advertising, financing and pricing,
promotion, product planning, and other areas of
the marketing mix.
School of Art Courses
Financial Management
MGMT-309 | 3 CR
This course is an analysis of the financial aspects
and problems related to operations of business,
industry, and institutions. It includes a discussion
of primary and secondary sources and funds,
budget preparation and supervision, and finance
as a tool of management control. Prerequisite
courses: This course is reserved for Junior-year
students that have completed 66 or more credits.
Labor Relations
MGMT-315 | 3 CR
This course covers relations between union and
management; the employee as a union member;
theory and techniques of collective bargaining;
jurisdictional disputes, contract negotiation,
mediation, and arbitration; structure and impact
of the labor market; and labor economics, labor
law, and evaluation of the government’s role in
labor relations. A research project is required.
Managerial Economics
MGMT-325 | 3 CR
This course provides an introduction to basic
concepts in managerial economics such as the
relationship of economics to management, the
meaning and measurement of performance, and
competitive advantage. Broader firm decisions
such as capital allocations and the impact of
regulation and its role within the international
economy will also be addressed.
School of Art
Department: ADE
ADE/ART & DESIGN EDUCATION
The Inclusive Art Room: EAS
ADE-215 | 3 CR
This course is an introduction to teaching
students (K-12) with disabilities and other special
learning needs, as seen in the context of the art
classroom. Students observe and assist art and
design educators as they work with their diverse
school-age student populations. Placements are
with art teachers who have had coursework and
extensive experience working with school-age
students with disabilities and other special
learning needs.
Fieldwork in Art/Design Education
ADE-215A | 4 CR
Students will observe, assist, and eventually teach
in an art classroom. Fieldwork journals including
lesson planning, classroom management, and
evaluation are brought to the weekly seminar for
discussion and analysis.
Fieldwork in Art/Design Ed:
Special Population
ADE-215B | 4 CR
Students will observe, assist, and eventually teach
art to special needs students. Placements will be
made with teachers who have had coursework
and extensive experience with special education.
Issues raised in fieldwork journals—including
inclusion, labeling, and planning—will be discussed
during the weekly seminar.
Teaching/Technology: Design Change
ADE-360 | 2 CR
Instructional technologies (computer art, video,
and other film processes) are introduced to
those without previous experience while students
familiar with design hardware and software
further evaluate and develop its educational
possibilities and applications in a public school
setting. Through a series of studio projects,
discussions, and papers, students explore how
digital technology, while enhancing teaching and
learning, can also be a tool for creative expression
and a means of individual and social change.
Teaching and Technology I
ADE-361 | 1 CR
This course focuses on approaches to teaching
about contemporary digital art and design, and
the use of instructional technologies in the
21st-century art classroom. Students will develop
an understanding of collaborative online learning
platforms, digital learning resources, and tools
to create a connected learning environment.
Gaining hands-on experience through interactive
tutorials, students will be challenged to apply
their knowledge of technology to K-12 and
informal learning settings. The course will meet
for three hours a week over a five-week period.
Prerequisite course: ED-400.
Teaching and Technology II
ADE-362 | 1 CR
Instructional technologies (computer art, video,
and other film processes) are introduced to
those without previous experience while students
familiar with design hardware and software further
evaluate and develop educational strategies
and applications in K-12 and informal learning
settings. Through a series of studio projects,
discussions, and papers, students explore how
digital technology, while enhancing teaching and
learning, can also be a tool for creative expression
and a means of individual and social change. This
course will meet for three hours a week over a
five-week period. Prerequisite course: ED-400.
The Performance of Fashion
ADE-417 | 3 CR
This studio course investigates the close
connection between the contemporary worlds of
fashion and performance art. The use of narrative
has become an important part of a fashion
concept, just as it is in performance art. In fashion
design, the body is much more than an instrument
or a means; it is our expression in the world, the
visible form of our intentions. This course explores
an expanded definition of fashion to include the
body’s presentation in the public sphere through
research on the work of historical interdisciplinary
artists, the design of objects to be worn by the
human body that are performative, and the
performance of these projects.
Contemporary Museum Education
ADE-418 | 3 CR
This class provides an in-depth theoretical and
practical understanding of the growing field of
museum education. It includes an examination
of the changes occurring in art educational
paradigms within the museum world, the
evolving nature of museums as institutions with
educational missions, along with learning and
interpretive theories unique to the museum
context. The class provides an extensive hands-on
component devoted to the special methods,
practices, and skills associated with teaching with
artworks, and in designing educational projects,
programs, and innovative learning experiences
within the art museum settings. The course also
explores critical issues facing the field through
theory, practice, and the analysis of case studies,
including audience diversity, collaboration with
schools and communities, the rethinking of
museum missions and practices, and the use of
new technologies. In addition to the examination
of theories underlying contemporary museum
education, the course will constitute a strong
practicum preparing artists’ and designers’
museum education work. Finally, the course also
introduces the contemporary threads in the
reconceptualization of museum education as
artistic practice at the intersection of institutional
critique and participatory and social practice.
The course aims to broaden educational horizons
and critical perspectives while equipping
students with practical strategies in new learning
environments. Many classes will be held in NYC
museums, where students will work with objects
in various collections, and where they will interact
with a variety of museum professionals.
Found in Art/Design Education
ADE-419 | 3 CR
The history of art education, the literature
on children’s artistic development, and an
exploration of art materials and processes serve
as a springboard for discussions on motivation,
classroom management, lesson planning, diverse
student populations, and assessment of learning
in art. A case study of one child’s progress in an
art class is required, providing opportunities for
further exploration of these topics.
Art of Teaching Art and Design
ADE-420 | 3 CR
In this course, students explore the questions
raised in Saturday Art School and Student
Teaching in galleries, after school, and in the
public schools. An interdisciplinary approach
to research in the development of curriculum,
the use of narrative to understand behavior, the
value of motivation in classroom management,
assessment, working with students with disabilities
and special needs, and some practical ways to
respond to and analyze works of art are discussed.
Student Teaching: SAS
ADE-421 | 3 CR
This course is an introduction to teaching
practice that precedes formal student teaching in
the schools is provided in a laboratory situation.
Each student is responsible for the planning,
teaching, and evaluation of art lessons guided
by theory and strategies presented in ADE-419.
During a seminar immediately following each class,
common issues and problems, both classroom
and societal, are discussed. Prerequisite or
concurrent course: ADE-419.
Student Teaching: SAS
ADE-422 | 3 CR
This course is an introduction to teaching practice
that precedes formal student teaching in the
schools is provided in a laboratory situation.
Each student is responsible for the planning,
teaching, and evaluation of art lessons guided by
the theory and strategies presented in ADE-420.
During a seminar immediately following each class,
common issues and problems, both classroom
and societal, are discussed. Prerequisite or
concurrent course: ADE-420.
Student Teaching: Public
ADE-431 | 6 CR
In the Public Schools, pre-K—HS is the culminating
clinical experience of the Art & Design Education
(ADE) program. Under the guidance of a cooperating teacher and a Pratt faculty supervisor, the
student participates in a professional teaching
situation, applying the insights gained from
previous coursework, reading, observation, and
classroom practice. In weekly seminars designed
as forums for reflection, analysis, and inspiration,
students discuss their plans for teaching, as
well as issues related to curriculum delivery and
assessment, and school and classroom culture.
The New York State Teacher Certification
Examinations and Assessments—particularly the
Educating All Students (EAS) and the Education
Teacher Performance Assessment (EdTPA), which
is created, taught, and submitted during the
semester—are a principle focus of this course.*
Prerequisite courses: ADE-521, ADE-522.
*The course meets the NYSED requirement for
undergraduate- and graduate-level clinical
experiences in art and design education (K-12) in
that students are in the public schools for 30 days
and attend a weekly on-campus seminar.
Puppets: Ballet of Hand
ADE-435 | 3 CR
This studio course examines the role of puppetry
as an educational tool, a major form in the history
of art, and a unique and contemporary language
of object, gesture, and story. The course considers puppetry’s unique blending of media such as
painting, sculpture, and costume, set, and sound
design and emphasizes puppetry’s innovative
combinations of multimedia and narrative effects.
Student projects are based on a specific style/s
of puppetry—found/performing objects, shadow
figures, and rod puppets. Students apply the
techniques related to each style as they expand
upon their ideas about the traditional languages
and materials of art.
Puppets and Performing Objects
ADE-436 | 3 CR
This studio course explores interdisciplinary
approaches to performance and their application
to contemporary puppetry. Using the unique
and contemporary language of object, gesture,
and story, the course explores the ways in which
puppetry and performing objects can serve as
elements of hybrid contemporary performance
art. This exploration considers the integration
of costume, set, and sound design into the
performance projects. Students work on a final
project based on any form or a combination of
the following forms of puppetry: string puppets,
hand puppets, body puppets and masks, largescale outdoor parade puppets, and miniature
paper/toy theater.
Museum Education
ADE-518P | 3 CR
This class provides an in-depth theoretical and
practical understanding of the growing field of
museum education. It includes an examination
of the changes occurring in art educational
paradigms within the museum world, the
evolving nature of museums as institutions with
educational missions, along with learning and
interpretive theories unique to the museum
context. The class also provides an extensive
hands-on component devoted to the special
methods, practices, and skills associated with
teaching with artworks. Many classes will be held
in NYC museums, where students will work with
objects in various collections, and where they will
interact with a variety of museum professionals.
ED/EDUCATION
Violence Prevention Seminar
ED-001 | 0 CR
Teacher education programs are required to
ensure that candidates completing the program
have at least two hours of instruction in identifying and reporting suspected child abuse and
maltreatment. In many instances this instruction
is incorporated in other courses rather than being
presented in a stand-alone workshop.
Child Abuse Prevention Seminar
ED-002 | 0 CR
Teacher education programs are required to
ensure that candidates completing the program
have at least two hours of instruction in identifying and reporting suspected child abuse and
maltreatment. In many instances this instruction
is incorporated in other courses rather than being
presented in a stand-alone workshop.
Contemporary Ideas: Art & Self
ED-250 | 3 CR
This course enables the student to develop
a personal philosophy as an artist-designer
and teacher through the exploration of the
relationship between the creator and the creative
process and art and culture. Visits to museums
and galleries and an examination of modern and
contemporary artists will also serve as subjects
for the class discussion. A semester-long project
focusing on one object will demonstrate the
variety of personal styles and expressive forms in
the visual arts while complementing the required
texts and discussion.
Found in History/Philosophy of Education
ED-400 | 3 CR
This course is an analysis of the work of major
philosophers relating to education provides a
context for an examination of our experiences
as teachers and learners. Students use these
readings to raise questions and develop issues for
individual and group projects.
American Urban Education
ED-406 | 3 CR
This course is an analysis of urban schooling
in the United States today, with particular
attention paid to the New York City school
system of public education. A variety of texts
and the diverse experiences of students will
guide this reevaluation of assumptions about
teaching, learning, and the assessment of learning.
Discussions about diversity in the urban classroom
will prepare students for working with a variety of
populations and learners.
Department: ASSOC
ASCG/ASSOCIATE COMPUTER
GRAPHICS
Fundamentals of Digital Media
ASCG-100 | 3 CR
The goal of this course is to teach the students
many of the basic concepts necessary for
successful use of the computer as a graphic
tool, including eye-hand coordination, paint and
drawing software fundamentals, basic microcomputer operation, the care of systems, and
familiarity with a variety of computer operating
systems. This course is a prerequisite for all digital
design and interactive media courses.
Interactive Media
ASCG-101 | 3 CR
This course introduces the students to the
fundamental co

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