undergrad bulletin

Transcription

undergrad bulletin

Cover Design by Christina Hillman (B.F.A. Communications Design, Class of ’15)
The spring 2014 Pratt Institute Course Catalog Cover Design Competition challenged students in the
Undergraduate Communications Design Department to submit cover designs for the 2014–15 graduate
and undergraduate course catalogs.
Competition winner Christina Hillman approached the design as a personal invitation to potential
students to join the Pratt community. She wanted to create a hand-done invitation, and drew her
cover illustrations without using digital tools. The single, swirling, looping line is a metaphor for the
complex path of discovery that Pratt students experience—and the constantly dizzying, and sometimes
frustrating, search for the next great idea.
Pr at t institute
Undergraduate Bulletin 2014–2015
Visit Pratt
All prospective students are encouraged
to visit Pratt. Here’s how:
Web
Office ofAdmissions
Guided campus tours are scheduled
Visit Pratt through our homepage on
The Office of Admissions is open weekdays
Mondays and Fridays at 10 a m,
the Web. Our address is www.pratt.edu.
from 9 a m to 5 p m
Guided Campus Tours
from September through May and
12 p m , and 2 p m ; and Tuesdays through
from 9 a m to 4 p m during June,
Thursdays at 10 a m and 2 p m.
July, and August.
Campus tours can be scheduled online
Pratt Institute
at www.pratt.edu/visit.
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].
t el : 718.636.3514 or 800.331.0834
fax: 718.636.3670
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.
© 2014 Pratt Institute.
Photography: © Bob Handelman; additional
photography by Josh Gerritsen, Peter Tannenbaum,
Paul Mpagi Sepuya, 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
105 School of Design
167 Academic Degrees Overview
25 The History ofPratt
109 Communications Design
169 Curricula
27 Pratt Students
119 Fashion Design
37 How a Pratt Education Works
127 Foundation
133 Industrial Design
39 School of Architecture
141 Interior Design
43 Architecture
51 Construction Management
58 Foundation
61 Art and Design Education
65 Associate Degree Programs
147 School of Liberal Arts
149 Critical and Visual Studies
89 Fine Arts
97 Photography
289 Financial Aid
321 Registration and Academic Policies
341 Student Affairs
153 History of Art and Design
355 Libraries
157 The Writing Program
357 Libraries Faculty
159 Classes in the Liberal Arts
73 Digital Arts
81 Film/Video
275 Undergraduate Admissions
313 Tuition and Fees
and Sciences
55 School of Art
197 Faculty
165 Continuing and Professional
Studies
165 Professional Services
Management
359 Board of Trustees
361 Administration
363 Academic Calendar
371 How to Get to Pratt
373 Index
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 six-foot canvases,
architectural models, and bulging
black portfolio cases. Some have
worked through the night to make
the morning deadline.
Opposite: View of Pratt’s Brooklyn campus
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 right-side-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: Heading to class on the Brooklyn campus
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.
“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.
Opposite: A typical “pin-up” critique at Pratt
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
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. Over one hundred 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—pass on
knowledge and expertise to the generation that will shape the world of
tomorrow.
Opposite: Pratt professors teaching on the Brooklyn campus
13
About Pratt Institute
Founded in 1887, Pratt Institute prepares its
As a result, their work becomes richer, more
3,100 undergraduate and 1,600 graduate
complex, more interesting. Pratt’s programs
students for rewarding and successful
are consistently ranked among the best
careers in art, design, architecture,
in the country. Pratt’s faculty and alumni
information and library science, and liberal
include the most renowned artists, designers,
arts and sciences.
and scholars in their fields. Its programs
With a campus in Brooklyn, a borough of
New York City in the midst of a renaissance,
and a campus in Manhattan, the art and
encourage collaboration and the development
of creative strategies for design thinking.
As one of the world’s multicultural
literary capital of the world, Pratt offers
epicenters for arts, culture, design,
students access to the resources of both—
technological innovation, and business,
museums, galleries, restaurants, vintage
New York City provides Pratt students with
shops, and more. Its state-of-the-art
an exceptional learning environment that
facilities ensure that students have the best
extends beyond the Pratt campuses. From
equipment, materials, software, and space
design firms and art galleries where students
possible for their work.
may intern to museums and concert halls
The Institute’s landscaped campus in the
where they enjoy all of the city’s cultural
historic Clinton Hill neighborhood of Brook-
offerings, Pratt’s New York City location is
lyn is home to all of the four-and five-year
unparalleled.
programs except Construction Manage-
Students may also work towards a Pratt
ment, which is located on the Manhattan
bachelor of fine arts at PrattMWP, the
campus, where all of the associate’s degree
Institute’s satellite campus in Utica, New
programs are also located.
York. After two years there students may
A wide variety of majors and
concentrations—from traditional arts to the
transfer to the Brooklyn campus to complete
their four-year degree.
most contemporary digital arts and design—
enables students to explore all their interests
with electives in different departments.
Opposite: Pratt’s Brooklyn campus
14
home to one of the best art,
The most innovative part of the
most interesting part of the most
important city in the world.
architecture, and design
As a young artist, designer, or writer, you
internships in award-winning firms and
schools in the world.
are looking for a school that recognizes
cutting-edge galleries, and the opportunity
your talent and potential and challenges
to study abroad. You want to know that, upon
you to grow as a creative individual. You
graduation, you will benefit from an extensive
are seeking an environment that is both
network that will connect you with jobs
challenging and inspiring, where education
throughout your career, so that you can lead a
is tied to real world experience—access to all
fulfilling and productive life earning a living
the culture that New York City has to offer,
doing something you love.
Brooklyn, New York—home
to more artists than any
other city in the world and
How does Pratt do that?
• A choice of 27 majors and
concentrations in four schools:
Architecture, Art, Design, and Liberal
Arts and Sciences.
• A world-class faculty of successful
working professionals connects
students with internships and jobs.
• A beautifully landscaped 25-acre
Brooklyn campus just minutes
from Manhattan with historic
buildings, tree-lined green spaces,
a contemporary sculpture park, and
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 in front of the Juliana Curran Terian
Design Center on Pratt’s Brooklyn campus
15
16
Why is Pratt the first choice of so many students?
#3Fashion Design
Consistently High Rankings
(Fashionista)
#8Industrial Design
(DesignIntelligence, 2014)
#2 Interior Design
#2Digital Arts
(Animation Career Review, 2014,
East Coast)
#11Architecture
Where creative minds are
inspired.
Ranked among the top design schools by
BusinessWeek, Pratt’s undergraduate and
graduate programs are consistently ranked
among the top 10 or 20 in the country and
the world.
In 2014, DesignIntelligence ranked Pratt’s
undergraduate Interior Design program
#2 in the nation. Pratt’s Industrial Design
undergraduate program 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
& 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.
brooklyn campus
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 25-acre 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 nineteenthcentury 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.
Opposite: Students walk through Pratt’s
Brooklyn campus
19
Beyond this rich heritage, Pratt also has
Clinton Hill is one of New York’s
several distinctly modern buildings that
premier Victorian-era neighborhoods and
have been constructed in the past decade.
is listed on the National Register of Historic
The 26,000-square-foot Higgins Hall
Places. In part because of Pratt, it boasts an
Center Section, designed by Steven Holl
extraordinary number of creative artists,
Architects and Rogers Marvel Architects for
architects, designers, illustrators, and
the School of Architecture, opened in 2006.
sculptors among its residents.
In 2007, the 160,000-square-foot Juliana
Curran Terian Design Center opened—
designed by Hanrahan Meyers Architects,
the firm led by Thomas Hanrahan, dean of
the School of Architecture.
Myrtle Hall, a LEED Gold-certified
building designed by the firm WASA/Studio
A, was completed in 2010 and home to the
digital arts programs. The 120,000-squarefoot building is a testament to Pratt’s
commitment to sustainability.
The entire 25-acre campus also comprises
the celebrated Pratt Sculpture Park, the
largest in New York City, with sculptures by
artists including internationally renowned
Richard Serra and Mark di Suvero. According
manhat tan campus
Pratt’s Manhattan campus is located at
Design ’08, Illustrator,
to Union Square, Chelsea’s art district,
The New York Times
and many other leading educational and
cultural institutions. The seven-story,
80,000-square-foot property offers stateof-the-art facilities within a distinctive,
turn-of-the-century Romanesque Revival
building. Pratt’s Manhattan-based programs
benefit from the new campus’s cutting-edge
technology and its prime location.
The Manhattan campus houses
the School of Information and Library
Science, the Center for Continuing and
Professional Studies, the Associate Degree
campus art collections in the United States.
programs, the graduate programs in
Design Management, Arts and Cultural
Hill, has a history that is intimately interwined
Management, and Communications
with the Institute. A century ago, it was
Design, and the School of Architecture’s
home to the elite of Brooklyn. The expansive
undergraduate Construction Management
mansions lining Clinton Avenue belonged to
program and graduate program in Facilities
the shipping magnates and mercantile princes
Management. The library, exhibition space,
of the Gilded Age. Charles Pratt, whose
fortune derived from his partnership with
and state-of-the-art computer labs support
the academic programs.
John D. Rockefeller in Standard Oil, started
his Institute on family land just a few blocks
from the family mansion.
— Brett Affrunti, B.F.A. Communications
144 West 14th Street, walking distance
to Public Art Review it is one of the ten best
Pratt’s tree-lined neighborhood, Clinton
“History and architectural
beauty are all over Pratt
and its surrounding
neighborhood.”
Opposite: Detail of the façade of the Pratt
Manhattan campus
20
ways to ge t to know prat t
Request information at www.pratt.edu/
request, and we’ll send you our catalog as
Where faculty and students are at the center
of creative exploration and innovation.
well as information about events, deadlines,
and programs based on your interests.
Visit: www.pratt.edu/visit
Professional Faculty
Email: [email protected]
Call: 718.636.3514 or 800.331.0834
Twitter: @prattadmissions
Facebook: Pratt Institute-Admissions
Visit us, ask questions, show us your work, and
find out why Pratt is the first choice for so many
students. Schedule your appointment online at
www.pratt.edu/visit.
Pratt Institute
Pratt’s nearly 1,000 faculty members are
award-winning scholars who mentor their
talented students to achieve comparable
success. They are also working professionals
in the city’s creative sector, who bring to
the classroom their experience designing
buildings, creating ad campaigns, and
building furniture. The faculty represents
leaders in the art, design, architectural,
Office of Admissions
technology, and business communities.
Myrtle Hall, 2nd floor
These faculty members impart to
Brooklyn, NY 11205
students the same high standards upheld in
their professional work. With different views,
methods, and perspectives, they all share a
common desire to develop each student’s
potential and creativity to the fullest—to turn
out competent and creative professionals
who will shape the world to come. Faculty
serve as critical connections when students
are ready for employment or internships.
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 academic
initiatives where faculty and students
collaborate:
At the Center for Sustainable Design
Studies (CSDS), green design principles are
integrated into the curricula. The Design
Incubator for Sustainable Innovation, a
project of CSDS, supports several graduating
students each year as they develop design
ideas into marketable products.
In Corporate-Sponsored Studios and
Projects, faculty members explore new
approaches to a design or business problem
while students gain real world experience.
Partners have included Barnes & Noble,
Colgate-Palmolive, General Mills, and
West Elm.
At the Pratt Center for Community
Development, faculty, staff, and fellows
work for a more just, equitable, and
sustainable city for all New Yorkers by
academic initiatives
Students and faculty move effortlessly
empowering communities to plan for and
realize their futures.
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, jewelry to labs for animation,
motion arts, and interactive arts. From stateof-the-art facilities to research initiatives, the
Opposite: 3-D printer built by the Digital Futures Lab in
the School of Architecture
23
Tools for Tomorrow
multimedia video projection, and multiple
materials support the general education
servers. From film editing and digital
curriculum. The library houses more
internship and career support
animation to two- and three-dimensional
than 200,000 volumes of print materials,
rendering, all workstations feature the latest
including more than 600 periodicals, rare
software for the departments using them.
books, and the college archives. The library
Those working in the three-dimensional
also includes a multimedia center housing
realm have access to 3-D printers, laser
nearly 3,000 film and video titles as well as
cutters, and CNC milling machines. Pratt
the Visual Resources Center, a collection of
continually upgrades lab equipment as
more than 120,000 circulating architecture,
industry standards change.
art, and design digital images.
exhibitions
supports the Pratt community as well
a distinct advantage for students looking
Gallery space, both on the Brooklyn campus
for internships or job experience. Qualified
and at Pratt Manhattan, is extensive,
a growing collection of monographs,
students are offered challenging on-the-job
showing the work of students, alumni,
experiences in top art galleries, publishers,
faculty, staff, and other well-known artists,
architecture, and design firms in both
architects, and designers throughout the
Manhattan and Brooklyn, giving them
academic year. Pratt Manhattan Gallery is
firsthand work experience as well as credit
a public art gallery that strives to present
toward their professional degree.
significant work from around the world in
The Center for Career and Professional
Development inspires, supports, and
educates students and alumni. The Center
offers career and internship counseling,
resume and portfolio assistance, industry
mentoring, professional development,
workshops, entrepreneurial support, and a
lifelong job search support system.
Pratt’s New York City location provides
Six months after graduation, 89 percent
The Pratt Manhattan Center Library
as visiting researchers. The library has
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.
the fields of art, architecture, fashion, and
of Pratt’s graduates are employed and
design. The Rubelle and Norman Schafler
84 percent of those are employed in their
Gallery on the Brooklyn campus mounts
field. Preparing for a fulfilling, meaningful,
faculty and student exhibitions as well
and productive career and understanding
as thematic shows featuring the work of
emerging trends and the global job market is
unaffiliated artists. In addition, Pratt has
an essential activity for Pratt students.
more than 15 other galleries located on its
Brooklyn and Manhattan campuses.
state-of-the-art technology
Pratt’s computer labs and digital output
libraries
centers have the most current equipment
The Pratt Library on the Brooklyn campus is
available. Computer labs offer computer
located in an 1896 landmark building with
workstations, color scanners, color and
interiors by the Tiffany Glass & Decorating
black-and-white printers and plotters,
Co. Collections and services are focused
digital and analog output centers, digital
on the visual arts, architecture, design,
photography, video and sound bays,
creative writing, and allied fields. Additional
Opposite: Students at the Pratt Manhattan Library
25
The History of Pratt
On October 17, 1887, 12 young people
climbed the stairs of the new “Main”
leading supporters of the Institute.
The Institute’s success is based largely
“Pratt Institute has admirably
filled a unique position in
the American educational
system…I am confident
that Pratt will continue its
traditions of excellence in the
years ahead.”
building and began to fulfill the dream of
on Charles Pratt’s philosophy of education,
Charles Pratt as the first students at Pratt
which revolutionized teaching by challenging
Institute. Pratt, one of 11 children, was born
the traditional concept of academia as a
the son of a Massachusetts carpenter in 1830.
purely intellectual exercise. He created
In Boston, he joined a company specializing
a school where applied knowledge was
in paints and whale oil products. When he
emphasized and specific skills were taught
came to New York, he founded a petroleum
to meet the needs of a growing industrial
business which would become Charles Pratt
economy. Pratt has been a pioneer in
and Company. The concern eventually
education since its inception. Today, Pratt
merged with Standard Oil, the company that
offers students more than 27 undergraduate
a telegram sent on the occasion of Pratt’s
made John D. Rockefeller his millions.
majors and concentrations—more than most
75th anniversary in 1962
Pratt’s fortunes increased and he
became a leading figure in Brooklyn,
serving his community and his profession. A
other art and design schools in the country—
and 26 master’s degree programs.
The energy, foresight, and spirit Charles
philanthropist and visionary, he supported
Pratt gave to his dream remains even today.
many of Brooklyn’s major institutions. He
Inscribed on the seal of the Institute is his
always regretted, however, his own limited
motto: Be True to Your Work, and Your Work
education and dreamed of founding an
Will Be True to You.
institution where pupils could learn trades
through the skillful use of their hands. This
dream was realized when Pratt Institute
opened its doors more than 125 years ago.
To this day, members of the Pratt family are
Opposite page, top: Pratt Institute Free Library,
established in 1896; Bottom left: The Institute began
offering classes to women in 1888; Bottom right:
Charles Pratt, founder of the Institute
—President John F. Kennedy, from
27
Pratt Students
Although Pratt students come from all over
retention rate is 87 percent, among the
courts, basketball and volleyball courts, a
the world, they share several characteristics.
highest in the country among private art
weight room, dance/exercise rooms, and
First, most have known since childhood that
schools. A recent survey of Pratt students
saunas. Pratt is a member of the Hudson
they enjoy creating things. Second, most
indicated that they were extremely satisfied
Valley Athletic Conference. Men’s and
enjoy inventive problem solving both in and
with the quality of their education.
women’s varsity sports at Pratt include
outdoor and indoor track, cross-country,
out of the classroom. Finally, most share a
deep desire to change the world and leave
their imprint.
Pratt receives more than 6,000
applications for its freshman class of 620,
enabling the admissions committee to select an
international student body with a wide variety
of backgrounds. Twenty-five percent of the
freshman class come from other countries,
including China, Canada, Singapore, Thailand,
Turkey, and Korea. Seventy-seven percent of
the undergraduate enrollment comes from
states other than New York, giving Pratt a truly
national and international student body.
Although it is possible to attend Pratt
part time, 100 percent of the freshman class
chooses to study full time, reflecting a high
degree of commitment. The student body
is composed of 4,688 undergraduate and
graduate students—33 percent men and 67
st udent life basketball, volleyball, and tennis. A complete
Pratt students can choose from more than
dodgeball, flag football, floor hockey, soccer,
60 student activities, including honor
societies, clubs, sports, or the student-run
school newspaper, publications, and radio
station. Students regularly attend films, plays,
intramural activities program includes
and table tennis.
living on campus
lectures, art openings, and concerts—both
Pratt is one of the few colleges in New York
on campus and around New York City. These
City that offer on-campus housing. Ninety-
cultural outings play an essential role in the
four percent of our freshmen and more than
Pratt experience.
half of all students live on our main Brooklyn
In addition to the residence halls and
campus in one of our five residence halls.
cafeteria and cafes where students meet for
Students can choose to live in a single room,
meals, campus life is also centered around
a four-person suite, or a full apartment with
the Student Union, the Library, the Schafler
one, two, or three bedrooms. Seniors can
Gallery, and the Activities Resource Center,
apply to live in one of the campus’s recently
where most sports and wellness activities take
renovated historic townhouses. Various meal
place. In warm weather, students often meet
plans are available for residential students.
and sit on the lawns amid the contemporary
percent women.
sculptures that dot the campus.
st udent re tention
athle tics and recreation
One of the best measures of student
Pratt’s athletic programs are based in the
satisfaction is the percentage of freshmen
Activities Resource Center, which has a
who return the following fall. Pratt’s
200-meter indoor track, five indoor tennis
Opposite: Students sketch in the Sculpture Park
28
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, commercials, as well as artworks,
which are regularly exhibited in major museums and galleries.
William Boyer, designer of the classic
Thunderbird
Shawn Christensen, Academy Award winner
Tomie DePaola, children’s book author and
illustrator
Jules Feiffer, cartoonist and playwright
Ellsworth Kelly, minimalist painter
Edward Koren, cartoonist, The New Yorker
Naomi Leff, interior designer
George Lois, advertising designer
Robert Mapplethorpe, photographer
Tony Schwartz, creator, Alka-Seltzer
commercial
Annabelle Selldorf, gallery and museum
architect
Robert Siegel, architect, Gwathmey Siegel
Kaufman
Peter Max, pop artist
Pat Steir, contemporary painter and
Torch Song Trilogy
Norman Norell, fashion designer
printmaker
Steve Frankfurt, advertising innovator
Roxy Paine, conceptual artist
Bob Giraldi, film director
Sylvia Plachy, photographer
Felix Gonzalez-Torres, installation artist
Beverly Pepper, sculptor
Michael Gross, executive producer,
Charles Pollock, furniture designer
Ghostbusters
Paul Rand, graphic designer, created
Bruce Hannah, furniture designer for Knoll,
IBM logo
named Designer of the Decade in 1990
Robert Redford, actor and director
Eva Hesse, sculptor and painter
Robert Sabuda, illustrator
Betsey Johnson, fashion designer
Stefan Sagmeister, graphic designer
Peter Zumthor, Pritzker Prize-winning
David Sarnoff, president, RCA Corporation
architect
Harvey Fierstein, playwright and actor,
Opposite: Chrysler Building by William Van Alen
William Van Alen, architect, Chrysler
Building
Tucker Viemeister, product designer, Oxo
Good Grips
Max Weber, modernist painter
Robert Wilson, avant-garde stage director
and playwright
Carlos Zapata, residential and commercial
architect
30
productions. Pratt students can attend BAM
events at discounted rates.
In Manhattan, Pratt students also enjoy
visiting these institutions where admission
fees are waived: The Cooper Hewitt National
Design Museum, The Frick Collection,
Museum of Arts and Design, The Museum
of Modern Art, and the Whitney Museum of
American Art.
Affiliated Programs
prat t mwp
Pratt’s upstate extension campus in Utica,
New York, is the result of an affiliation
Cultural Partnerships in New York City
with the renowned Munson-WilliamsProctor Arts Institute. Students take the
first two years of Pratt’s bachelor of fine
The Institute has created partnerships with
on several contemporary—and often
a number of major cultural institutions so
local—art exhibitions each year. The “First
students may take advantage of the vast
Saturday” of each month is a day of special
opportunities in Brooklyn and Manhattan.
events when the museum is free to the
Students participate in collaborative work as
community.
part of their curriculum or simply have class
Open year-round, the adjacent Brooklyn
visits. On their own, Pratt students may visit
Botanic Garden features one of the most
free of charge.
impressive Japanese gardens outside Japan.
Close to Pratt’s Brooklyn campus,
It captures nature in miniature: trees and
the Brooklyn Museum has an impressive
shrubs, carefully dwarfed and shaped by
permanent collection. The Egyptian art
cloud pruning, are surrounded by hills, and
collection is one of the world’s finest. The
a pond. The Cranford Rose Garden features
museum’s Asian art collection, though
5,000 bushes of 1,200 varieties of roses.
modest in size, is one of the more diverse
The Brooklyn Academy of Music,
and comprehensive in the New York
popularly known as BAM, is at the vanguard
metropolitan area. The museum puts
of theater offerings. You can see productions
ranging from performance art and
Above: Brooklyn Museum
independent films to stylized Shakespearean
arts in Fine Art, Photography, Art and
Design Education, and Communications
Design on Munson’s beautiful central New
York State campus and finish the last two
years at Pratt in Brooklyn. With state-ofthe-art facilities, a world-class museum,
and spacious new student apartments in
a historic Victorian-era neighborhood,
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 second year,
they begin to specialize in Fine Arts,
Photography, Art and Design Education,
or Communications Design, so that in the
31
junior year at Pratt they may specialize
further with a major in one of these areas.
Students have the option to relocate for
the junior year with no application process
for a virtually seamless transition, or they
may apply to transfer elsewhere. Financial
aid is awarded on the basis of both financial
need and merit. For more information,
go to www.mwpai.edu or contact the
Office of Admissions at 315.797.0000 ext.
2248 or 800.755.8920 ext. 2248, or email
[email protected].
del aware college of art and design
The Delaware College of Art and Design
Minors and Combined
Degrees
As Pratt is one of the largest art and design
schools in the United States, students
interested in taking electives in departments
the Corcoran College of Art and Design, and
isi now an independent two-year school of
art and design. Established in 1998 through
the generosity of the Wilmington business
community, students enrolled in DCAD’s
two-year associate of fine arts (A.F.A.)
program receive thorough preparation for
the option of applying for transfer into
bachelor of fine arts degree programs at Pratt
as a junior, or other distinguished art and
design schools.
For more information, go to www.dcad.
edu or contact the Office of Admissions at
302.622.8000.
Pratt’s study abroad programs combine
the Institute’s academic excellence with
firsthand exposure to some of the most
vibrant international centers of art, design,
and architecture.
outside their majors have a wealth of
options. Additionally, Pratt offers minors
in Architectural Theory and Technology,
architect ure in rome semester
abroad
Art and Design Construction, Art History,
This program gives fourth-year,
Construction Management, and Interior
undergraduate architecture students the
Design. Freshman and transfer applicants
opportunity to live and study in Rome
may apply to the combined undergraduate/
during the spring semester. The 18-credit
graduate degree (B.F.A./M.S.) in Art and
curricular structure consists of seven core
Design Education.
credits in Architectural Design and Urban
Studies. The studios focus on the city’s
(DCAD) in Wilmington, Delaware, was a
creative partnership of Pratt Institute and
Study Abroad Programs
ancient and contemporary levels, public
Pre-College Summer
Program
Each summer, Pratt offers a college-level
program for talented high school students.
Students are awarded college credit and
have an opportunity to build their skills in
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.
architect ure summer design
workshop in beijing
intensive classes taught by Pratt faculty.
This program, open to fourth-year
These programs provide students with an
architecture students, is split between
ideal opportunity to develop their portfolios
Brooklyn and Beijing in partnership with
in preparation for application to college. Full
the Central Academy of Fine Art in China. It
and partial scholarships are available.
provides a unique opportunity for students to
engage with the complex challenges of mass
globalization. The five-credit 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.
33
architect ure summer design
workshop in berlin
architect ure and design in
copenhagen summer program
Villa Heriott and the Scuola Internazionale di
The program, open to fourth-year architecture
The Architecture and Design in
sites and alternate with lectures that provide
students, is split between Brooklyn and
Copenhagen program gives Architecture,
Berlin in partnership with the Aedes Network
Communications Design, Fine Arts,
Campus at their studios in Berlin. It offers
Industrial Design, and Interior Design
eight credits. This program consists of a
undergraduate and graduate students the
design studio and seminar, which frames the
opportunity to earn seven credits studying
studio problem. The design studio investigates
cutting-edge Scandinavian design. The
twenty-first-century placemaking and scales
program lasts seven weeks, running between
of intervention that differs radically from the
mid-June and early August. Teachers
institution-driven urban design of the past.
include masters in the fields of architecture,
furniture design, graphic design, interior
prat t summer in paris
architecture, and urban design. Students
The Pratt Summer in Paris program gives
western Denmark for field trips.
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
universities for a two-week program in
fashion, product, textiles and/or accessories.
Open to all students, this program takes
students on a collaborative learning journey
with peer 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.
a historical context for the visits. In the
graduate course in Materials and Techniques
students visit conservation laboratories to
learn from local experts and research specific
aspects of materials and process.
For more information on individual
programs contact Dr. Marianthi Zikopoulos,
Interim Director of Study Abroad and
International Partnerships, at mzikopou@
pratt.edu or go to www.pratt.edu/study_
abroad.
also travel to Sweden, Finland, Norway, and
design and liberal arts in
copenhagen semester abroad
Undergraduate, third-year students
in the departments of Interior Design
and Critical and Visual Studies have an
opportunity to spend the spring semester
in Copenhagen studying at the Danish
Institute for Study Abroad.
Every summer, the fashion department
teams up with prominent art and design
Grafica. Art history classes are held at various
Prat t in Venice Summer Program
Exchange Programs
Pratt maintains school exchange programs
with some of the best schools of art,
design, and architecture in the world. Pratt
currently exchanges with 13 partner schools
in 10 countries. The Institute’s emphasis
on diversity and the global exchange of
knowledge is reflected in the selection of
distinguished schools in the Netherlands,
Germany, England, Italy, Australia, Japan,
Korea, Scotland, and Sweden. They include
In Venice, students may register for six to
Central Saint Martins, University of the Arts
eight credits, selecting from courses in:
Berlin, Gerrit Rietveld Academy, Bauhaus
Printmaking/Drawing, Painting, Art History
University, and Musashino Art University.
of Venice, and Materials and Techniques
Pratt students spend a semester at the
of Venetian Art. The program takes place
partner institution taking a program of
in June and July. It is open to graduate and
classes in fine arts and design or architecture
undergraduate students. Pratt’s program
is conducted in collaboration with the
Università Internazionale dell’Arte at the
Opposite: Students take advantage of the Institute’s
many study abroad programs including Architecture in
Rome. Photo © Sami Suni
35
uniquely tied to the history and traditions of
In 2010, Myrtle Hall, a LEED Gold-certified
the country. These exchanges are arranged
building designed by the firm WASA/Studio
on a semester basis for qualified students.
A, was completed. The 120,000-square-foot
For more information, go to http://www.
building is a testament to Pratt’s commitment
pratt.edu/oia.
to sustainability.
If you are a Pratt student and you are
Regardless of discipline, our graduates
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
interested in an Exchange Program, please
must be able to integrate best sustainable
contact Dr. Marianthi Zikopoulos, Interim
practices into their professional lives. Within
Director of Study Abroad and International
each program, Pratt students are offered
Partnerships, at [email protected].
an opportunity to learn to think in new
an institutional accrediting agency recognized by the
ways about the relationship of designer to
U.S. Secretary of Education and the Commission on
product, architect to built environment, and
Commitment to
Sustainability
Higher education has a unique role in
America. No other institution in society
has the influence, the critical mass, and the
diversity of skills needed to successfully
reverse global warming. Pratt Institute is
taking a leadership role in sustainability
for schools of art, design, and architecture
nationwide. At this critical moment, when our
environment and ways of life are at risk, we
have a responsibility to ensure that each of our
graduates has a deep awareness of ecology,
environmental issues, and social justice.
In The Princeton Review’s 2013 Guide to
322 Green Colleges, Pratt was recognized as
one of the country’s most environmentally
responsible colleges. As active participants
in the American College and University
artist to creative expression. The Institute is
continuously working to reduce our carbon
footprint, “greening” our dorms, facilities,
and classrooms and creating ongoing, living
laboratory from which our students can
observe, participate, and experiment.
The Institute’s Center for Sustainable
Design Studies (CSDS) is an active and
collaborative resource for sustainable
design at Pratt’s Brooklyn campus. Under
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
Recognition of Postsecondary Accreditation.
Programs in art and design are accredited by the
National Association of Schools of Art and Design
(NASAD).
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.) Pratt is a charter member of and
accredited by the National Association of Schools of Art
and Design. The B.F.A. in Interior Design is accredited by
the Council for Interior Design Accreditation (formerly
FIDER).
the umbrella of CSDS, the Pratt Design
The Master in Library and Information Science program
Incubator for Sustainable Innovation
is accredited by the Committee on Accreditation of the
provides ambitious students and Pratt
American Library Association.
alumni with a stimulating place to launch
The Master in Art Therapy is approved by the Education
sustainability-minded businesses, providing
Approval Board of the American Art Therapy Association,
office space, planning support, and access to
shop facilities. For more information, go to
csds.pratt.edu/.
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
Presidents’ Climate Commitment (ACUPCC),
accredited by RATE.
Pratt seeks to be a carbon neutral campus.
The B.F.A. offered by the Interior Design department
is accredited by the Council for Interior Design
Opposite: Myrtle Hall, the Institute’s sustainably
designed, LEED-certified administrative
and academic building
Accreditation (formerly FIDER).
department
programs and emphasis
internships
study abroad
senior project/thesis
architecture
Five-year B.Arch.
Available at firms throughout New York
Architecture and Design in Copenhagen,
Architecture in Rome, Summer Design
Workshop in Beijing, Summer Design
Workshop in Berlin, Pratt Summer in Paris
Senior project required
Thesis optional
art and design education
Major (B.F.A.)
Combined B.F.A./M.S.
Minor (without certificate)
Post-baccalaureate certificate
(pending approval)
Available in teaching, arts administration,
educational media and design, museums, special
education, and Pratt’s Saturday Art School
Pratt Summer in Paris
Thesis required
(combined degree only)
communications design
Communications Design (B.F.A.)
Graphic Design
Illustration
Advertising Art Direction
Available at advertising agencies and
design firms throughout New York
construction
management*
Four-year B.P.S.
Four-year B.S.
Two-year A.A.S.
Minor
Available at construction firms throughout New
York/tri-state area
critical and visual studies
Four-year B.A.
Available in a wide variety of cultural agencies
Design and Liberal Arts in Copenhagen,
digital arts
igital Arts (B.F.A.)
D
3-D Animation and Motion Arts
Interactive Arts
2-D Animation
Available at design firms and production
companies throughout the tristate area
fashion Design
Fashion Design (B.F.A.)
Required at a fashion design firm
Fashion in Europe, Pratt Summer in Paris
film/video
Film (B.F.A.)
vailable at commercial photo studios, production
A
companies, and other major networks throughout
New York and other major cities
Thesis optional
fine arts
Fine Arts (B.F.A.)
Painting
Sculpture
Jewelry
Ceramics
Drawing
Printmaking
Available in a variety of areas
Pratt in Venice, Architecture and Design
in Copenhagen, Pratt Summer in Paris
history of art and design
Major (B.A. and B.F.A.)
Minor
Combined B.F.A./M.S.
Available at museums and galleries
throughout New York
Pratt in Venice, Pratt Summer in Paris
Thesis required
industrial design
Major (B.I.D.)
Available at industrial design firms
throughout New York
interior design
Major (B.F.A.)
Minor
Available at interior design firms throughout New York
rchitecture and Design in Copenhagen,
A
photography
Photography (B.F.A.)
vailable at commercial photo studios, production
A
companies, and other major networks throughout
New York and other major cities
the writing program
Four-year B.F.A.
vailable at publishing houses, TV studios,
A
newspapers, magazines, off-Broadway theaters,
agents’ offices, advertising agencies, and other
arts and cultural institutions
two-year a.o.s.*
Graphic Design
Illustration
Digital Design and Interactive Media
Available at design firms in New York
TWO-YEAR A.A.S
Graphic Design/Illustration
Painting/Drawing
Available in a variety of areas
Professional Services
management
Bachelor of Professional Studies
(B.P.S.)
Summer internships available out of state
* These programs are based at the Pratt Manhattan Campus. All other Undergraduate classes are located at the Pratt Brooklyn Campus.
37
How a Pratt Education Works
New Student Orientation
Foundation
Liberal Arts
A series of orientation activities is held the
All freshmen take a first-year program
At least 25 percent of the credit requirements
week prior to the beginning of classes for
that is intended to be an introduction
for all baccalaureate degrees is in the liberal
new freshmen and transfer students. During
and a time to explore their interests.
arts and sciences.
this week, new students become acquainted
Architecture, Fashion Design, Critical and
with Pratt, the surrounding community and
Visual Studies, Construction Management,
city, and fellow students.
English
6credits
and Writing all have their own first-year
Cultural History
6credits
programs. All other Art and Design
Social Sciences or freshmen take the same general foundation
program. See each major for a description
of the first-year curriculum. Students in
Associate Degree programs take some
Philosophy
6credits
Science
6credits
Elective 10credits*
Foundation courses, as well.
*or more depending on the major
39
School of 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.
architecture
Winston Churchill said, “We shape our
dean
The balance between theory and practice
buildings; thereafter they shape us.” With
is critical and is gained only through rigorous
this in mind, architecture becomes the
exposure to these diverse elements. The
medium through which we account for
beauty of Pratt is that it has, in the words
ourselves as a society and, at the same time,
of one graduate,“reached critical, cultural
attempt to leave an imprint on civilization.
mass,” where the diversity and liveliness of
This brings up fundamental questions
discussions about the how, what, and why
construction management
Thomas Hanrahan
assistant to the dean
Kurt Everhart
Pamela Gill
regarding the role of the architect in
of the profession are always vigorous and
contemporary life. Should architects be poets
interesting. The School of Architecture is
or pragmatists? At Pratt, the short answer is
dedicated to maintaining the connection
director of production technologies
“both.” The architect is given the ability to
between design theory and practice and to
Mark Parsons
design structures that materially contain and
contributing to the knowledge necessary to
protect us while they address our intellectual,
fully understand the built environment.
aesthetic, and human needs.
The range of programs within the school
and the accessibility of other programs
within the Institute enable students to
pursue a wide variety of interests within
the field. Architecture students may take
Opposite: Houng Jun Huang (senior), Eric Wong (faculty)
electives in fine arts, illustration, computer
office
Higgins Hall North, 1st Floor
Tel: 718.399.4304 | Fax: 718.399.4315
[email protected]
www.pratt.edu/arch
school of architecture 41
graphics, industrial design, furniture design,
them in outstanding New York architectural
interior design, and photography, as well as
firms, public agencies, and nonprofit design
electives in advanced architectural theory,
institutions, giving them firsthand work
design, technology, and management.
experience as well as credit toward their
The opportunity to learn from peers
professional degrees. The program makes
admission requirements
Please refer to the section on Admissions,
starting on page 271.
also is an invaluable part of the educational
rich use of the extended resources of the
st udent work
experience. The student body includes
metropolitan New York community.
The School of Architecture reserves the right
many foreign students, each of whom
For its faculty, the school draws upon the
to temporarily retain during the academic
brings a different perspective to the study
world’s largest pool of practicing architects,
year, for exhibition and classroom purposes,
of architecture. The school encourages
critics, and historians. For its “laboratory,”
representative work of any student enrolled
transfer students to apply and will evaluate
students have the city itself.
in its programs.
credits from other colleges, universities, or
community colleges.
The Pratt student graduates from
Is there another city where mere blocks
separate “works in progress” from a 17thcentury Dutch church house, or the most
the program knowing architecture as
contemporary of modern architecture
a discipline that gathers from the arts,
from some of the finest historic buildings
sciences, and liberal arts to produce works
in America? The School of Architecture
of value that are sensitive to the realities
demonstrates daily that learning does not
of life in cultures around the world. The
occur solely in the classroom. This is reflected
Pratt graduate is imbued with strong
in the annual undergraduate and graduate
ethical values and an understanding of the
lecture series that bring some of the most
architect’s ability to improve the quality of
influential architects in the world to campus;
life. As a result, Pratt students know how to
the Center for Experimental Structures;
build, what to build, for whom, and how to
exhibitions by students and faculty that fill
enhance the surrounding environment, in
three galleries on a regular basis; and the
the city or country, in a public works project
study abroad programs in Italy and France.
or a private home.
The school publication InProcess documents
The Pratt faculty includes theoreticians,
scholars, and practicing professionals
the work of students throughout the year.
Pratt’s Center for Community
who bring to the classroom professional
Development, formerly PICCED, one of the
expertise, a strong theoretical base, and
oldest community advocacy and technical
the high standards to which they adhere
assistance organizations in the United States,
in their client work. Students are further
gives students additional opportunities to
exposed to the professional world through
work on real-life projects.
optional internship programs that place
Opposite: Jennifer Endozo (sophomore), Eric Wong
(faculty)
“At Pratt, we were taught not
only to look at the problem
to be solved, but to
consider the bigger picture
in the world around us.”
—Jeff Kinzler, B. Arch. ’78,
Architect, attorney, and founder of
Lawbuilder Consultants
43
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.
chair
Erika Hinrichs
assistant chair
Jason Lee
assistant to the chair
Adam Kacperski
coordinators of st udent advisement
Juliet Medel
Terylin Stewart
administrative clerk
Students strive for creative and intellectual
accredit U.S. professional degree programs
independence and inspired architectural re-
in architecture, recognizes two types of
search. Firmly committed to contemporary
degrees: the Bachelor of Architecture and
technician
material practices, the program is currently
the Master of Architecture. A program may
Roderigo Guajardo
developing initiatives to integrate new tech-
be granted a five-year, three-year, or two-
nologies into the curriculum.
year term of accreditation, depending on
In the United States, most state registration boards require a degree from an
accredited professional degree program as
its degree of conformance with established
educational standards.
Master’s degree programs may consist
a prerequisite for licensure. The National
of a pre-professional undergraduate degree
Architectural Accrediting Board (NAAB),
and a post-professional graduate degree,
which is the sole agency authorized to
which, when earned sequentially, constitute
Opposite: Joel Stewart (senior)
an accredited professional education.
Latoya Johnson
office
Tel: 718.399.4305 | Fax: 718.399.4332
[email protected]
www.pratt.edu/arch/ugrad
44
The pre-professional degree is not, by itself,
recognized as an accredited degree, however.
The Program’s Structure
all elective areas during their last four
programs that have developed viable plans
status indicates that a program should be
accredited within six years of achieving
candidacy, if its plan is properly implemented.
The Bachelor of Architecture program
is a fully accredited five-year professional
program. Ranked 11th in the U.S. by
DesignIntelligence, the program received a
six-year reaccreditation in fall 2010. The
Master of Architecture program is a threeyear professional program. The program
received full accreditation in fall 2004 and
was reaccredited in 2010.
bachelor of architect ure
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
“Our Pratt training gave
us the freedom to design
and build our restaurants
the way we wanted them.
It’s such a great feeling to
put your education to use.”
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, 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
—Pedro Muñoz, B.Arch. ’99,
Clinton Hill restaurant owner
courses offered by any school in the Institute.
By purposefully selecting courses within
The NAAB grants candidacy status to new
for achieving initial accreditation. Candidacy
and 12 all-Institute electives, selected from
selected from the liberal arts courses offered
by the School of Liberal Arts and Sciences.
The elective courses consist of 15 credits of
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 under-graduate
degrees with various master’s degrees are
also available in planning and facilities
management.
Opposite: Yael Erel (faculty), Samantha Mink (senior),
Eric Wong (faculty)
Page 46: Top Left: Patrick Donbeck (senior), Marc
Gullickson (senior); Top Right: Student work by Leandro
Lantigna, Ran Oran (faculty), Carlos Rodriguez (senior),
Anthony Titus (faculty); Bottom Left: Laurence Blough
(faculty), Gillian Schafer (junior); Bottom Right:
Student work by Hyung Joon Kim, Rodney Leon (faculty)
Page 47: International Design: Prefab China Studio
students
offered by the School of Architecture’s
Page 48: Top: Nima Farzaneh; Bottom Left: Student
work by Dean Silver, Mirte Van Laarhaven; Bottom
Right (Four Images): Larry Zeroth, Brian Dobrolsky, and
Gautam Jain
undergraduate and graduate programs,
Page 49: Seong Jun Lee (senior)
professional electives selected from courses
51
Construction Management
Construction management is the art of orchestrating and
focusing all the needed forces toward an efficient process and
the successful completion of a project.
chair
Harriet Markis, P.E., SECB
[email protected]
The construction manager’s raw materials
the third. Given the growing complexity of
are often a vacant piece of land, a set of
design and construction, whether urban,
construction drawings that may be 500
suburban, or rural, there are no major projects
pages, and a project manual the size of three
built without this crucial team in place.
Manhattan phone books. The construction
Pratt’s School of Architecture has the
manager is charged with the tasks of
distinction of being one of the first, and one
assembling a virtual factory for construction;
of the few, schools in the nation to offer this
contending with numerous local, state, and
essential degree program. The faculty
federal regulations; and coordinating skilled
consists of leading professionals, including
and unskilled craftspeople, unions, contrac-
the project manager and the director of
tors, subcontractors, architects, engineers,
safety and site safety management of the
planners, consultants, and the owner/
World Financial Center; former assistant
developer. The day-to-day challenges of
commissioner and director of design for
construction management make for some of
NYC public works; chief, Division of Material
the most demanding assignments in the
Assurance, Safety and Landfill Remediation,
world, whether a manager is overseeing the
NYC Department of Environmental
construction of a towering skyscraper or
Protection; a member of the Industry
a low-rise condo.
Advisory Committee, NYC Department of
Construction management is a collabora-
Buildings; the vice president and project
tive effort. The key relationships among
executive for a leading construction manage-
leaders can be represented by a triangle, with
ment firm managing major national and
the owner at one point, the architect/engineer
international multimillion-dollar projects;
at another, and the construction manager at
and a principal of the largest specifications
consulting firm in the Northeast.
Opposite: Students in Construction Surveying course
Philip Ramus
[email protected]
office
Tel: 212.647.7524 | Fax: 212.367.2497
www.pratt.edu/arch/cm
52
The Construction Management
that students who wish to work part-time or
program provides a professional education
full-time and complete the requirements of
emphasizing critical thinking that connects
their academic program as a part-time or full-
management with technology and a liberal
time student may do so. Students can choose
arts education suitable for a career in
to take their liberal arts courses at either the
building construction.
Pratt Manhattan Center in the evenings or the
Graduates of the Construction
Management Program should:
• Understand the roles and
responsibilities of the participants in
a construction project.
• Be able to plan and organize the work
of a construction project.
• Be able to apply knowledge from
English, Mathematics, Science,
Management, and Communication
courses to construction-related
activities.
• Be capable of collaborating with
members of a team.
• Understand the importance of ethical
practice.
• Possess a passion for lifelong learning.
Students can apply for matriculation
(acceptance into the degree-granting
program) upon admission, or they
can be admitted with special, nonmatri
culating status.
Brooklyn campus during the day. Students
may vary the program through their choice
of electives to emphasize architectural-, real
estate-, or other construction-related roles.
bachelor of professional st udies in
construction management (b.p.s.):
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.):
This program was developed for transfer
students and students pursuing a second
bachelor’s degree. Those entering with
acceptable transfer credits may complete
the program in less than four years.
associate of applied science in
building and construction (a.a.s.):
Offered for students seeking a foundation
in building science and for students who
may not desire to complete the bachelor’s
program. The Building and Construction
program requires the completion of 68 credits.
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 architect ural theory and
technology
The Undergraduate Architecture
Department offers a 15-credit non-studio
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
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.
admission interviews
Admitted students may wish to talk with the
chair of Construction Management before
registration for courses. An appointment
should be made in advance.
The Construction Management bachelor’s
degree program requires the completion of
132 credits. Most classes are scheduled in the
evening at the Pratt Manhattan Center so
Opposite (Clockwise from top left): Design Theory
course; Pratt Manhattan; Building Information Modeling
course; CMAA Student Chapter on a site visit
55
School of Art
Pratt provides one of the most
comprehensive professional
art educations available,
supported by a distinguished
faculty and exceptional
technical and studio resources.
Gifted students from across the United
States and the world collaborate and
learn at Pratt, weaving creative energy
and opportunity into an unmatched
educational experience.
The faculty consists of professional
artists, educators, designers, and
practitioners, including numerous recipients
of prestigious awards such as the Tiffany,
Fulbright, and Guggenheim fellowships.
The faculty’s works, projects, and
acting dean
Leighton Pierce
associate degrees
digital arts
2-D Animation, Digital (3-D) Animation
and Motion Arts, Interactive Arts
administrative assistant to the dean
Katherine Morris
film/video
Donna Gorsline
fine arts
assistant dean for academic affairs
Ceramics, Drawing, Jewelry, Painting,
Printmaking, Sculpture
photography
Dianne Bellino
acting associate dean
Amir Parsa
director of academic advisement
Michael Farnham
publications are recognized and respected
director of finance and administration
around the world.
Daisy Rivera
In addition to the outstanding curricula
and faculty, the School of Art offers a diverse
range of degree offerings in the studio
office
Main Building, Fourth Floor
Tel: 718.636.3619 | Fax: 718.636.3410
[email protected]
www.pratt.edu/ad
Opposite: Work by Cynthia Horrigan (B.F.A. ’13)
56
practices of Fine Arts, Digital Arts, Film/
The mission of the School of Art is to
Video, and Photography. These practices are
educate those who will make and shape our
further extended through degree offerings
built and mediated environment, our aesthetic
in Art and Design Education. Taken singly
surroundings, and our collective future.
and in an interactive mix, these programs,
The School of Art is a diverse collection
when melded with studies in the liberal arts
of disciplines, dedicated to the primacy of
and sciences, create a dynamic context for
studio practice and the transformative power
stimulating intellectual and creative inquiry.
of creativity. We educate leaders in the
School of Art programs are also enriched by
creative professions to identify, understand,
Pratt’s distinguished professional programs
shape, and benefit from the challenges of
in the School of Design and the School of
a rapidly changing world. Our courses are
Architecture—all within the broader cultural
designed to develop critical thinking skills,
campus of New York City.
deepen understanding, enable practice,
Two parallel objectives guide every
and empower visionary action. The School
department. One is the emphasis on profes-
of Art is dedicated to developing creative
sional skills development. The School’s
leadership in a world that requires it.
students gain the techniques, skills,
methodologies, and vocabulary required for
success as productive artists, designers, and
scholars. The second objective—intertwined
with the first—recognizes that this technical
experience only takes root within a complex
cultural context. Therefore, students in
the School of Art also develop the critical
judgment and historical perspective needed
to become creative problem solvers in the
international arena.
Opposite: Work by Brennan Hinton (B.F.A. ’14)
Page 58: Work by Dana Otto (B.I.D. ’11)
Page 59: Work by Andrea Zeuner (B.F.A. ’11)
58
Foundation
The concept of Foundation—a year of exploration and study in
the fundamentals of art and design—is common at American
colleges of art today.
ACTING CHAIR
Kim Sloane
ACTING ASSISTANT CHAIR
Natalie Moore
In the early years of an artist’s career, it
college foundation program, begins eliciting
is important to master the basics in an
the student’s talents and abilities in a more
environment of positive, critical feedback
formal, rigorous way, introducing him or
and encouragement. But it wasn’t always
her to professional standards of work. The
ADMINISTRATIVE ASSISTANT
that way. Pratt introduced the practice to
third teacher guides the student through the
Sabrina Lovell
the United States in the 1940s, creating an
specific ethics, disciplines, and requirements
American tradition in many ways distinct
of the chosen art or design field, helping
from its European Bauhaus antecedents. Yet
build bridges that enable the student to cross
the premise remains: In the early years of an
successfully into the professional world.
artist’s career, it is important to master the
While there are often more than three
basics in an environment of positive, critical
teachers involved in an artist’s education,
feedback and encouragement.
individuals who can fulfill the second role
Research shows that a foundation course
are an essential part of the Foundation
ASSISTANT TO THE CHAIR
Florine Demosthene
TECHNICIAN
Sung Ha No
4-D L AB MANAGER
Matthew Bray
OFFICE
Tel: 718.636.3617 | Fax: 718.399.4589
of study often provides the second of three
experience at Pratt. Day-to-day work involves
[email protected]
key “teachers” in the lives of successful
mastery of materials and techniques, with the
www.pratt.edu/ad/found
artists. The first teacher—often a parent or
explicit purpose of producing thinking artists
friend during high school—issues relatively
and designers—people who can integrate the
uncritical encouragement, allowing the
physical and sensory aspects of art and design
student to discover the sheer pleasure and
with its fuller emotional and intellectual
excitement of working as an artist. The
aspects. (For another view of how Foundation
second teacher, sometimes encountered in
fits into your life as an artist or designer, see
high school, but more often in a first-year
“How a Pratt Education Works,” page 37.)
59
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
Before specialization in the sophomore
symbolic natures. In addition, students
year, the core curriculum encourages flex-
receive an introduction to 4-D time arts
ibility, adaptability, and the experience of
through the use of computers and other
design and art as wide-ranging enterprises.
media. At one point, students may deal with
Transfer students will be evaluated for
specifically designed structural problems
advanced standing, with proper documen-
and at another point may examine these
tation (transcript and portfolio), by the
Office of Admissions.
Students expand their thinking by
experience in the light of new ideas and
participating in a series of studio experiences
techniques. This grounding in underlying
that deal with the analysis of problems in
concepts and principles of the visual arts
perception, conception, and imagination.
puts students’ professional goals in a con-
The studio work encompasses both 2- and
text of personal growth and self-reflection.
3-D forms in their optical, technical, and
problems from expressive, social, and
historical perspectives. Through this process,
individual imagination, skill, ambition, and
preferences are examined.
Above: Light, Color, Design students (freshmen)
61
Art and Design Education
In their junior year, students in the Art and Design Education
Department teach their own art classes in the Saturday
Art School. For over a century, this laboratory school has
provided New York City children and adolescents (and, more
recently, their parents) with a quality arts program.
acting chair
Aileen Wilson
[email protected]
718.636.3637
Lia Wilson
[email protected]
718.636.3681
A few years ago, an alumnus of our
YMCAs, or as babysitters to nieces and neph-
undergraduate program, Gary Bilezikian,
ews. They were people who had the vision and
wrote about his experience in the Saturday
drive to get into and stick with a demanding
Art School. “First, there were the kids—
program in a respected art school. They were
wonderful, creative kids from all five bor-
people brave enough to stand in front of 20
oughs of New York City, brave enough to
or more eight year olds and teach a lesson on
drag their parents out of bed each Saturday
Cubism using Play-Doh and plastic dinosaurs.
morning so that they could visit this funky
They were people who stayed up late prepar-
college in Brooklyn to take art lessons with
ing lesson plans, handouts, materials, and
people who were, in some instances, not
even scripts for their morning’s classes.
much older than themselves.
office
Tel: 718.636.3637 | Fax: 718.230.6817
[email protected]
www.pratt.edu/ad/ade
coordinator, youth programs
Tara Kopp
[email protected]
Tel: 718.636.3654
“In the years since I graduated from Pratt,
I have drawn upon many of the lessons
youth programs office
supervisors, who performed the delicate
learned and experiences gained in the Satur-
Tel: 718.636.3654 | Fax: 718.230.6876
task of dealing with the feelings, ideas, and
day Art School, first as a teacher in the New
fears of a bunch of young artists trying to
York City Public Schools, then as an illustrator
move gracefully from the role of student
and designer of children’s books and videos,
to teacher.
a designer of children’s furniture, and, finally,
“Second, there were our faculty
“Finally, there were the student teachers
—people who may have had some prior teaching experience in summer camps, at local
back to teaching again.
“Woven through this haphazard career
path has been the thread of kids, art, and
education—the foundation of which was
Opposite: Saturday Art School’s Sculpture Class, Ages
9-12, with graduate student teacher Caitlin Reller.
Photo by Kevin Wick
shaped, molded, and launched in the Art and
Design Education Department at Pratt.”
www.pratt.edu/youth
62
Gary’s experience as an undergraduate
in our program highlights the emphasis we
courses. At the same time, the concentration
on studio work results in our producing
creative and innovative artist-educators.
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
b.f.a. or b.f.a./m.s. in art and design
education (with new york state
initial certification, visual arts
pre-k-12)
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
graduate level, students will need 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
between studio, education theory, and
Initial/Professional Certification in Visual
classroom practice are made. By learning
Arts, Pre-K–12, candidates must have
how to articulate and communicate visual
completed the following:
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
WOrkshops
• Child Abuse Identification Workshop
• School Violence Prevention and
Intervention Workshop
• Training in Harassment, Bullying,
Cyberbullying, and Discrimination in
Schools: Prevention and Intervention
State Initial Certification in Teaching Visual
These workshops must be taken with a
Arts, Grades Pre-K–12.
provider approved by NYSED.
Program I: A major in Art and Design
passing scores on the following
tests and assessments:
Education (B.F.A.), 134 credits.
Program II: Combined degree in Art and
supportive environment for our students,
Design Education (B.F.A./M.S.), 159 credits .
Opposite from top: Saturday Art School’s Adventures
in Art, Age 8, class with graduate student teacher Erika
Schroeder. Photo by Kevin Wick; Pratt’s Saturday Art
School classes
the five-year program. When they get to the
experiences in which personal connections
provide a stimulating, challenging, and
faculty, and staff.
summer sessions. Students need to remain
in good academic standing to continue in
place on connecting educational theory with
practice in our fieldwork and student teaching
completed in five years, which may include
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
• Educating all Students (EAS)
• Academic Literacy Skills Test (ALST)
• Content Specialty Test (CST)
• edTPA
65
Associate Degree Programs
The Associate Degree programs offer a unique opportunity to
both traditional and nontraditional students. The many career
possibilities in art and design are as exciting and diverse as the
educational paths a student can choose to prepare for them.
acting chair
C. Stewart Parker
Chandra Singh
3-d technician
These programs allow students to immerse
students need to continue their education or
themselves in an intensive two-year,
to pursue their chosen careers. Classes are
career-track Associate of Occupational
kept small and faculty members work closely
office
Studies (A.O.S.) or transfer-track Associate
with each student, helping to refine his or her
Tel: 212.647.7375 | Fax: 212.367.2480
of Applied Science (A.A.S.) education.
skills to a professional and competitive level,
[email protected]
Located in Manhattan, the center of the art
in keeping with the goals of the program.
and design community, the programs give
www.pratt.edu/aos
In all majors, there is a strong emphasis
students immediate access to the world’s
on teaching traditional skills and a
leading design studios and museums,
commitment to providing students with
providing excellent opportunities for
access to the most advanced technology.
field trips, guest speakers, and internship
The curriculum is sequential; it begins with
placement. All of New York City is our
rigorous foundation courses for all majors,
campus, and the diversity of the student
followed by major-specific upper-level
body—with students of varied ages from
courses, and culminates in a professional
across the country and around the world—
portfolio development course and internship
reflects the sophisticated location.
opportunities for students enrolled in the
The faculty, some of New York’s leading
Zach Whitehurst
career-track A.O.S. degree.
artists and designers, bring to the classroom
Opposite: Work by Caryn Cast (A.O.S. ´13)
a unique combination of expertise and
Page 68 (Clockwise from top left):
Work by Yun Bai Kim (A.O.S. Graphic Design ´13),
Work by Xiaoqi Liu (A.O.S. Graphic Design ´13),
Work by Beau Berkley (A.O.S. ´13),
Work by Marjorie Lin (A.O.S. Graphic Design ´13)
dedication to teaching. They work diligently
to provide students with professional
experience and to inspire the confidence
Page 69: Work by Caryn Cast (A.O.S. ´13)
66
Associate of Applied Science
(A.A.S.)
Application Requirements
The Associate Degree program is concise,
comprehensive, and demanding, offering
students the choice of an intensive two-year
career (A.O.S.) or transfer-track (A.A.S.)
education. Located in Manhattan, these
programs integrate the best of the new
technologies into a strong, traditional art
and design curriculum.
freshman applicants
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. Upon completion,
students graduate with an A.A.S. degree and
Associate of Occupational
Studies (A.O.S.)
have the option of entering an arts profession
or applying for transfer into a four-year B.F.A.
program at Pratt or another school of choice.
The program offers a strong foundation,
advanced-level art and design courses, and
graphic design, illustration, and
digital design and interactive media
The A.O.S. program is a professional degree
a liberal studies component, all combined to
application (www.pratt.edu/admiss/
apply) with $50 application fee paid
by check or credit card. International
student application fee is $90.
• Essay/statement of purpose.
• One letter of recommendation
(optional).
• High school transcript.
• Portfolio in format of 8½" × 11" digital
prints or uploaded at pratt.slideroom.com.
create a comprehensive transfer degree.
The faculty for both the A.O.S. and A.A.S.
designed for high school graduates and adults
degree programs comprises New York’s lead-
with or without previous college experience.
ing professionals, who bring to the classroom
This is an intensive, two-year all art-and-
practical professional experience and exper-
design-based curriculum, offering a strong
tise reflecting the highest standards in their
foundation in design along with capstone
fields. The emphasis on the personal attention
courses, internship opportunities, and a
given each student is a key difference between
professional portfolio upon graduation. The
this and other programs. Students may attend
program attracts highly motivated students
classes on a full- or part-time basis. Financial
who, upon completion, move quickly into the
aid is available to qualified students.
fields of advertising, illustration, web design,
digital video, package design, and publishing.
• Submission of the electronic
transfer applicants
• Basic application form.
• Application fee, $50 ($90 for
international students).
• Essay/statement of purpose.
• One letter of recommendation
(optional).
• Transcripts from all previous colleges
attended.
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.
• Portfolio in format of 8½” × 11” digital
prints or uploaded at pratt.slideroom.com.
school of art 67
high school transcrip t
1. A pair of shoes or sneakers.
accep tance procedures
Transfer students who have completed fewer
2. A self-portrait (Do not copy a
Candidates are notified by mail as to their
than 30 college credits must also submit their
high school transcripts.
A completed Health Evaluation
photograph.).
3. A landscape.
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
home exam
application:
1. All work submitted may be dropped off
or mailed to the school.
2. Please label the back of each piece of
work with your name and address,
title of work, media used, and date of
execution.
3. Make a neat presentation, but do
not mat work.
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.
mailed about six weeks after all materials
are received. Deposit forms will be sent with
the decision letter. Deposit forms should
design and digital design applicants
Solve the following problem in color, no oils:
1. Design a calendar page, one month
be completed and returned with a $300
admissions nonrefundable deposit and an
optional $300 housing deposit. Please note
that this $300 deposit will be applied to the
only. You may include anything you
first semester’s tuition. Pratt reserves the
think appropriate (photos, drawings)
right to restrict registration of new students
as well as type and numbers.
when the program’s maximum number of
2. Design a page built around a quotation.
students is attained.
Include all words of the quotation as a
design element.
financial aid
Pratt tries to ensure that no student is
If you do not have a portfolio, you must
submit the following home exam with your
acceptance or rejection. Decisions will be
illustration applicants
Solve the following problem in color. No oils.
1. Illustrate a quotation. Send along
the words of the quotation with your
painting.
2. Draw a single figure in an
environment. Draw all from life and
imagination. You may use photos or
printed materials as reference only.
prevented from completing his or her
education due to a lack of funds. Pratt offers
a large number of grants, 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 “need”
is determined through specific application
requirements; therefore, it is important to
accurately complete all required financial aid
If you would like to receive feedback on your
forms. Students should submit the FAFSA
work, you may schedule a portfolio review at
electronically at www.pratt.edu/aid
www.pratt.edu/admiss by calling 718.636.3779
by February 1.
or calling the Associate Degree Office at
212.647.7375 to schedule an appointment.
international st udents
The rolling admission policy is also in effect
for international student applicants. All
students whose first language is not English
are required to submit a Test of English as a
70
Foreign Language (TOEFL) score for admission. In addition, all students upon arrival at
Pratt must take the Pratt English Proficiency
Exam. If it is determined that the student
is not proficient in English, he or she will be
required to take Intensive English courses at
Pratt Institute. International students must
submit the I-20 Request Forms found at www.
pratt/edu/oia/checklist or in the enrollment
guide in order to obtain a visa.
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 Jon Lai (A.O.S. Illustration ´13)
Opposite (Clockwise from top left): Work by Jon Lai (A.O.S. Illustration ´13), Work by Kalisha Montoyo (A.A.S.
Painting/Drawing ´13), Work by Christopher Lee (A.O.S. Graphic Design ´13)
73
Digital Arts
What is a Digital Artist?
chair
Peter Patchen
A Visual Thinker. A Researcher. A Programmer. An Inventor.
A Builder. A Storyteller. A Visionary.
assistant chair
Carla Gannis
One of the most exciting aspects of being
professionals in the field. Many write
an artist in the 21st century is the ability to
for trade and professional journals,
digitally alter any medium to express an idea.
and several have authored trendsetting
Pratt’s Digital Arts program offers
books. Their works are widely published
three distinct areas of emphasis: digital
and exhibited both nationally and
(3-D) animation and motion arts, 2-D
internationally.
Deidre Carney
l ab managers
Greg Blazer
Igor Molochevski
office
animation, and interactive arts. Interactive
Tel: 718.636.3411 | Fax: 718.399.4494
media allows the user to contribute to the
[email protected]
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
b.f.a. in digital arts
each area, students have access to a wide
This program helps students to master the
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
Opposite: Work by Genevieve Brusilow (B.F.A. ’12)
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
www.dda.pratt.edu
74
media, digital animation, and experimental
fine arts. Living and studying in New York
City affords students access to galleries and
“Pratt provided me the
opportunity to learn from
talented professors and
experts in the field of digital
arts, [as well as] from my
hardworking peers.”
—Kyoung “Kay” Park, M.F.A. Digital Arts
’07, Technical director, Academy Award
for Best Animated Short Film,
The Fantastic Flying Books of Mr.
production facilities that few cities can rival.
Our graduate students routinely continue
to expand their skills and make careerchanging 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.
This 134-credit program may be
completed in four calendar years.
Morris Lessmore
digital (3-d) animation and motion arts
Students focus on self-expression using
form and motion, time-based narrative, live
action, and digital animation techniques.
Courses include 3-D modeling, 3-D
animation, character design, rigging,
character animation, storyboarding and
storytelling, motion 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.
areas of emphasis
Students are able to select one of three tracks:
2-d animation
Interactive Arts, Digital (3-D) Animation and
Animation courses are constructed to afford
Motion Arts, or 2-D Animation.
a wide exposure to all aspects of animation
production and to allow students to focus
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 courses in
Opposite: Work by Serena Rio (B.F.A. ’12)
sculpture, history of new media, video editing,
Page 76–7: Work by Jeong Kyung (B.F.A. ’13)
programming, video installation, online
Page 78-9: Work by Cody Walzel (B.F.A. ’13)
media, electronic music, and audio editing.
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.
81
Film/Video
You can’t escape the moving image—from theaters, television,
and art galleries to smart phones, YouTube, building facades,
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?
acting chair
Jacki Ochs
acting assistant chair
Mary Billyou
Eric Trenkamp
l ab manager
Matthew Hysell
technicianS
training in all current technologies, our priority
The Pratt Film program is designed to grow
the next generation of innovators in moving
is creative expression.
In our curriculum, award-winning film/
image and sound. We offer a solid foundation
video artists and industry professionals teach
in the culture, techniques, and processes of
an exciting range of courses, from the foun-
filmmaking, with training in both traditional
dational first year Digital Cinema sequence,
and non-traditional forms. At Pratt, there are
to the culminating Senior Project, in which
no limits. Fiction or non-fiction? Commercial
each student makes a short film as his/her
or art world? These may be boundaries you
senior thesis.
choose to move beyond. Your classes will
John Crowe
Donald Daedalus
contact
Tel: 718.636.3633
Fax: 718.636.3478
Film/[email protected]
Throughout the program, students
take you through all modes of film and video
create, write, direct, and edit as ‘total film-
(narrative, documentary, experimental,
makers,’ rather than focusing on one area.
hybrid) encouraging intellectual cross-
We provide a core curriculum of rigorous
fertilization and allowing you to shape your
required courses, while simultaneously
own artistic vision. While our program
encouraging students to follow their own
provides students with professional interests as they choose electives, which
Opposite: Junior Workshop class. Photo by Ted Hesse
82
include dynamic film/video topics as well
As a Film major, your access will extend
as interdisciplinary collaborations with
beyond Pratt into New York City itself.
students in other majors.
Identifying new directions in the field is
For example, consider an elective in Writ-
not limited to your Ways of Seeing video
ing Through Pix + Sound, a non-traditional
class. You can visit cutting- edge galleries
screenwriting class; collaborate with fashion
and micro-cinemas, world-class museums
design students in Film + Fashion and ex-
and film festivals —it’s happening all over
plore the rich interaction of costume and the
the city. Opportunities for pre-professional
moving image. Challenge yourself to learn
experiences abound. You can join a film
from your peers and your environment, as
crew shooting on the streets of Brooklyn—or
well as your professors.
intern at places like the Museum of Modern
Access is key. In the Film program, start-
Art, Saturday Night Live, or one of the
ing freshman year, students shoot with large-
countless independent companies that shape
sensor interchangeable-lens digital cinema
New York City’s thriving creative scene.
cameras, quality microphones, and compact
The future for the moving image is
digital audio recorders. Students edit in our
unpredictable and wide open. At Pratt, we’re
digital editing facilities, manipulating image
excited by the possibilities. Our mission is to
and audio with the latest post-production
provide you with the tools and techniques,
software. Critical to your development, the
an understanding of history, and a complex
members of the Film/Video Department
yet flexible interdisciplinary arts education
(administrators, faculty, and technical
allowing you to guide us into that future.
support staff ) are all active, accomplished
Our recent graduates are already leading
filmmakers, enthusiastic to share their expe-
the way with their infectious pioneering
rience with you.
spirit. Some include: the co-founders of
the Brooklyn Underground Film festival,
the Director of Digital Products & Strategy
Opposite (from top): Work by April Maxey (B.F.A. ’12),
Polaroid Girl, thesis film; Work by Sydney Brafman,
(B.F.A. ’15), Spoiled Milk, short film
Page 84 (from top): Work by Alec Iselin (B.F.A. ’14)
production still from Meteor Child, thesis film; Digital
Cinema 1 class experimenting with a weather balloon
Page 85: Samuel Centore, (B.F.A. ’14), All About Amy,
thesis film
Page 86: Lourenca Alencar, (B.F.A. ’14). Untitled,
installation
Page 87 (from top): Stephen Mondics (B.F.A. ’13), You
Belong To Me, thesis film; Tiffany Von Cannon (B.A. ’13),
Untitled, short film
at TheWeek.com, the CEO and COO of
Gingersnap NYC, and a competition awardwinning filmmaker at Miami’s Art Basel. We
celebrate their accomplishments and look
forward to yours.
In the freshman year, Film majors take
two rigorous and comprehensive Digital
Cinema courses providing foundational
training. In the sophomore and junior years,
the curriculum opens to more electives,
more collaborations with 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 post-production 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
and festivals, or serve as a demonstration
of the student’s skill for entry into the
professional landscape.
89
Fine Arts
Ceramics, Drawing, Jewelry, Painting,
Printmaking, Sculpture
“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
chair
Deborah Bright
Dina Weiss
assistants to the chair
The six areas of emphasis in the Fine Arts
in Brooklyn’s thriving art community offers
major offer a deep and sustained dialogue
students many opportunities for integrating
between imagining and making. Embedded
their Pratt education with professional
in a curriculum of required and elective
networking through internships, meetings,
courses in art history and the liberal arts and
and lectures with visiting artists and critics;
sciences, Fine Arts studio courses impart the
gallery walks; and curated exhibitions of
modes of creative problem-solving, technical
students’ work that are open to the public.
skills, and risk-taking that transform
Every Pratt student and graduate has access
students into accomplished artists who have
to the institution’s career development and
confidence in their ideas and know how to
counseling resources, including databases
continue taking their work to the next level.
of jobs and paid internships in New York, the
Graduates of Pratt’s esteemed B.F.A.
program in Fine Arts have pursued diverse
creative capital of the United States.
The fundamental component of
creative and professional careers as studio
studio education is the critique where
artists, community artists and educators,
fellow students, faculty, and invited critics
teachers of artists in prominent institutions,
address each student’s work in a context of
gallerists, art entrepreneurs, museum
open, constructive dialogue. All of Pratt’s
curators, arts administrators, art critics,
faculty members are committed teachers
and art historians. Pratt’s central location
and working artists with international
reputations. They bring a wide range
Opposite: Work by Cynthia Horrigan (B.F.A. ’12)
of critical perspectives and expressive
Lisa Banke-Humann
Nathan Meade
technicians
Adam Apostolos
Alexia Cohen
Yasu Izaki
Sarah Shebaro
Keith Simpson
Christopher Verstegen
office
Tel: 718.636.3634 | Fax: 718.399.4517
www.pratt.edu/ad/fineart
school of art 95
approaches to their teaching so that students
and AH upper-level electives. Throughout
are exposed to the diversity of ideas and
the three years of the major, students take
processes that characterize art-making today.
required Fine Arts seminars that address
Pratt’s excellent facilities and dedicated
social, historical, and critical issues in
technical staff generously support students’
contemporary art.
ambitions as they hone their ideas and
In addition to their required courses,
give them form. Sources of inspiration and
majors have 16 to 22 open credits to
nourishment are close at hand—all Pratt
pursue additional courses (even minors)
students have free access with their ID to the
in Liberal Arts/Art History, in other Fine
Brooklyn Museum of Art, as well as to the
Art areas, or in other departments at Pratt
Museum of Modern Art, Whitney Museum of
such as Photography, Film/Video, Art
American Art, Museum of Arts and Design,
and Design Education, Digital Arts, and
and the Frick Collection.
Communications Design. The senior year is
particularly focused on developing a body of
work for exhibition in the spring semester,
and various departmental electives in
professional practice help students prepare
their portfolios and make a realistic plan for
managing their careers and approaching
b.f.a. in fine arts
funders, galleries, residency opportunities,
First-year students take the Foundation
and employers.
Studio Core curriculum, along with core Art
Above: Work by Kaylee Russotti (B.F.A. ´10)
Opposite: Work by Thomas Sodano (B.F.A. ´08)
History (AH) and Liberal Arts (LAS) courses,
Page90: Work by Daniel Hills (B.F.A. ´13)
and begin the major curriculum in the fall
Page 91: Work by Matt Black (B.F.A. ´13)
of the second year. While continuing with
Page 92: Left: Susan Sechler-Luss (B.F.A. ‘13 ); Right:
Detail of work by Jamie Gustavson (B.F.A. ‘13)
their required AH and LAS 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 LAS
Page 93: Work by Isabelle New and Carol Hu (B.F.A. ´13)
97
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?
chair
Stephen Hilger
assistant chair
Tori Purcell
Lauren Davis
New York City is the center of the photogra-
fine art and commercial photographers such
phy world. We give students the techniques,
as Gregory Crewdson, Annie Leibovitz, Mary
the tools, and the intellectual stimulation—in
Ellen Mark, Joyce Tenneson, Sheila Metzner,
other words, the freedom to create powerful,
Bruce Weber, and David LaChappelle.
meaningful images. Our methods work. Just
The key to our program is access. With
technicians
Martin Lennon
John O’Toole
Sandy Rosenberg
Fortunato Castro
ask our alumni who have gone on to work
working photographers as teachers, students
for publications such as The New York Times,
have access to some of the best photogra-
Harper’s Bazaar, and National Geographic.
phers in New York City. Our photography
Graduates of the program have gone on to
faculty includes Guggenheim and Emmy
office
pursue careers as photo editors, freelance
winners, fine art book publishers, high-end
Tel: 718.687.5639 | Fax: 718.636. 3478
editorial photographers, gallerists, and pro-
commercial photographers, and artists
[email protected]
fessors of the medium, to name a few. Our
whose work can be found in the collections
graduates are in demand precisely because
of The Metropolitan Museum of Art, MoMA,
they are trained as professionals.
and the Whitney Museum of American Art.
New York City has an abundance of
internship opportunities for photo students.
Past students have interned with well-known
Opposite: Work by Ian Lewandowski (B.F.A. ‘13)
photography l abs manager
Claudio Nolasco
school of art 101
102
“The photography
department at Pratt
was one of the
best things that ever
happened to me.”
—Lynn Zelevansky, B.F.A. ’71, Henry
J. Heinz II, Director of Carnegie
Accessibility to facilities and equipment
Brooklyn campus. Like a small town within
facilities include lighting studios, black
a big city, we look to give students their own
and white darkrooms, fully-equipped,
voice, so they can employ it in whichever
state-of-the-art digital computer labs and
direction they choose.
large-format digital printing studios. Film
and digital cameras, lighting gear, tablets,
and more are available for checkout from our
equipment room.
Museum of Art, Pittsburgh
—Sylvia Plachy, B.F.A. Graphic Arts
and Illustration ’65, Internationally
renowned photographer
bachelor of fine arts in
photography
With emphasis on artistic development
coupled with critical thinking, historical
analysis, and communication skills, the
“It was because of
Pratt that I became a
photographer. Through
Pratt I not only learned
and found my source
of nourishment and
creative field, but I also
learned about life.”
community in the intimate setting of Pratt’s
is extremely important. Photography
Department of Photography prepares
students to become successful artists and
professionals. Graduates are expected to
The Department of Photography is
demonstrate excellence in artistic vision,
committed to the education of artist/
professional skills, innovation, and a
professionals who have acquired a
contextual understanding of their work in
comprehensive understanding of the
contemporary culture.
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 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
Page 98: Work by Mike Finkelstein (B.F.A. ‘13)
exhibition in the on-campus departmental
Page 99: Work by Lauren Fiasconaro (B.F.A. ‘13)
gallery, as well as a group show in DUMBO,
Page 100: Work by Russell Barsanti (B.F.A. ‘13)
Brooklyn’s art community. Small class
Opposite: Work by Mary Catando (B.F.A. ‘13)
sizes help to promote a strong sense of
105
School of Design
Pratt provides one of the most
comprehensive professional
design educations available,
supported by a distinguished
faculty and exceptional
technical and studio resources.
Gifted students from across the United States
and the world collaborate and learn at Pratt,
weaving creative energy and opportunity into
acting dean
Advertising Art Direction, Graphic Design,
Illustration
Leighton Pierce
fashion design
administrative assistant to the dean
Katherine Morris
foundation
industrial design
Donna Gorsline
interior design
assistant dean for academic affairs
Dianne Bellino
an unmatched educational experience.
The faculty consists of professional
designers, artists, and practitioners,
including numerous recipients of prestigious
awards such as the Tiffany, Fulbright, and
Guggenheim fellowships. The faculty’s
works, projects, and publications are
recognized and respected around the world.
In addition to the outstanding curricula
and faculty, the School of Design offers
acting associate dean
Amir Parsa
director of academic advisement
Michael Farnham
director of finance and administration
Daisy Rivera
a diverse range of degree offerings in
the studio practices of Communication
Design, Fashion Design, Industrial Design,
and Interior Design. Taken singly and in
office
Main Building, Fourth Floor
Tel: 718.636.3619 | Fax: 718.636.3410
[email protected]
www.pratt.edu/ad
Opposite: Work by John Choi (B.I.D. ’13)
106
an interactive mix, these programs, when
The mission of the School of Design is to
also melded with studies in the liberal arts
educate those who will make and shape our
and sciences, create a dynamic context for
built and mediated environment, our aesthetic
stimulating intellectual and creative inquiry.
surroundings, and our collective future.
The School of Design programs are also
The School of Design is a diverse
enriched by Pratt’s distinguished professional
collection of disciplines, dedicated to
programs in the School of Art and the School
the primacy of studio practice and the
of Architecture—all within the broader
transformative power of creativity. We
cultural campus of New York City.
educate leaders in the creative professions
Two parallel objectives guide every
to identify, understand, shape, and
department. One is the emphasis on
benefit from the challenges of a rapidly
professional skills development. The
changing world. Our courses are designed
School’s students gain the techniques, skills,
to develop critical thinking skills, deepen
methodologies, and vocabulary required for
understanding, enable practice, and
success as productive artists, designers, and
empower visionary action. The School of
scholars. The second objective—intertwined
Design is dedicated to developing creative
with the first—recognizes that this technical
leadership in a world that requires it.
experience only takes root within a complex
cultural context. Therefore, students in the
School of Design also develop the critical
judgment and historical perspective needed
to become creative problem solvers in the
international arena.
Opposite: Work by Stephany Sovitch (B.I.D. ’13)
109
Communications Design
The Communications Design major at Pratt is the only
program in the country that recognizes and embodies the
convergence and integration of illustration, advertising, and
graphic design as the primary forces for the visual expression
of ideas. Where are the borders in communications media?
Words, images, strategies, motion, and sound—whether on a
page, wall, television, laptop, or phone—are the tools you need
to communicate a message across all platforms to find your
audience wherever they prefer to be found. In Communications
Design we teach our students how to craft the strongest and
most impactful communications possible by being nimble and
creative problem solvers and elegant image makers.
In the rapidly changing media landscape,
media, design thinking, and audio branding,
our quest to produce well-rounded
to name a few, our students acquire the
communicators does not stop with the
skills needed to realize their visions within
convergence of majors. Understanding
a corporate structure or starting out on their
that design is not just about the end product
own. Select teams also have the opportunity
on the page or screen, we seek to educate
to design and produce the school’s award-
students to communicate visually as well as
winning yearbook (the only solely student-
in written and oral form. With choices from
run publication of its kind in a school of art
over 40 electives, representing courses that
and design) and provide design services
focus on creating content, entrepreneurial
for vital non-profit organizations through
projects, and the partnership of business and
Design Corps, our pro-bono design class.
design, as well as information design, social
chair
Kathleen Creighton
assistant chair
M. Cecilia Almeida
Philip Graziano
imaging facilit y manager
Puja Choda
imaging technician
Mike Finkelstein
office
Tel: 718.636.3594 | Fax: 718.399.4495
[email protected]
Opposite: Close-up of work by Jooyoung Park (B.F.A. ´13)
Page 110: Clockwise from top left: Work by Kaitlyn Allaire
(B.F.A. ´14); Work by Joseph Cosentino (B.F.A. ´14); Work
by Christina Rycz (B.F.A. ´14); Work by Zachary Garrison
(B.F.A. ´14)
Page 111: Emily Pettigrew (B.F.A. ’13)
Page 112: Work by Michael Riso (B.F.A. ´13)
Page 113:Work by Robert Blair (B.F.A. ´14)
116
Thanks to our industry-leading faculty—
business classes. Our alumni can—and
some seasoned, and some exciting new
do—succeed in widely varied careers from
talents—our students present their work
advertising and graphic design, to film,
to the designers and art directors who will
to display, to fashion merchandising and
be evaluating and hiring them when they
children’s books. Our students who choose
graduate and have access to even greater
to concentrate in Illustration are successful,
opportunities through internships within the
in short, because they are literally prepared
diverse networks those faculty represent.
for everything.
We prize mental agility as highly
as craftsmanship. Graduates from our
program are able to chart their own course
successfully using their unique vision as
their guide. If your goal is to develop your
own creative voice rather than be part of a
chorus, Communications Design at Pratt is
the major for you.
emphasis in illustration
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 and that can be applied to the design
of a logo, website, package, signage system,
or anything else. Students are trained not
emphasis in advertising
With a concentration in Advertising at Pratt,
you will be charged with conceiving and
executing brilliant ideas that both engage
and move consumers to action. You’ll learn
what it takes to be an art director in a top
advertising agency, and you’ll explore every
detail that impacts an ad visually, from
emphasis in graphic design
typography to photography to illustration
to digital and video applications. A faculty
of award-winning and seasoned industry
professionals will help you develop your own
With a concentration in Illustration at
unique creative process and teach you how
Pratt, your education will differ from
to think simply and conceptually. They’ll
most programs at other schools of art
work with you on the branding process,
and design specifically because it is part
utilizing the potential of new media, and
of a larger major and not a stand-alone
developing strategic insights that will make
discipline. The advantage of this to our
your portfolio stand out from the crowd. If
graduates is that they enter the field not
you’re an artistically inclined dreamer who
only with an excellent grounding in all
sees no limit to the power and potential of an
media, including painting and drawing,
idea, Advertising may be the course of study
but having mastered—in required classes—
and the career for you. Our students have
conceptual thinking, problem solving,
received some of the industry’s most coveted
typography, and photography, as well as
prizes and are working at the most progres-
2- and 3-D design and current computer
sive and notable agencies in the country.
only to translate or give form to content, but
also to develop and generate that content
through a required advertising class and to
craft that content through core illustration
and imaging classes. In the industry, graphic
designers are often seen as the ones who put
all the components together. Pratt graphic
designers craft those components themselves and as a result graduate to become
not just design professionals but authors and
authorities in their fields.
In the end, Pratt’s Undergraduate Communications Design program is a multidisciplinary studio where students from each
area of concentration engage and challenge
each other, developing their own approaches
to a variety of solutions. Their career paths
are many and varied, with success and fulfillment as the common denominator.
Opposite: Work by Yung-Ta Yang (B.F.A. ´14), winner
of the 2014 Society of Illustrators $5000 Nancy Lee
Rhodes Roberts Scholarship Award
include sequential art, motion graphics,
Page 114: Clockwise from top left: Work by Emily Zirimis
(B.F.A. ´14); Work by Tim Liedtke (B.F.A. ´13); Work by
Kayla Zegar (B.F.A. ´13), Seol Ye (Sierra) Lee (B.F.A. ´13),
Jee Sun Lee (B.F.A. ´13), Gold medal winners, One Club
Young Ones competition 2013
independent publishing, Web design, and
Page 115: Emily Pettigrew (B.F.A. ’13)
software. Recommended electives
school of Design 117
“Arriving at Pratt, having
been the kid that could draw
the best back home, I was
knocked over by how good
my colleagues were. Suddenly
there was real competition, and
with that competition came
conversations, friendships and
ideas that I have carried with
me ever since.”
— alexander smith, B.F.A. Communications Design ’97
M.I.D. Industrial Design ’14,
Professor Communications Design
Award-winning designer
“Pratt students seem to come
to less expected visual solutions
than I’ve experienced teaching
at other institutions. Our
faculty pushes students to solve
problems asking “what if?”
The result helps make a Pratt
graduate more unique.”
— Tim o’brien,
B.F.A.Paier College ’87,
Professor Communications Design
Award-winning illustrator
President of the Society of Illustrators
119
Fashion Design
From Pratt’s inspirational campus in the Clinton Hill section
of Brooklyn, the Fashion Design Department offers students a
concept-led, craft-based education at the heart of one of the
world’s cultural epicenters.
chair
Jennifer Minniti
assistant chair
Shannon Bell Price
Fashion education at Pratt Institute is
opportunities set the program apart,
trans-disciplinary in nature, closely al-
offering students tools and creative en-
lied with illustration, photography, film,
gagement beyond the fashion milieu.
performance, visual studies, and material
One of the world’s most prestigious in-
culture. The practice of fashion is taught as
dependent colleges of art and design, Pratt
one’s cultural embodiment within a social
is globally recognized for its distinguished
framework and learned through rigor-
academic record. Graduates in fashion de-
ous attention to production, craft, and
sign carry the hallmarks of the department
contemporary aesthetics. Students build a
into the working world, where they are
vision and a language through conceptual
recognized for a commitment to ingenu-
processes emphasizing curiosity, imagina-
ity, authenticity, creativity, and personal
tion, improvisation, and play. They com-
vision as well as an informed versatility.
municate that vision through proficiency
Their artistic vision both reflects and chal-
in construction and illustration skills,
lenges the needs of contemporary culture.
fluency with materials, traditional techniques, and digital technologies as well as
synthesis of germane research. Interdisciplinary and collaborative classroom
Opposite: Work by Julia Wollner (B.F.A. ’14)
Emily Mattson
office
Tel: 718.636.3415 | Fax: 718.399.4566
[email protected]
www.pratt.edu/ad/fashion
120
A Fashion Program in the
Fashion Capital
Pratt takes the city of New York as its urban
laboratory, offering students a wealth of
opportunities to gain crucial experience
beyond the classroom environment.
Museums, archives, and design studios
familiarize students with design processes
and histories; internships at top design
companies such as Zero Maria Cornejo, Rag
& Bone, Ralph Lauren, and Donna Karan
offer hands-on experience and professional
networking. All Pratt fashion design students
participate in annual design competitions
sponsored by the Council of Fashion
as Study NY, to promote modern, sustainable
design, leather and fur, and knitting to
fashion, millinery, and more. Their work has
complement the core curriculum. The
been featured in a wide range of publications
department offers international exchange
including The New York Times, Essence
programs and an intensive abroad program
magazine, The Fader and The New Yorker.
in the summer.
Seen on stage and screen at the Metropolitan
Opera, on Broadway, and on Bravo TV,
faculty work has also sold in Barney’s New
York, Henri Bendel, Saks Fifth Avenue and
countless independent retailers.
Guest practitioners from all fashion
backgrounds join faculty in the classroom
as visiting lecturers, advisors, and critics.
Each semester, a full roster of fashion
experts is invited to talk theory and practice
with Pratt students.
Designers of America and YMA Fashion
Scholarship Fund; competitions sponsored
by companies such as Cotton Incorporated
and Supima Cotton are integrated into
the curriculum, providing avenues for
scholarship support and exposure within the
fashion community. Public critiques with
faculty, peers, and outside design authorities
help students crystallize and articulate their
design visions. A mandate to show work
publicly—in gallery environments, on the
street, in showrooms—instills appreciation
for the true spectacle of fashion. The Fashion
Design faculty is composed of professional
practitioners from across the industry,
including directors at top design houses,
historians, curators and craftspeople. Some
have worked for Donna Karan, Giorgio di
Sant’ Angelo, Nike, Liz Claiborne, Foley +
Corinna, Ralph Lauren, and Geoffrey Beene;
some have built their own companies, such
internship
Pratt students are required to complete four
credits of internship between their junior and
senior years. Students have the opportunity
to explore different aspects of the New York
fashion design industry through their choice
of internships. The internship experience
provides them with job searching and
interview skills as well as practice in how to
write a résumé and present their portfolio.
A Pratt faculty advisor guides each student
The Curriculum
throughout the experience, making sure the
students’ learning objectives are met.
The fashion design curriculum fosters
development of individual identity within
a collaborative environment, informed
by self-reflection and engaged critique. A
professionally active and accomplished
faculty challenge students to seek beyond
the conventional. Students are prompted to
have an ongoing dialog between sketch, flat
2-D patternmaking and 3-D drape: they are
expected to work consistently—executing
the fashion idea through the making of
innovative collections.
The Department of Fashion Design offers
Opposite: Work by Juliana Horner (B.F.A. ’14); Work by
Anne Lysonski (B.F.A. ’14)
Page 122: Work by Semaj Bryant (B.F.A. ’14)
Page 123: Work by Sea Zeda (B.F.A. ’14)
a wide variety of elective and advanced
Page 124: Work by Neil Grotzinger (B.F.A. ’14)
courses in topics such as millinery, shoe
Page 125: Clockwise from top left: Work by Rachel
Borghard (B.F.A. ’14); Work by Kay Frank (B.F.A. ’14);
Work by Julia Wollner (B.F.A. ’14); Work by Jesus Chavez
(B.F.A. ’14); Work by Lauren Sander (B.F.A. ’14); Work by
Chelsea Zahn (B.F.A. ’14)
design, fashion and video, zero-waste
construction, tailoring techniques, jewelry
127
Foundation
The concept of Foundation—a year of exploration and study in
the fundamentals of art and design—is common at American
colleges of art today.
acting chair
Kim Sloane
Natalie Moore
In the early years of an artist’s career, it
college foundation program, begins eliciting
is important to master the basics in an
the student’s talents and abilities in a more
environment of positive, critical feedback
formal, rigorous way, introducing him or
and encouragement. But it wasn’t always
her to professional standards of work. The
administrative assistant
that way. Pratt introduced the practice to
third teacher guides the student through the
Sabrina Lovell
the United States in the 1940s, creating an
specific ethics, disciplines, and requirements
American tradition in many ways distinct
of the chosen art or design field, helping
from its European Bauhaus antecedents. Yet
build bridges that enable the student to cross
the premise remains: In the early years of an
successfully into the professional world.
artist’s career, it is important to master the
While there are often more than three
basics in an environment of positive, critical
teachers involved in an artist’s education,
feedback and encouragement.
individuals who can fulfill the second role
Research shows that a foundation course
are an essential part of the Foundation
Florine Demosthene
technician
Sung Ha No
4-d l ab manager
Matthew Bray
office
Tel: 718.636.3617 | Fax: 718.399.4589
of study often provides the second of three
experience at Pratt. Day-to-day work involves
[email protected]
key “teachers” in the lives of successful
mastery of materials and techniques, with the
www.pratt.edu/ad/found
artists. The first teacher—often a parent or
explicit purpose of producing thinking artists
friend during high school—issues relatively
and designers—people who can integrate the
uncritical encouragement, allowing the
physical and sensory aspects of art and design
student to discover the sheer pleasure and
with its fuller emotional and intellectual
excitement of working as an artist. The
aspects. (For another view of how Foundation
Opposite: Light, Color, Design students (freshmen)
second teacher, sometimes encountered in
fits into your life as an artist or designer, see
Page 128: Drawing students (freshmen)
high school, but more often in a first-year
“How a Pratt Education Works,” page 37.)
Page 129: Light, Color, Design students (freshmen)
130
“My freshman year
foundation courses were
extraordinary, especially
in the way they enhanced
my ability to see and feel
things differently. They
really led me to be where
I am right now.”
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 flex-
Students expand their thinking by
participating in a series of studio experiences
that deal with the analysis of problems in
perception, conception, and imagination.
— Katharine Jungah Kim, B.F.A. Film/
Video ’86, CEO, CJ Entertainment,
South Korea
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.
ibility, 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.
Opposite and above: 3-D Design students (freshmen)
133
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 answered
cameras to computers—along with the
this way:
context of product development in which
“One definition of industrial design
is the translation of ideas into form,
with all the implications that the
notion of translation (both linguistic
and geometric) brings with it. In a very
positive way, this translation occurs daily
in virtually every course in Pratt ID.”
a field of artists, designers, and inventors
who create the objects we live with every
day—from toothbrushes to jumbo jets, from
Opposite: Harris Hine (B.I.D. ’13)
Audrey Lapiner
technical coordinator
John Medley
pragmatism (function, materials, processes,
sustainability, and marketing) coexist.
Our mission is to teach aesthetic value and
form development as well as practicality,
focusing on the principles of accessibility,
balanced environment, tempered by reality
In its most basic sense, industrial design is
Scott Lundberg
color, form, structure, and volume) and
in objects.”
environment.”
assistant chair
core values of visual abstraction (line, plane,
responsibility, and creativity. In this carefully
belief that we are responsible for our own
Steve Diskin, Ph.D.
these objects come into being. At Pratt, the
“Design is the expression of culture
“Design is the application of the
chair
and vision, students are encouraged to design
the everyday forms of the future.
Our students arrive with a wide range of
emerging capabilities: in math and science,
in drawing and painting, in model making
and sculpture. All find a home in industrial
design, where Pratt ID develops students’
individual talents. Faculty members are
demanding; all are experienced educators
and professionals, many are principals
technicians
Gary Hou
Alejandro Morales
Manuel Mota
Julia Wheeler
Melissa Skluzacek
office
Tel: 718.636.3631 | Fax: 718.636.3553
[email protected]
www.pratt.edu/ad/id
134
at world-renowned firms and recipients
of prestigious design awards. Together,
teachers and students at Pratt explore,
challenge, and re-define the forms and
inventions with which we live, and the
processes of creating them. Both team and
individual assignments revolve around
problem solving. Students learn to design
and execute in resonance with professional
practice—from presentation sketches to
finished models—ensuring a practical
understanding of the entire industrial
design process.
With its magnificent collection of topflight museums, libraries, and galleries,
New York is one of the world’s centers for
design. As such, students learn from both
the richness of past culture and the cutting
edge of contemporary design. From a
professional perspective, students benefit
from a full year of portfolio and professional
practice classes, with input from working
designers. Exposure to the greater New York
design scene also happens through the Pratt
Show, an annual public showcase of work of
graduating students.
Pratt’s Industrial Design program,
consistently ranked in the top 10 in the U.S.
by DesignIntelligence, also maintains strong
ties to industry through corporate-supported
programs and internships. Fortune 500
Pratt industrial design alumni are designers,
artists, craftsmen, educators, entrepreneurs,
researchers, and corporate leaders. This
diversity comes from a program of study that
allows freedom to explore. A variety of studio
options and prototype classes available to
juniors and seniors delve into many of the
current topics that define the growing field
of industrial design: form and technology,
mobility, tabletop objects, toy design, shoes,
softgoods and athletic gear, medical devices,
tools, and exhibition and experience design.
Students take core courses in the freshman
and sophomore years, which provide grounding in drawing, color, 3-D, and problem solving. Junior and senior year students choose
studios as their interests and skills dictate.
The Industrial Design Department also offers
study-abroad exchanges in Germany, Scotland, the Netherlands, Israel, and Sweden, and
a summer program in Copenhagen. Students
complete two semesters of digital design studies in computer-aided design (CAD) courses
focusing on the foundations of digital design,
and 3-D modeling.
Students who have not initially decided on
a major will be reviewed at the end of the freshman year for acceptance by the department.
companies are regular sponsors of Pratt ID
competitions and studios. It is an education
that opens career possibilities that are as
unique and as broad as our student body.
Opposite: Michael Liu (B.I.D. ’13)
Above: 3-D abstraction exercise
Bottom Left: Michael Steiner (B.I.D. ’14)
Bottom Right: Masamune Kaji (B.I.D. ’14)
Opposite: Masamune Kaji (B.I.D. ’14)
Page 138: Top: William Bausback (B.I.D. ’13);
Bottom: Onn Namkung (B.I.D. ’14)
Page 139: Amber Thompson (B.I.D. ’13)
“Pratt not only nurtured
my talent and taught
me to be a competent design
professional, it also gave
me a way of life, an enriching
approach that has served me
well in any creative endeavor.”
—Greg Dinallo, B.I.D. ’62,
Producer, screenwriter,
and author
“The years I compiled
at Pratt, I thought of
as the initial development
phase of my work.”
—Tom Patti, B.I.D. ’67, M.I.D. ’69, Artist,
designer, and innovator
141
Interior Design
Studying interior design at Pratt is an
studies in the sophomore year, working
chair
adventure enhanced by being in New York
in a stimulating studio setting where the
Anita Cooney
City, the interior design capital of the United
learning is collective, cooperative, and
States. Students enrolled in this challenging
competitive. Students work closely in small
course of study are prepared for a career
groups with their professor on projects that
in a profession with enormous potential.
develop in size and complexity through
Pratt’s Interior Design program was ranked
the six semesters of design studio. The
second in the U.S. by DesignIntelligence 2014
senior year culminates with a thesis project;
and is accredited by the Council for Interior
students develop a body of research on a
Design Accreditation (CIDA). Pratt’s was
particular issue of the interior in the fall
one of the first programs in interior design
which they then develop as a design project
education in the country and continues to
in the spring.
be a leading innovator in the discipline. Our
Karin Tehve
Aston Gibson
office
Tel: 718.636.3630 | Fax: 718.399.4440
[email protected]
www.pratt.edu/ad/int
Students are encouraged to take
alumni have made significant contributions
advantage of the many courses offered at
to the quality and character of our built
Pratt that will enable them to fully develop
environment for decades, and it is certain
their interests and talents. Studio electives
that tomorrow’s graduates will continue to
may be chosen from any department in the
make an environmentally mindful impact on
Institute; an enormous menu of courses
our culture and sense of place.
is available for the pursuit of individual
The Interior Design program is an
assistant chair
interests. Interested students can apply to
architecturally oriented program with
spend the spring term of the junior year at the
emphasis on spatial design rather than
Danish International School (DIS) studying
surface embellishment. All aspects of
interior architecture in Copenhagen. The
space—scale, proportions, configuration,
program at DIS includes extensive study
and light sources, as well as textures,
tours throughout Scandinavia.
materials, and colors—are studied in
relation to their effect on the human
spirit. Students begin their interior design
Opposite: Professor Deborah Schneiderman Senior
Class Project
Students are integrated into the
Students begin their study of interior
professional world through professional
design in the sophomore year upon
practice coursework and internships that
completion of a required year in Foundation.
serve to prepare students for certification.
Individuals interested in transferring to Pratt
Pratt students create important relationships
from other institutions are also encouraged
in school and become part of the larger
to apply. The structure of the program,
alumni network when they graduate. On
in which dedicated students thrive,
some design projects, students work with
prepares graduates for a leadership role in
actual clients to fulfill their real space and
an established profession. To support our
programming needs.
commitment to technological excellence,
Our curriculum covers all aspects
personal laptop computers are required
of interior design, beginning with the
for all undergraduate students. For more
fundamentals of drawing, right through to
information, please refer to www.pratt.edu/
the complexities of building construction,
academics/academic_resources/technology_
architectural drawing, computer graphics,
resources/laptop/interior/.
professional practice, and contract
administration. The students’ experience
minor in interior design
is enhanced by a balance of intellectual
The Department of Interior Design
exploration, practical experience in the
design studio, and the development of skills
needed to become successful professionals.
offers a 16-credit minor to undergraduate
Architecture, Construction Management,
and Industrial Design students, or interested
students with a related background. Students
b.f.a. in interior design
Students have the opportunity to study
interior design as an integral element of the
built environment: shaping space as well as
planning and furnishing it. Light, color, form,
may apply to the minor after meeting with
the chair of Interior Design, as early as
“Pratt was an amazing,
amazing experience in my
life. We had top faculty
that inspired us. I use the
foundation that I received
at Pratt, but I take it in
many different directions.”
—Samuel Botero, B.F.A. Interior
the first semester of the sophomore year.
Design ’68, Renowned interior
Determination of studio level to take INT-
designer; principal, Samuel Botero
301, -302, or -401 will be based upon a review
Associates, Inc.
of the student’s transcript and portfolio. The
completion of the minor will be noted on the
student’s transcript but will not be shown on
the diploma.
and space are the classic elements of interior
design with which students work in a series
of design studies and related courses. At
Pratt, students focus on a variety of interior
design projects that grow more complex as
the curriculum proceeds.
Opposite: Work by Alihan Oney (B.F.A. ’13)
Page 142: Work by Nikola Soen (B.F.A. ’13)
Page 143: Changing room project (sophmores)
147
School of Liberal Arts
and Sciences
Courses in the liberal arts and sciences teach critical skills
like writing, speaking, and analytical thinking. Courses in the
humanities, mathematics, sciences, social sciences, and
cultural studies form the core of students’ general education.
The School of Liberal Arts and Sciences offers courses in
astronomy, botany, chemistry, communications, cultural
history, creative writing, cultural studies, ecology, English,
foreign languages, gender studies, humanities, mathematics,
media studies, music, performance and performance studies,
philosophy, physics, psychology, science, and social science.
critical and visual studies
History of Art and Design
the writing program
liberal arts
dean
Andrew W. Barnes, Ph.D.
[email protected]
Gloriana Russell
Pratt also offers instruction at the
studio courses by incorporating elements
introductory level in Italian, Spanish,
of literature with critical theories and
German, French, and Chinese. Students for
examinations of the visual arts. The SCP is
whom a language is a program requirement
strongly recommended for students whose
have a priority in registration. Other students
TOEFL score is below 600 (PbT). Students
may select six credits in a single language for
who complete the SCP program are not
liberal arts elective credit.
required to take the placement exam.
The School of Liberal Arts and Sciences
Our Liberal Arts and Sciences faculty
also provides English language support
members are creative writers, composers,
for international students in the Intensive,
and performers, as well as scholars, critics,
full-time Certificate of English Proficiency,
and scientists. They help students find
and Summer Certificate Programs (IEP, CEP,
meaning in the traditional disciplines
and SCP). The courses in these programs
of history, literature, science, and
help students to prepare for academic and
philosophy; explore emerging approaches
academic advisement coordinator
Erich Kuersten
office
Tel: 718.636.3570 | Fax: 718.399.4586
www.pratt.edu/slas
148
to multiculturalism, gender studies, and
popular culture; and provide a humanistic
context for the flights of imagination that
result in art and design.
The mission of the School of Liberal
Arts and Sciences is to enable students to
explore areas of knowledge and to reflect
critically and creatively on aesthetic forms
and on intellectual and cultural practices.
Graduates can conduct research, substantiate
arguments, and communicate in the broadest
possible sociohistorical, literary, and scientific
contexts. The school’s primary goal is for its
students to make continuing contributions as
critical thinkers and creative professionals.
Students in a Performance Studies course participating
in a show, titled Iris
149
Critical and Visual Studies
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.
chair
Gregg M. Horowitz
[email protected]
Sophia Straker-Babb
critical and visual st udies
coordinator
We believe that the liberal arts and sciences
philosophy, the social sciences, and the
bring vitality, creativity, and practical
humanities, and in the writings of both
application to intellectual practice. Here,
historical and contemporary thinkers who
every aspect of social life—from street art to
are of special importance to critical theory
political systems, from international media
and visual studies. Students then choose
to the global economy—is a potential subject
from a generous selection of electives and
of your studies. The program provides a
concentrations from within the School of
unique interdisciplinary framework within
Liberal Arts and Sciences, and across the
office
which our students explore the liberal arts
Institute in architecture, art history, art and
Tel: 718.636.3567 | Fax: 718.399.4575
through the study of the artistic, social, and
design, and planning.
political meanings of cultural and aesthetic
production.
The fundamental goal of the faculty in
the department’s program in Critical and
Visual Studies is to provide our students
The Liberal Arts and Sciences
Context at Prat t: Strong
Foundations, Individualized
Programs
Our B.A. program features a first-year
curriculum that builds a foundation in
many classic and innovative texts of
with an education that helps them become
critical, articulate, widely read, intellectually
flexible, and culturally savvy.
B. Ricardo Brown
[email protected]
coordinator of academic advisement
Erich Kuersten
[email protected]
www.pratt.edu/academics/liberal_arts_
and_sciences/critical_visual_studies
150
Your studies in the program will give you:
• A critical understanding of culture that
is grounded in philosophy, history, the
social sciences, and humanities.
• Competency in social theory,
that emphasizes education and not simply
year that embody the range of student and
education to be a matter of “learning to
faculty interests. Some long running events
learn” in order to provide our graduates
and series include:
with a foundation for independent, lifelong
learning. The faculty’s love of learning and
analytical research methods, and
teaching is deeply connected to our wish that
various techniques of communication.
our students be prepared to thrive in a future
• The ability to develop and critically
integrate written, oral, visual, and
spatial expression.
• The flexibility to pursue both in-depth
economy where they will need critical and
analytical skills to move seamlessly between
changing economic sectors and evolving
career paths.
Our faculty’s diverse teaching and
studies and make links between
research interests include philosophy,
academic work and the wider world
sociology, ethnography, cultural studies,
through internships in cultural
media studies, globalization, imperialism,
institutions, especially nonprofit arts
colonialism and post-colonialism, critical
and public service agencies.
theory, psychology, gender and sexuality,
• A faculty whose work and teaching is
on the cutting edge of scholarship and
cultural criticism.
Because of our unique context, our
students benefit from a stimulating
atmosphere of intellectual and artistic
innovation. The Critical and Visual Studies
curriculum allows students the opportunity
to take electives in the traditional studio
arts and in new media. Students can work
in a variety of media, developing their
writing skills and working experimentally to
integrate the verbal and visual, creating new
combinations of word and image.
The faculty in Critical and Visual Studies
is committed to a wide range of intellectual
endeavors and public engagement. But
we are united in our commitment to a new
approach to the liberal arts and sciences
The program sponsors many events every
“schooling” or training. We understand
world history, history and historiography,
cinema and documentary film, literature and
• The Departmental Speaker Series,
which brings renowned scholars and
intellectuals to the Institute and gives
our students the opportunity to meet
and interact with them. Past speakers
have included: Nora Alter, Alain
Badiou, Robin Blackburn, Susan BuckMorss, Tina Campt, Jim Czarnecki,
Gina Dent, Anna Grimshaw, Timothy
Hall, Saidiya Hartmam, Randy Martin,
Tom McCarthy, Gyan Prakash,
Vicente Rafael, Martha Rosler,
Sukhdev Sandhu, and Wendy Woon.
• The Scholar-In-Residence Program,
which brings a major contemporary
creative writing, theater and performance
thinker or artist to campus for an
studies, landscape and space, environmental
extended residency. Past Scholars-
studies, sustainability, and the sociology of
in-Residence have included Stanley
science and technology. The faculty’s area
Aronowitz, Patricia Clough, Juan Cole,
specialties include the Americas, Africa, the
and Susan Meiselas.
Mediterranean, Central Asia, the Middle
East, the Pacific Rim, and the Indian Ocean.
Our students and faculty participate in
the dynamic array of cultural events and
institutions offered by our unparalleled
location in New York City. Students immerse
themselves in the intellectual life of the city,
both outside the gates of the Institute and by
participating in public programming planned
by the faculty and the organizations with
which they are affiliated.
• Film Screenings, which offer
provocative forums for timely debates
about current social, political,
and aesthetic issues. Filmmakers
accompany their film screenings and
address interested students afterward,
making for lively discussions that
extend beyond the classroom.
school of liberal arts and sciences 151
• The Wallabout Film Festival, which
is a student film festival produced
and curated by an interdisciplinary
team of students from Pratt Institute.
Showcasing films by innovative
The First Year: Foundation
The first year of the program provides
student filmmakers from around
students with a foundation in history,
the world, Wallabout is a platform
philosophy, critical theory, and science
for students to screen their work to a
studies. The centerpiece of the first year is
diverse community of peers, artists,
a first-year seminar in which students will
and industry professionals, initiating
become acquainted with the range of subjects,
conversation and collaboration. It is
methods, and theories from which, later
an important platform for supporting
in their careers at Pratt, they will be able to
student filmmaking and for adding to
assemble their own specialized paths of study.
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 Second Year: Free Electives,
“Symposium,” and “Moderation”
The second year of the program is rich
to a course of study, and chart their final two
years of college.
The Third Year: Guided Electives and the
Pursuit of a Focus of Study
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 as
cultural studies, urban studies, or visual
studies; or an individually designed course
of study, such as mass media and society,
psychology and the arts, or war and culture.
in elective offerings that permit students
Students can also add minors in studio art to
to explore and expand the interests they
their programs.
discovered in their first year of study.
The second year is anchored by the
The Fourth Year: Senior Seminar two-course sequence of “Symposium”
and Senior Thesis
and “Moderation.” In Symposium,
accomplished scholars in the liberal arts,
some from the Institute and some from
outside, lecture and lead a seminar in which
students gain exposure to the standards
of professional intellectual work. In
“Moderation,” students are guided by a
faculty committee to reflect on their studies
during semesters one through three, identify
their interests, and begin to focus on the
concentration that will structure the final
two years of their program. “Moderation”
enables students to take stock of their
initial experiences in the program, examine
their goals and interests, evaluate their
performance, establish their commitment
In the fourth year, students round out
their education by taking all-Institute
electives in which they explore topics and
problems outside of their core areas of study.
At the same time, students complete their
individual concentrations with the capstone
courses “Senior Seminar” and “Senior
Thesis,” in which students are guided through
the process of developing, researching, and
writing a graduate school-level essay. The
senior thesis, which is the end product of
this experience, hones students’ abilities to
express themselves, argue their ideas, and
make fresh sense of the cultural world.
153
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.
chair
Dorothea Dietrich, Ph.D.
assistant chair
Gayle Rodda Kurtz, Ph.D.
Jill Song
The faculty is composed of distinguished
Every Art and Design History student’s
scholars and mentors who focus on the
program includes “behind-the-scenes”
intellectual and professional growth of our
experiences, not only at exhibitions and
students. Their expertise, dedication, and
museums but also in the Institute itself.
original thinking can be seen in the broad
Connections with other departments in
range of courses, academic and professional
all areas of fine arts and design—interior,
opportunities, and most importantly, in the
industrial, communication, and fashion—as
quality of our students’ work.
well as with the School of Liberal Arts offer a
Explore our degree options and you will
unique platform for an interaction between
find students studying 17th-century frescoes in
practitioners and theoreticians. Our stu-
Venice, 20th-century product design at first-rate
dents witness the making of art and design
auction houses, and 21st-century performance
firsthand, which adds a real-life perspective
art at the Guggenheim Museum. Students
to their scholarly studies.
come from a wide range of backgrounds, and
A Pratt student is surrounded and
leave with knowledge, experience, and a profes-
inundated by an aesthetic and intellectual
sional network that will inform and support
swirl like no other. Pratt’s faculty is distin-
their careers for many years.
guished in training and experience, with an
impressive array of degrees and professional
Opposite: Viewing a panoramic painting during a class
trip to The Metropolitan Museum of Art, New York
credentials. It reflects a broad definition of art
office
Tel: 718.636.3598
[email protected]
154
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
School of Art and Design. The department
offers a unique choice of programs for
undergraduate majors in two degree tracks:
Bachelor of Arts, and Bachelor of Fine Arts.
Students entering with an Advanced
Placement score of four or five in art history
may apply for exemption from the first
semester survey and are allowed to substitute
an elective in the survey area for the second
Students at a private showing in the Print Study Room
of The Metropolitan Museum of Art, New York
the practicing artist, designer, architect,
and librarian, the historical perspective is
attached to the concrete example. Its theory
and design history by including film, photo,
and design in a solid body of traditional art
and conservation.
The History of Art and Design department offers exciting lectures and seminars
with a wide range of approaches, from
connoisseurship to the most recent theoretical approaches. Frequent excursions and
internships result from our extensive working
relationships with the city’s museums, galleries, and cultural organizations and are a
is developed from the specific to the general.
In Pratt’s School of Art and Design, the
definition of art history is broad. It includes
design history of clothing, interiors, communication, industrial products, photography,
film, and animation, as well as urban design
ture, architecture, and graphic arts. These
courses have been developed to respond
equally to the needs of the art/design student
and to aspiring historians.
have been developed with a keen sense
of Pratt’s history as a technical school. In
the context of a school long devoted to
survey course (but did not get a four or five
score or did not take AP Art History) may
also apply to the chair of the History of Art
and Design department to substitute upperlevel electives in each survey area from the
required courses. Courses are open to all
students at Pratt Institute.
b.a. in history of art and design
The B.A. program affords a deeper grounding
in the philosophy, literature, and criticism of
the history of art and design. This program
requires 48 credits to be taken in art history
Degrees in the History of Art and Design
who have done well in a full-year art history
and the traditional history of painting, sculp-
crucial part of the curriculum.
Degree Program’s Philosophy
semester of survey. Entering freshmen
The department of the History of Art and
Design provides courses and a foundation
of studies for all Pratt students. All
undergraduates in the Schools of Art and
Design are required to take 12 credits of art
and design history, including introductory
survey courses that cover pre-history to the
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.
155
course) beyond the B.F.A. requirement of
12 credits. Prospective minors should see
the department chair for advisement on
appropriate choice of courses.
prat t 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.
Students at Pratt in Venice at the Gallerie dell’
Accademia in summer 2011
Majors 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 a Senior
Seminar are requirements for completion of
the degree.
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, Pre-Renaissance,
Renaissance to Rococo, and 19th-, 20th-, or
21st-Century Art. Theory and Methodology,
Chemistry of Art, and a Senior Seminar are
requirements for completion of the degree.
b.f.a. in history of art and design
history of art and design minor
Students who wish to receive a B.F.A. in this
Undergraduates at Pratt who choose to minor
department must take the regular one-
in the History of Art and Design are required
year Foundation Program of 24 credits and
to complete at least 18 credits of art or design
complete 40 credits of history of art and
history, or six (including one 500-level
“I loved being surrounded
by artists while I was
studying art history. I think
it provided a good base
of people whose work I was
looking at and got to know.”
—David Harper, M.S. History of Art
and Design ’06, Director, Special Projects
and Client Development at Paddle8
157
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.
Unlike liberal arts curricula, Pratt’s Writing
Writing studios form the core of the
chair
Maria Damon, Ph.D.
[email protected]
writing program coordinator
Thad Ziolkowski
[email protected]
Program is not for students of writing but
curriculum. Here students concentrate
aspiring creative writers. Pratt’s program
on producing fiction, poetry, plays, and
academic advisement
coordinator
takes full advantage of two local facts of life:
creative nonfiction. In the first year, while the
Erich Kuersten
the hothouse work ethic of Pratt’s other studio
assignments are often creative in nature, the
programs and New York City, the literary
primary focus of the studios is on word choice,
capital of the United States (and arguably the
grammar, and the honing of a forceful clarity
world). Both allow Pratt to attract a writing
of expression; in the second year, narrative
faculty that is without parallel. Our professors
and poetic forms come to the fore; in the third
are all working professional writers, happy to
year, students are encouraged to specialize
share their experience.
in genres that will culminate in their senior
This four-year undergraduate program
office
Tel: 718.636.3790
www.pratt.edu/slas/writing
theses: book-length original works of prose,
leads to a Bachelor of Fine Arts in Writing.
poetry, or an experimental form—the compo-
The attainment of this goal requires seri-
sition and polishing of which take center stage
ous and sustained commitment. In contrast
in the fourth-year studios.
to traditional colleges, in which a major is
[email protected]
Beginning in the sophomore year, special-
often declared only in the third year of study,
topic writing tutorials provide students with
writing majors at Pratt begin an intensive con-
the opportunity to work closely with accom-
centration on creative writing in the first term
plished writers in areas such as artists’ books,
of their freshman year and gradually expand it
short stories, poetry, satire, feature and edito-
over the course of the program.
rial journalism, screenplays, and drama. On
Opposite: A year-end student reading
158
Studying outdoors on the Brooklyn campus
Wednesday afternoons, literary agents, poets,
freshman year. To ensure that writing majors
editors, novelists, journalists, and humor-
explore the rich courses available in the
ists come to campus to discuss their work
Institute, a minimum of nine elective course
with students during Writers’ Forum. Each
credits must be taken in the School of Art and
year, a well-known author is chosen to be the
Design or the School of Architecture.
program’s Writer in Residence.
The overall emphasis on the practice of
Finally, internships, typically taken in
the spring of the junior year, give students
writing is reinforced throughout by courses
invaluable opportunities for work experience
in literature, cultural studies, science, and
at places such as The Village Voice, Saturday
history. A solid grounding in these disciplines
Night Live, Vibe magazine, and A Public Space,
is crucial to real achievement in the written
as well as nonprofit arts organizations such
word. Moreover, with an eye to sharpening
as St. Mark’s Poetry Project, Ugly Duckling
students’ analytical and argumentative skills,
Presse, and the Dia Foundation.
a two-semester sequence called Critical
Thinking and Writing is a requirement of the
bachelor of fine arts in writing
The Writing Program’s goal is the creation of
well-rounded writers. At the heart of the
curriculum are the Writing Studios, through
which students progress from word choice,
grammar, and clarity of expression to more
advanced narrative and poetic forms and
specialized genres, culminating in the
creation of a book-length work of prose,
poetry, or experimental form. The practice of
writing is reinforced by studies in literature,
cultural studies, science, and history.
159
Classes in the Liberal Arts
There are so-called skill
mills. And there is Pratt. We
educate the whole person.
Humanities and Media Studies
Intensive English Program
chair
intensive english director
Maria Damon, Ph.D.
Nancy Seidler
[email protected]
[email protected]
assistant chair
Pratt provides a well-rounded education in
Kathryn Cullen-Dupont
the liberal arts that encompasses Humanities
and Media Studies, Mathematics and
Danielle Skorzanka
international students in gaining the English
coordinator
Dana Gordon
Science, and Social Science and Cultural
Studies. In addition, the Institute supports
Certificate of English Proficiency
Mathematics and Science
Computer-Assisted Language
language skills they need to pursue their
chair
education and to interact as vital members
Carole Sirovich, Ph.D.
learning coordinator
[email protected]
Rachid Eladlouni
assistant to the director
humanities and media st udies
Margaret Dy-So
Natasha Dwyer
The Humanities and Media Studies (HMS)
l aboratory technician
of the community.
Department offers a variety of courses—
Tiffany Liu
freshman English, literature and literary
theory, communications, music, theater,
film, performance and performance studies,
foreign languages, and creative writing.
What unites them, giving them continuity,
is the department’s mission: to recognize
and foster the relationship between visual
and written texts; to instill within students
Social Science and Cultural Studies
chair
Gregg M. Horowitz, Ph.D.
[email protected]
Sophia Straker-Babb
160
critical thinking, reading, and writing skills
forces that have influenced the development
that will inspire them in their professional
of culture and human personality. A core
lives for intellectual and creative growth; and
curriculum develops understanding of
to promote understanding and appreciation
historical relationships among world
for the diverse cultures within the U.S.
cultures, ideas, and institutions. Electives
and throughout the world. In addition to
provide interdisciplinary approaches and
requirements in HMS, students must take
intellectual diversity that foster critical
two semesters of a foreign language.
examination of the political, social, and
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.
economic forces at work in the processes of
mathematics and science
The mission of the Department of
Mathematics and Science is threefold. The
cultural production.
The department offers minors in
Cultural Studies.
Resources in the School of
Liberal Arts and Sciences
first is to acquaint students with scientific
methodologies, critical thinking, and the
history of scientific thought. The second is
to address the interface between science
Undergraduate Liberal Arts
Requirements
and art, architecture, and design, whether
the mathematics of symmetry. The third is
to educate students so that they can respond
intelligently and critically to today’s new
developments in science and technology and
make informed decisions regarding current
scientific matters that affect public policy
issues and ethics.
social science and cult ural st udies
professional curricul a
English language instruction to matriculated
responsibility of the School of Liberal Arts
graduate and undergraduate students. In
and Sciences. The specific requirements are:
addition, two certificate programs run under
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
Institute, is a prerequisite for all liberal
critical and analytical skills to bear on the
arts courses.
cultural studies, students explore the cultural
achievements of humankind and the social
and academic readiness. The Intensive
English Program (IEP) provides academic
Cultural Studies trains students to bring
of social science, history, philosophy, and
services to improve English-language skills
for all baccalaureate degrees is the ultimate
in the student’s first semester at the
artistic work. Through the perspectives
Arts and Sciences welcome international
At least 25 percent of the credit requirements
The Department of Social Science and
social world and on their professional and
Pratt Institute and the School of Liberal
students and offer an array of programs and
it is through the physics of light, the
chemistry of color, the biology of form, or
intensive english program
2. A minimum of 6 credits in cultural
history. Students must complete the
CH 300 and CH 400 sequence.
the IEP’s umbrella: the full-time Certificate
(CEP) and Summer (SCP) programs. The
Intensive English Program also oversees the
Freshman English sequence for non-native
English-speaking students, ENGL 100 and
102. These credit-bearing coures fullfill
the same requirements as the HMS 101 and
103 sequence.
The mission of all programs in the IEP
is to support successful matriculation and
progress toward graduation of international
students by providing appropriate English
language instruction. Internal assessment
A student takes notes in class
162
and advisement ensure students’ proper
(including summer IEP classes should they
New international students are strongly
placement in English language courses, as
wish to take other Institute courses during
encouraged to enroll in our eight-week
well as successful matriculation and degree
those sessions) until they achieve exempt
Summer Certificate Program (SCP) in
attainment.
status based on IEP exit proficiency criteria.
order to be fully prepared for the academic
Good communication skills are essential
Students who, upon entering Pratt,
requirements of their degree programs.
to academic success at Pratt Institute.
are assessed below Level 5 may be required
Instruction in the IEP emphasizes language
to join the full-time CEP Program. Any
use for general academic and specific
undergraduate international student
purposes in the professions in which Pratt
who has been enrolled in three Intensive
The Certificate of English Proficiency
specializes: art, design, architecture, and
English courses without having exempted
(CEP) program at Pratt Institute is a one-
information and library science. IEP faculty
from (passed) the program will be moved
year English-language program located
are trained and experienced in teaching
to probationary status during his/her
at our Brooklyn, New York campus.
English as a second language, as well as
fourth semester.
Students whose TOEFL scores fall below
in integrating art and design content into
Any graduate international student who has
the certificate of english
proficiency program
the admission minimums established by
their courses. Our classes are small (eight to
been enrolled in two Intensive English courses
Institute degree programs may apply to
twelve students per session), and enrolled
without having exempted from (passed) the
the CEP for full-time English-language
international students benefit from their use
program will be moved to probationary status
instruction. At the end of the two-semester
of the Language Resource and Writing and
after his/her second semester.
program of English study, those students
Tutorial Centers for additional language
learning practice.
All international students with TOEFL
If the undergraduate student fails to be
exempt from the IEP at the end of the fourth
completing CEP coursework receive a
certificate of English language proficiency.
semester of study, or if the graduate student
Courses focus on speaking, listening,
scores below 600 (PbT), 250 (CBT), or
fails to exempt from the IEP at the end of the
reading, and writing within the context of
100 (iBT)—including transfer students—
second semester, he will be advised of the
art and design. For more information on
whose first language is not English must
reasons for being placed on IEP probation,
Pratt’s Intensive and Certificate English
demonstrate proficiency in English by taking
then offered the option of: 1) voluntary
programs, contact IEP administrative offices
an English Placement Exam upon arriving at
withdrawal from the Institute or, 2) full-
at 718.636.3450, visit the IEP website at
the Institute.
time enrollment in the Summer Certificate
www.pratt.edu/iep or email IEP at
Program (SCP), and/or Certificate of
[email protected].
The English Placement Exam consists of
a reading test, a writing test, and a personal
English Proficiency (CEP) Program in order
interview with an IEP faculty member.
to meet the Institute English requirement
Students assessed at the exempt level of
of exemption. After meeting the language
English proficiency satisfy their Intensive
requirement, affected students are eligible to
English requirement and may enroll in
return to full-time degree study.
all Institute courses without restriction.
For information on the Test of English as
Students who are assessed as being in
a Foreign Language (TOEFL) requirements
need of English instruction must register
at Pratt Institute, please refer to the catalog
in consecutive Intensive English courses
listing for particular schools and departments.
l aboratories 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 t utorial 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 conver
sation 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.
Students listening in class
164
165
Continuing and Professional Studies
The Center for Continuing and Professional Studies (CCPS)
at Pratt Institute offers an accelerated degree-completion
program in Professional Services Management (BPSM) leading
to a Bachelor of Professional Studies (B.P.S).
Acting Dean
Russell Mills
Acting chair
Cheryl Stockton
Acting Assistant to the dean
Tenille McNeill
The program aims to provide students with a
tion, marketing, advertising, accounting,
general management bachelor’s degree that
finance, ethics, as well as liberal arts and the
is readily applicable to today’s workplace. It
increasingly important topic of sustainability.
is geared primarily toward creative profes-
In addition, the program addresses new and
www.pratt.edu/prostudies
sionals who have completed some college
emerging trends in business, media, and
Email: [email protected]
studies and wish to gain management
technology in order to equip students with a
knowledge and skills for further career ad-
greater degree of agility in a rapidly evolving
vancement or change. The program is open
world. This program meets the same high cri-
to students who have accumulated between
teria as a standard-format bachelor’s program
30 and 60 transferable college credits. It is
in management, with the added benefit of an
offered in an intensive format, enabling stu-
accelerated delivery format to meet the needs
dents to obtain their degree on a part-time,
of the working adult student.
yet accelerated, basis.
The curriculum combines academic
The accelerated delivery format consists of
four 8-week modules plus two 5-week summer
theory and real-world practice. It covers
modules per year. Classes meet primarily in
the essential areas of management, such as
the evenings and on weekends. The time spent
business, entrepreneurship, communica-
in class per week is significantly more than in
a traditional semester, enabling the accrual of
A student works on a class project
credits in a shorter time period. Students can
office
Tel: 855.551.7727
166
take up to 6 credits maximum per module,
totaling up to 36 credits per year, which makes
accelerated completion possible. Its module
structure provides a unique opportunity that
enables students to accumulate twice the
credits in half the time it would take traditional
part-time students to complete their degrees.
In today’s current labor market, it might
not always be readily apparent to students
how they can connect their creative interests
with their search for a financially secure and
professional job. Through a comprehensive
academic advisement and career services
component, this program will help students
identify fields, organizations, companies,
and networks that are closely related to their
creative interests.
The program recognizes that learning
is a lifelong endeavor. It also recognizes
that adult students bring rich backgrounds
of prior work and living experiences to the
teaching-learning setting. The program further acknowledges that, in order to succeed
in today’s rapidly changing world, an adult
seeking career advancement is required to
have a minimum of a bachelor’s degree and
be equipped with up-to-date management
knowledge, skills, and competencies. This
program will enable its graduates to lead and
manage creative enterprises, or serve in a
managerial position within an existing firm
while pursuing artistic aspirations.
A student works on a class assignment
167
Academic Degrees Overview
Enrollment in other than registered or otherwise approved programs may jeopardize
a student’s eligibility for certain student aid awards.
Undergraduate Programs
Graduate Programs
school of architect ure
Architecture
B. Arch.
0202
Architecture (first-professional)
M. ARCH.
B.P.S.
0201
Architecture (post-professional)
M.S.
0202
B.S.
0201
Architecture and Urban Design (post-professional)
M.S.
0205
Building and Construction
A . A .S.
5317
City and Regional Planning
M.S.
0206
Facilities Management
M.S.
0201
school of Art
0202
Digital Design and Interactive Media
A .O.S.
5012
Historic Preservation
M.S.
0299
Graphic Design
A .O.S.
5012
Sustainable Environmental Systems
M.S.
0206
Graphic Design/Illustration
A . A .S.
5012
school of art
Illustration
A .O.S.
5012
Art and Design Education (init./prf. certification)
M.S.
0831
Painting/Drawing
A . A .S.
5610
Art and Design Education (prf. certification)
M.S.
0831
B.F. A .
0831
ADV. CRT.
0831
Digital Arts
B.F. A .
1009
Arts and Cultural Management
M.P.S.
0599
Film
B.F. A .
1010
Art Therapy and Creativity Development
M.P.S.
1099
Fine Arts
B.F. A .
1001
Art Therapy with Special Needs Children
M.P.S.
1099
Photography
B.F. A .
1011
Dance/Movement Therapy
M.S.
1099
Design Management
M.P.S.
0599
school of design
B.F. A .
0601
Digital Arts
M.F. A .
1009
Fashion Design
B.F. A .
1009
Fine Arts
M.F. A .
1001
Industrial Design
B.I.D.
1009
Interior Design
B.F. A .
0201
M.F. A .
1009
M.S.
0601
school of liberal arts and sciences
school of Design
B. A .
4903
Industrial Design
M.i.D.
1009
B. A .
1003
Interior Design
M.F. A .
0201
B.F. A .
1003
Interior Design
M.S.
0201
Writing
B.F. A .
1599
Package Design
M.S.
1009
center for Continuing and Professional St udies
Professional Services Management
B.P.S.
0506
B.F. A ./
M.S.
0831
combined degree programs
continued on next page
168 academic degrees overview
Graduate Programs, continued
school of information and library science
Library and Information Science
M.S.
1601
Library and Information Science:
Library Media Specialist
M.S.
0899
Archives Certificate Program
ADV. CRT.
Library and Information Studies
ADV. CRT.
1699
Library Media Specialist
ADV. CRT.
0899
Museum Libraries
ADV. CRT.
1699
M.S.
1003
Media Studies
M. A .
0601
Museum Studies
ADV. CRT.
1003
Writing
M.F. A .
1599
Library and Information Science/Digital Arts
M.S./
M.F.A.
1601/
1009
Library and Information Science/Law
M.S./J.D.
M.S./L.L.M.
1601/
1401
History of Art and Design/Fine Arts
M.S./
M.F.A.
1009/
1001
1699
school of liberal arts and sciences
combined degree programs
History of Art and Design/Information and Library Science M.S./M.S.
1009/
1601
M.S./J.D.
0206/
1401
Planning and Law
169
Curricula
School of
Architecture
B.Arch. in Architecture
semester 4
semester 1
ARCH-101 Design I
5
ARCH-202 Intermediate Design II
5
ARCH-111
3
ARCH-232 Structures: Steel
3
ARCH-131 Technics
3
3
ARCH-252 History and Theory
of Architecture 4
3
ARCH-151 History and Theory of
Architecture 1
ARCH-262 Architectural Assembly Systems
3
HMS-101B Introduction to Literary and
Critical Studies I
or
HMS-220B Advanced Literary I
3
MSCI-271
HMS-291B Introduction to
Transdisciplinary Writing I
1
Credit subtotal
18
Representation 1
Ecology for Architects
3
Credit subtotal
17
semester 5
semester 2
ARCH-301 Comprehensive Design I
5
ARCH-331 Concrete Structures
3
ARCH-361 Building Environment
3
ARCH-363 Professional Practice
3
ARCH-102 Design II
5
Liberal Arts Elective
3
ARCH-112 Representation 2
3
Credit subtotal
17
ARCH-152 History and Theory of
Architecture 2
3
MSCI-110
3
Introductory Physics/
Chemistry
HMS-103B Introduction to Literary
and Critical Studies II
3
HMS-292B Introduction to
Transdisciplinary Writing II
1
Credit subtotal
18
semester 3
semester 6
ARCH-302 Comprehensive Design II
5
ARCH-362 Building Services
3
ARCH-364 Construction Documents
3
Social Science/Philosophy
Elective
3
Architecture Elective
(History/ Theory)
3
Credit subtotal
17
semester 7
ARCH-201 Intermediate Design I
5
ARCH-211 Representation 3
3
ARCH-401 Advanced Design I
5
ARCH-231 Statics and Strength of
Materials
3
ARCH-461 Urban Planning I
3
CH-300
3
ARCH-251 History and Theory
of Architecture 3
3
HMS-496B Advanced Transdisciplinary
Writing
ARCH-261 Architectural Materials
Credit subtotal
World Civilization I
3
17
Credit subtotal
1
3
3
18
170 curricul a
B.P.S. in Construction
Management
semester 1
semester 8
CM-131
semester 5
Construction Methods and
Materials: Wood and Masonry
3
Construction Graphics
3
ARCH-402 Advanced Design II
5
CH-400
World Civilization II
3
3
3
HMS-101A Introduction to Literary and
Critical Studies I
3
All-Institute Elective
3
MSCI-300 Calculus I
3
Credit subtotal
17
ARCH593A
semester 9
ARCH-403 Advanced Design III
5
ARCH-501 Degree Project: Research
3
HMS-497B Research Writing for
Architecture Students
1
3
Architectural Elective
3
2
Credit subtotal
17
semester 10
ARCH-503 Degree Project: Design Studio
5
CM-111
Social Science/ Philosophy
Credit subtotal
3
15
semester 2
CM-132
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
MSCI-301 Calculus II
3
Credit subtotal
3
18
CM-343
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
Credit subtotal
3
17
semester 6
CM-347
Planning and Scheduling
CM-344
Value Management
3
2
CM-322
Project Controls II
3
MGMT-303 Business Law
3
MGMT-201 Accounting
3
Professional Elective
3
Credit subtotal
17
semester 7
CM-471
Construction Law
CM-461
Building Codes and Zoning
3
2
CM-401
Construction Management I
3
3
semester 3
6
CM-231
Structural Design Methods I
3
Credit subtotal
17
CM-233
Mechanical and Electrical
Equipment I
3
CM-201
Introduction to Construction
Management
3
PHYS-131
Physics I
3
CM-499
Capstone
3
COM-301 Reports and Correspondence
2
CM-402
Construction Management II
3
CH-300
3
CM-404
Project Management
3
Credit subtotal
17
HMS-497A Thesis Writing
1
MGMT-308 Marketing
3
Total credits required
170
MGMT-309 Financial Management
3
MGMT-325 Managerial Economics
3
Professional Elective
3
Credit subtotal
17
semester 8
semester 4
CM-232
Structural Design Methods II
3
Credit subtotal
CM-234
Equipment II
3
CM-242
Construction Surveying
3
PHYS-132 Physics II
3
HMS-261A Introduction to Public Speaking
3
CH-400
Credit subtotal
3
18
13
132
curricul a 171
B.S. in Construction
Management
A.A.S. in Building and
Construction
semester 1
CM-131
CM-111
3
3
Critical Studies I
3
MSCI-300 Calculus I
3
Credit subtotal
15
CM-132
Materials: Concrete and Steel
3
CM-140
Construction Safety
Management
3
Critical Studies II
3
3
3
Credit subtotal
CM-343
3
CM-341
Design Theory
3
CM-331
Specifications
2
CM-321
Project Controls I
3
CM-346
Estimating
3
Credit subtotal
3
semester 2
semester 1
semester 5
Materials: Wood and Masonry
3
18
3
3
CM-344
Value Management
2
semester 2
CM-322
Project Controls II
3
CM-132
9
Credit subtotal
17
Materials II: Concrete and
Steel
3
CM-322
Project Controls II
3
semester 7
CM-471
Construction Law
3
CM-461
2
CM-401
3
6
3
Credit subtotal
17
CM-201
Management
3
PHYS-131
Physics I
3
CM-232
3
CM-234
Equipment II
3
3
CM-242
PHYS-132 Physics II
3
HMS-261A Introduction to Public
Speaking
3
CH-400
Credit subtotal
3
18
3
Equipment I
17
CM-347
CM-233
Credit subtotal
3
MSCI-300 Calculus I
3
semester 4
3
Project Controls I
CH-300
Elective
3
CM-321
17
3
CM-111
3
CH-300
3
3
CM-231
2
Construction Methods
and Materials I: Wood and
Masonry
Critical Studies I
semester 6
semester 3
COM-301 Reports and Correspondence
CM-131
semester 8
CM-499
Capstone
3
CM-402
3
HMS-497A Thesis Writing
1
3
3
Credit subtotal
13
Credit subtotal
18
Studies II
3
CH-400
3
World Civilizations II
Credit subtotal
3
15
semester 3
CM-231
Structural Design I
3
CM-233
Equipment I
3
CM-343
3
CM-201
Management
3
Elective
3
PHYS-131
Physics I
Credit subtotal
132
3
18
semester 4
CM-232
Structural Design II
3
CM-234
Equipment II
3
CM-344
Value Management
2
HMS-261A Introduction to Public Speaking
3
3
PHYS-131
Physics II
3
Credit subtotal
17
68
172 curricul a
School of Art
A.O.S. in Digital Design and
Interactive Media
A.O.S. in Graphic Design
semester 1
semester 1
ASFD-143B Drawing I: General
2
ASFD-168 Light/Color/Design I
2
ASGR-101 Communication Design I
4
ASDG-109 Typographic Design I
2
ASCG-100 Fundamentals of Digital Media
3
ASCG-101 Interactive Media
3
Credit subtotal
16
semester 2
ASGR-102 Communication Design II
4
ASGR-201 Graphic Design I
2
ASDG-101 Photography
2
ASCG-102 Digital Design Studio I
3
ASCG-103 Media Design I
3
ASCG-105 Time-Based Media
Credit subtotal
3
17
semester 3
ASDG-211 Typographic Design II
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
ASGR-202 Graphic Design II
2
Credit subtotal
16
semester 4
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
Elective
3
Credit subtotal
18
67
ASFD-143A Drawing I: Figure
2
2
2
ASFD-210 Design History:
Communications
2
4
2
ASGR-151
Computer Graphics
Credit subtotal
2
16
semester 2
ASFD-144A Drawing II: Figure
2
ASFD-144B Drawing II: General
2
4
ASGR-270 Electronic Page Design I
2
ASCG-101 Interactive Media
3
ASDG-104 Visualization
2
Credit subtotal
2
17
semester 3
ASGR-201 Graphic Design I
2
ASGR-203 Advertising Design I
2
ASGR-205 Publication Design I
2
ASGR-207 Package Design I
2
ASGR-250 2-D Computer Graphics
2
ASGR-271 Electronic Page Design II
2
2
ASDG-212 Typographic Design III
2
Elective
Credit subtotal
2
18
semester 4
ASDG-213 Typographic Design IV
2
ASGR-202 Graphic Design II
2
ASGR-204 Advertising Design II
2
ASGR-206 Publication Design II
2
ASGR-208 Package Design II
2
ASGR-220 Pre-Press and Print Production
2
ASGR-240 Portfolio Development and
Business Procedures for Grapic
Designers
2
Elective
2
Credit subtotal
16
67
curricul a 173
A.A.S. in Graphic Design/
Illustration
A.O.S. in Illustration
A.A.S. in Painting/Drawing
semester 1
semester 1
2
2
ASFD-157 3-D Design I
3
2
HA-115
Survey of Art I
3
ASIL-100
Painting I
2
Studies
3
Credit subtotal
17
semester 1
2
2
2
2
ASFD-157 3-D Design I
3
ASFD-212 Design History: Illustration
2
2
2
HA-115
Survey of Art I
3
ASIL-100
Painting I
2
ASIL-100
Painting I
ASIL-101
Illustration I
2
3
ASGR-151
Computer Graphics
Studies
Credit subtotal
17
Credit subtotal
2
16
2
2
semester 2
2
semester 2
2
2
2
ASIL-102
Illustration II
2
2
ASFD-158 3-D Design II
4
ASIL-215
Digital Illustration I
2
ASFD-158 3D Design II
3
ASFD-169 Light/Color/Design II
2
ASCG-101 Interactive Media I
3
ASFD-169 Light/Color/Design II
2
HA-116
3
2
HA-116
3
ASDG-206 Painting II
2
ASDG-104 Visualization
2
2
HMS-103A Introduction to Literature
3
2
HMS-103A Introduction to Literature
3
Credit subtotal
18
Credit subtotal
18
semester 2
Survey of Art II
semester 3
2
4
ASGR-151
Computer Graphics
2
ASIL-101
Illustration I
2
HA-215
Nineteenth Century Art
2
CH-300
World Civilizations I
3
Science Requirement
3
Credit subtotal
Credit subtotal
17
semester 3
18
ASIL-201
Illustration III
2
ASIL-203
Illustration I: Editorial
2
ASIL-205
Illustration I: Advertising
2
ASPR-205 Printmaking
2
ASDG-207 Drawing III
2
ASDG-225 Painting III
2
ASGR-230 Graphic Design for Illustrators
2
ASIL-216
Digital Illustration II
2
Elective
2
semester 4
2
2
4
ASIL-102
Illustration II
2
CH-400
3
SS-210
General Psychology
3
Credit subtotal
16
69
Credit subtotal
Survey of Art II
2
semester 3
2
ASDG-207 Drawing II
2
2
ASGR-151
2
Computer Graphics
ASPR-205 Printmaking
2
HA-215
Nineteenth Century Art
2
CH-300
World Civilizations
3
Science Requirement
Credit subtotal
18
3
18
semester 4
semester 4
ASIL-202
Illustration IV
2
ASDG-208 Drawing IV
2
ASIL-204
Illustration II: Editorial
2
ASDG-226 Painting IV
2
ASIL-206
Illustration II: Advertising
2
ASGR-250 2D Computer Graphics
2
ASIL-209
Illustration: Children’s Book
2
ASFA-241
Fine Arts Seminar
2
ASDG-208 Drawing IV
2
CH-400
3
ASDG-226 Painting IV
2
SS-210
General Psychology
ASIL-240
2
Portfolio Development and
Business Procedures for
Illustrators
Elective
2
Credit subtotal
16
67
3
Credit subtotal
16
69
174 curricul a
B.F.A. in Art and Design
Education
B.F.A./M.S. in Art
and Design Education
semester 1
See graduate bulletin for graduate course
descriptions.
ADE-521
Student Teaching:
Saturday Art School
3
FDC-143
Drawing I: Figure and General
4
FDC-157
3-D Design I
3
FDC-163
Light/Color/Design I
3
FDC-143
Drawing I: Figure & General
4
FDC-180
4-D Design I
2
Math/Science
3
FDC-157
3-D Design I
3
HA-115
Survey of Art I
3
Studio Elective
2
FDC-163
3
3
Credit subtotal
17
FDC-180
4-D Design I
2
HA-115
Survey of Art I
3
Critical Studies I
Credit subtotal
18
semester 2
FDC-144
Drawing II: Figure and General
4
FDC-158
3-D Design II
3
FDC-164
Light/Color/Design II
3
FDC-181
4-D Design II
2
HA-116
Survey of Art II
3
Critical Studies II
Credit subtotal
3
18
or
ADE-523
semester 1 (fall)
Student Teaching: After School
semester 6
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
ADE-522
or
ADE-524
3
semester 3
Art History Elective
2
ED-250
3
2
Credit subtotal
17
Contemporary Ideas About Art
and Self
3
HA-215
Survey of Art: 19th Century
2
CH-300
3
semester 7
Art or Design Core
4
ED-400
Studio Elective
4
Foundations in the History and
Philosophy of Education
2
Math/Science
3
Art or Design Core
4
Credit subtotal
18
3
semester 4
Studio Elective
5
ADE-215B Fieldwork in Art and Design
Education with Special
Populations
4
Credit subtotal
15
SS-391
3
Child and Adolescent
Development
semester 8
ADE-360
Technology and Teaching:
Designing for Change
2
2
HA-116
Survey of Art II
3
Studies II
3
Credit subtotal
18
semester 3 (fall)
ED-250
Contemporary Ideas about Art
and Self
3
HA-215
2
CH-300
3
2
Art or Design Core
4
Studio Elective
4
Credit subtotal
18
semester 4 (spring)
2
3
Art or Design Core
4
Studio Elective
2
Studio Elective
2
Credit subtotal
18
Credit subtotal
13
3
4-D Design II
CH-400
Art or Design Core
Foundations in Art and Design
Education
3
FDC-181
HA-216
4
ADE-419
3
Art or Design Core
3
3
FDC-164
Child & Adolescent
Development
ADE-532A Student Teaching Seminar
SPAN-501 Conversational Spanish I
4
3-D Design II
SS-391
3
Drawing II: Figure & General
1
2
3
FDC-144
FDC-158
4
CH-400
American Urban Education:
Issues and Contexts
18
4
HA-216
ED-406
Credit subtotal
ADE-215A Fieldwork in Art and Design
Education
or
ADE-215B Fieldwork with Special
Populations
ADE-531A Student Teaching: Public
School, Pre-K-HS
semester 5
3
semester 2 (spring)
Student Teaching:
In the Galleries
SPAN-502 Conversational Spanish II
Studies I
4
134
Studio Elective
2
Credit subtotal
18
curricul a 175
B.F.A. in Digital Arts
semester 1
semester 5 (fall)
4
FDC-157
3-Dimensional Design I
3
FDC-163
3
FDC-180
4-D Design I
ADE-419
Foundations in Art and Design
Education
3
ADE-532A Student Teaching Seminar
Art or Design Core
3
ED-406
American Urban Education:
Issues and Contexts
3
Studies I
ADE-616B Fieldwork in Art and Design Ed
with Special Populations
2
HA-115
3
SPAN-501 Conversational Spanish I
3
ADE-625
Play and Performance
ADE-521
3
ED-602
Survey of Art Education
Literature
or
ADE-524
ADE-524
Student Teaching:
Saturday Art School
Credit subtotal
Student Teaching: In the
Galleries
ADE-506
ADE-522
or
ADE-523
Credit subtotal
17
semester 10 (spring)
3
Literacy & Language
Acquisition in the Art
Classroom
1
Student Teaching:
Saturday Art School
3
Student Teaching: After School
3
2
3
2
Credit subtotal
Foundations in the History &
Philosophy of Education
3
4-D Design II
12
The Teacher in Film and Fiction
3
ED-660B
Thesis II
3
Graduate Elective
2
Credit subtotal
8
Art or Design Core
6
Credit subtotal
17
semester 8 (spring)
4
3
3
2
The following requirements must be fulfilled prior to
applying for New York State Education Department
(NYSED) Initial Certification in Visual Arts, Pre-K–12.
Requirement
3
Studio Elective
2
Completion of the following workshops taken with a
provider approved by NYSED:
Credit subtotal
18
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)
HA-215
semester 4
3
3
Graphics Programming I
DDA-300 3-D Computer Modeling
Media Arts or Communications
Design Requirement
0
Math/Science
DDA-200
NYSED Certification requirements
Training in Harassment,
Bullying, Cyberbullying, and
Discrimination in Schools:
Prevention and Intervention
2
18
semester 3
159
0
3
3
Credit subtotal
2
School Violence Prevention
and Intervention Workshop
Media and Materials from
Studio to Classroom
Survey of Art II
3
17
Directed Research
HA-116
2
3
Digital Arts Elective
0
ADE-630
HMS-103A Introduction to Literature and
Critical Studies II
Child Abuse Identification
Workshop
ADE-517
ADE-531A Student Teaching:
Public School, Pre-K-HS
or
ADE-531B Student Teaching:
with Special Populations
3
FDC-181
ED-605
semester 7 (fall)
ED-400
3
Credit subtotal
SPAN-502 Conversational Spanish III
3
FDC-164
6
2
The Art of Teaching Art and
Design
4
Graduate Elective
Studio Elective
semester 2
3-D Design II
Special Topics
3
18
ADE-621
Math/Science
3
Credit subtotal
FDC-158
Thesis I
3
Survey of Art I
FDC-144
3
ED-660A
Student Teaching: In the
Galleries
2
3
16
semester 9 (fall)
semester 6 (spring)
ADE-420
1
FDC-143
DDA-320
Interactive Media
3
HA-216
2
Media Arts or Communications
Design Requirement
2
Math/Science Requirement
3
Studio Elective
6
Credit subtotal
16
176 curricul a
B.F.A. in Digital Arts
(Emphasis in 2D Animation)
semester 5
CH-300
3
6
Requirement
3
History of Art/Design Elective
2
Studio Elective
4
Credit subtotal
18
semester 6
CH-400
3
Math/Science Requirement
3
6
Studio Elective
4
Credit subtotal
16
semester 7
DDA-400 Senior Project I
4
3
Studio Elective
4
Credit subtotal
semester 8
DDA-410
FDC-143
4
DDA-331
Drawing II: Animation
2
FDC-157
3-D Design I
3
DDA-384
Animation II
3
FDC-163
3
CH-300
3
FDC-180
4-D Design I
2
HA-341
Film: Early Film to WWII
2
HA-115
Survey of Art I
3
Studio Elective
4
3
3
Credit subtotal
17
HMS-101A I ntroduction to Literary and
Critical Studies I
Credit subtotal
18
semester 2
DDA-304
Character Animation II
4
DDA-386
Post Production for Animation
2
FDC-158
3-D Design II
3
CH-400
3
FDC-164
3
Math/Science
3
FDC-181
4-D Design II
2
Studio Elective
6
HA-116
Survey of Art II
3
Credit subtotal
18
Critical Studies II
Credit subtotal
3
18
DDA-109
Video I
2
DDA-143
Animation I
3
Studio Elective
5
HA-215
2
6
3
15
Studio Elective
6
134
Credit subtotal
16
Credit subtotal
semester 4
DDA-230
Drawing I: Animation
2
DDA-281
Graphics and the Moving Image
2
DDA-303
Character Animation I
4
HA-216
2
HA-343
History of Animation
2
Math/Science
3
Studio Elective
2
Credit subtotal
17
4
semester 7
DDA-409
semester 3
4
Senior Project II
semester 6
FDC-144
4
15
s emester 5
semester 1
Animation III
4
3
Studio Elective
6
Credit subtotal
2
15
semester 8
DDA-410
Animation IV
DDA-442
Professional Practices
2
Studio Elective
4
Credit subtotal
4
5
15
134
curricul a 177
B.F.A. in Film
B.F.A. in Fine Arts
(Emphasis in Ceramics)
semester 1
semester 5
PHOT-101 Photo 1
2
FVID-101
3
Digital Cinema I
FVID-311
Writing Through Pix and Sound,
or
Screenwriting
3
semester 1
FDC-143
4
FDC-157
3
FDC-163
3
3
FDC-180
4-D Design I
2
3
HA-115
Survey of Art I
3
Film Elective
3
Studio Elective
3
Critical Studies
Credit subtotal
18
FDC-143
Drawing 1
4
FVID-310
FDC-163
Light, Color, Design 1
3
FVID-301
3
HA-115
Survey of Art I
3
Nonfiction Video 2: Hybrid
Forms
CH-300
Critical Studies I
Credit subtotal
3
18
semester 2
PHOT-250 Digital Imaging 1
2
FVID-102
Expanded Digital Cinema
3
semester 6
FDC-144
Drawing 2
4
3
FDC-164
Light, Color, Design 2
3
FVID-302 Fiction Video 2: Directing the
Short
HA-116
Survey of Art II
3
FVID-312
Major Seminar: Film
CH-400
Critical Studies II
Credit subtotal
3
18
semester 3
FVID-201
Nonfiction Video 1
3
FVID-210
or
FVID-211
Film Analysis/Practice
2
HMS-320A Poetry Writing
or
HMS-320B Fiction Writing
or
HMS-320S Creative Writing, Special
Topics
HA-215
3
4
FDC-158
3-D Design II
3
2
FDC-164
3
3
FDC-181
4-D Design II
2
Math/Science
3
HA-116
Survey of Art II
3
Film Elective
3
Studio Elective
3
Critical Studies
Credit subtotal
17
Senior Studio 1
4
3
Math/Science
3
Studio Elective
6
Credit subtotal
16
semester 8
2
FVID-402 Senior Studio 2
3
FILM-404 Film Elective
Studio Elective
3
Credit subtotal
16
semester 4
18
semester 2
FDC-144
semester 7
FVID-401
Ways of Seeing Cinema
Credit subtotal
3
4
2
6
Studio Elective
3
Credit subtotal
15
Credit subtotal
3
18
semester 3
DRWG-205 Drawing I
or
DRWG-211 Life Study I
2
PTG-205
or
PTG-207
or
PTG-211
Painting I
2
SCJ-205
Sculpture I
2
SCJ-207
Ceramics I
2
FAU-241
or
FAU-243
Fine Arts Seminar I
2
HA-215
Survey of Art: Nineteenth
Century
2
3
Painting I: Sophomore Intensive
Life Study I
Fine Arts Seminar I: Sculpture
FVID-202 Fiction Video 1
3
HA-216
2
Math/Science
HA-341
History of Film
2
Studio Electives
2
Film Elective
3
Credit subtotal
17
3
Studio Elective
3
Credit subtotal
16
134
178 curricul a
B.F.A. in Fine Arts
(Emphasis in Drawing)
semester 4
semester 6
Choose one.
SCJ-407
Ceramics IV
4
DRWG-206Drawing II
CH-400
3
DRWG-212 Life Study II
Choose one.
PTG-206
Painting II
PRNT-203 Intaglio I
PTG-208
Painting II:
Sophomore Intensive
PRNT-204 Lithography I
PRNT-211
PTG-212
Life Study II
SCJ-206
Sculpture II
2
TECH-421 Slipcasting I
2
TECH-515 Materials
2
SCJ-208
Ceramics II
2
FAU-242
Sophomore Seminar II
2
HA-216
Survey of Art:
Twentieth Century Art II
2
3
Studio Elective
2
Credit subtotal
17
semester 5
SCJ-307
Ceramics III
4
TECH-422P Advanced Slip Casting
2
FAU-341
Fine Arts Seminar III
2
CH-300
3
Math/Science
3
Studio Elective (choose one)
PRNT-211
Silkscreen I
PRNT-212 Relief I
PRNT-303 Intaglio II
Credit subtotal
2
16
4
FDC-157
3
FDC-163
3
FDC-180
4-D Design I
2
HA-115
Survey of Art I
3
PRNT-304 Lithography II
PRNT-311
Credit subtotal
Silkscreen II
3
18
semester 2
PRNT-312 Relief II
2
FDC-144
4
FAU-342
Fine Arts Seminar IV
2
FDC-158
3-D Design II
3
3
FDC-164
3
Studio Electives
4
FDC-181
4-D Design II
2
Credit subtotal
18
HA-116
Survey of Art II
3
semester 7
SCJ-407
Ceramics V
FAU-441
Fine Arts Seminar V
2
3
Liberal Arts
3
4
Studio Elective
2
Credit subtotal
14
Critical Studies
Credit subtotal
2
2
4
4
Studio Electives
6
Choose one.
Elective
2
PRNT-203 Intaglio I
134
18
DRWG-205 Drawing I
or
Ceramics VI
16
3
semester 3
PTG-205
or
PTG-207
or
PTG-211
semester 8
Silkscreen II
PRNT-312 Relief II
FDC-143
Critical Studies
Credit subtotal
PRNT-311
PRNT-212 Relief I
SCJ-408
PRNT-203 Intaglio I
Silkscreen I
semester 1
Painting I
Life Study 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
HA-215
Century
2
Math/Science
3
Studio Elective
2
Credit subtotal
17
curricul a 179
B.F.A. in Fine Arts
(Emphasis in Jewelry)
semester 4
semester 1
semester 6
DRWG-206 Drawing II
or
2
DRWG-315 Junior Drawing (Spring)
4
FDC-143
4
Painting IV
2
FDC-157
3
PTG-206
or
PTG-208
2
PTG-306
or
PTG-312
FDC-163
3
FAU-342
FDC-180
4-D Design I
2
CH-400
3
HA-115
Survey of Art I
3
Studio Electives
4
or
PTG-212
Painting II
Painting II: Sophomore
Intensive
Life Study II
Choose one.
Credit subtotal
PRNT-203 Intaglio I
Silkscreen I
PRNT-212 Relief I
PRNT-311
3
18
DRWG-405Drawing V
4
FAU-441
Fine Arts Seminar V
2
3
Studio Elective
2
Silkscreen II
PRNT-312 Relief II
2
semester 7
PRNT-211
Life Study IV
2
Choose one.
Credit subtotal
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
HA-216
Survey of Art: Twentieth
Century Art
2
3
Studio Elective
2
Credit subtotal
17
Fine Arts Seminar II: Sculpture
semester 5
DRWG-314 Junior Drawing (Fall)
4
PTG-305
or
PTG-311
Painting III
2
FAU-341
2
CH-300
3
Math/Science
3
2
Life Study III
Studio Elective
2
Credit subtotal
18
Credit subtotal
3
18
semester 2
FDC-144
4
FDC-158
3-D Design II
3
FDC-164
3
FDC-181
4-D Design II
2
HA-116
Survey of Art II
3
Critical Studies
semester 8
Credit subtotal
3
18
4
semester 3
Studio Elective
6
4
DRWG-205 Drawing I
or
2
PTG-205
or
PTG-207
or
PTG-211
2
DRWG-406 Drawing VI
SCJ-206
3
14
Critical Studies
Credit subtotal
14
134
Painting I
Life Study I
Choose one.
PRNT-203 Intaglio I
PRNT-211
Silkscreen I
PRNT-212 Relief I
2
SCJ-215
Jewelry I
2
FAU-241
or
FAU-243
Fine Arts Seminar I
2
HA-215
Century
2
Math/Science
3
Studio Elective
2
Credit subtotal
17
180 curricul a
B.F.A. in Fine Arts
(Emphasis in Painting)
semester 4
semester 1
semester 6
DRWG-209Rendering for Jewelry I
2
SCJ-316
Jewelry IV
4
FDC-143
4
PTG-206
or
PTG-208
2
FAU-345
Junior Fine Arts Seminar:
Jewelry
2
FDC-157
3
3
FDC-163
3
FDC-180
4-D Design I
2
HA-115
Survey of Art I
3
or
PTG-212
Painting II
Intensive
CH-400
Life Study II
Choose one.
TECH-291 Metalsmithing: Holloware
2
TECH-371 Tools and Techniques for
Metalsmiths
2
PRNT-203 Intaglio I
3
Studio Elective
2
Credit subtotal
18
PRNT-211
Silkscreen I
PRNT-212 Relief I
semester 7
SCJ-415
Jewelry V
4
3
PRNT-311
3
Silkscreen II
PRNT-312 Relief II
2
Studio Electives
4
Credit subtotal
14
SCJ-216
Jewelry II
2
FAU-245
Sophomore Seminar: Objects
2
semester 8
HA-216
Century Art
2
SCJ-416
Jewelry VI
FAU-445
3
Studio Elective
2
Credit subtotal
17
Credit subtotal
semester 5
SCJ-315
Jewelry III
DRWG-310 Rendering for Jewelry II
2
CH-300
3
Math/Science
3
2
TECH-292 Bench Skills: Stone Setting
2
TECH-372 Casting for Metalsmiths
2
Credit subtotal
18
Credit subtotal
3
18
semester 2
FDC-144
4
FDC-158
3-D Design II
3
FDC-164
3
FDC-181
4-D Design II
2
HA-116
Survey of Art II
3
Critical Studies
Credit subtotal
3
18
4
semester 3
Senior Seminar: Jewelry
2
4
DRWG-205 Drawing I
or
2
Studio Electives
PTG-205
or
PTG-207
or
PTG-211
2
4
Critical Studies
4
14
134
Painting I
Life Study I
Choose one.
PRNT-203 Intaglio 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
HA-215
Century
2
Math/Science
3
Studio Elective
2
Credit subtotal
17
curricul a 181
B.F.A. in Fine Arts
(Printmaking)
semester 1
semester 4
DRWG-206 Drawing II
or
2
PTG-206
or
PTG-208
2
or
PTG-212
Painting II
2
FDC-143
4
CH-300
3
FDC-157
3
Math/Science
3
FDC-163
3
History of Art Elective
2
FDC-180
4-D Design I
2
Studio Elective
2
HA-115
Survey of Art I
3
Credit subtotal
18
Intensive
semester 6
Life Study II
PTG-308
Choose one.
PRNT-203 Intaglio I
or
PTG-314
PRNT-211
FAU-341
Silkscreen I
Junior Intensive Painting,
Spring
Junior Intensive Painting:
Life Study, Spring
PRNT-212 Relief I
Choose one.
DRWG-306Drawing IV
DRWG-308Drawing IV: The Expanded Field
PRNT-311
DRWG-312 Life Study IV
Silkscreen II
PRNT-312 Relief II
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
HA-216
Century Art
2
3
Studio Elective
2
Credit subtotal
17
DRWG-321 Illustration and Symbolic
Imagery
2
FAU-342
2
CH-400
3
TECH-507 Painting Processes
Studio Elective
Junior Intensive Painting, Fall
2
2
3
4
FDC-158
3-D Design II
3
FDC-164
3
FDC-181
4-D Design II
2
HA-116
Survey of Art II
3
Critical Studies
Credit subtotal
2
2
4
Fine Arts Seminar V
2
Choose one.
3
PRNT-203 Intaglio I
Studio Elective
2
3
PRNT-211
semester 8
PTG-406
18
DRWG-205 Drawing I
or
Painting V
14
3
semester 3
FAU-441
Credit subtotal
18
FDC-144
PTG-405
18
semester 7
4
Credit subtotal
3
semester 2
PTG-205
or
PTG-207
or
PTG-211
Credit subtotal
semester 5
PTG-307
or
PTG-313
4
Critical Studies
Painting I
Life Study I
Silkscreen I
PRNT-212 Relief I
2
Choose one.
Painting VI
4
SCJ-205
Sculpture I
3 Studio Electives
6
SCJ-207
Ceramics I
Choose one.
4
SCJ-211
Life Study I
DRWG-301 Drawing Installation, Fall
Credit subtotal
14
SCJ-215
Jewelry I
2
DRWG-305 Drawing III
134
FAU-241
or
FAU-243
Fine Arts Seminar I
2
HA-215
Century
2
Math/Science
3
Junior Intensive Painting: Life
Study, Fall
DRWG-307 Drawing III:The Expanded Field
DRWG-311 Life Study III
DRWG-321 Illustration and Symbolic
Imagery
2
Studio Elective
2
Credit subtotal
17
182 curricul a
B.F.A. in Fine Arts (Sculpture)
semester 1
semester 4
DRWG-206 Drawing II
or
2
PTG-206
or
PTG-208
2
or
PTG-212
Painting II
FDC-143
4
FAU-347
Junior Seminar: Prints and
Collaboration
2
FDC-157
3
3
FDC-163
3
Math/Science
3
FDC-180
4-D Design I
2
HA-115
Survey of Art I
3
CH-300
Credit subtotal
Life Study II
Silkscreen I
PRNT-212 Relief I
Silkscreen II
PRNT-312 Relief II
2
Choose one.
Critical Studies
Credit subtotal
18
semester 2
FDC-144
4
FDC-158
3-D Design II
3
PRNT-311
FDC-164
3
Silkscreen II
PRNT-312 Relief II
2
FDC-181
4-D Design II
2
PRNT-310 Junior Printmaking
4
HA-116
Survey of Art II
3
DRWG-308Drawing IV: Expanded Field
2
FAU-342
2
Critical Studies
CH-400
3
Studio Elective
2
semester 3
3
DRWG-205 Drawing I
or
2
2
Sculpture II
SCJ-208
Ceramics II
SCJ-212
Life Study II
SCJ-216
Jewelry II
2
FAU-242
2
HA-216
Century Art
2
3
Studio Elective
2
17
Credit subtotal
Credit subtotal
18
semester 7
Credit subtotal
PRNT-405 Senior Printmaking I
4
FAU-441
Fine Arts Seminar V
2
3
PTG-205
or
PTG-207
or
PTG-211
Studio Elective
2
Choose one.
3
PRNT-203 Intaglio I
14
semester 8
semester 5
Select any two course for 4 credits
3
Choose one.
SCJ-206
Credit subtotal
2
18
semester 6
PRNT-203 Intaglio I
PRNT-311
2
Intensive
Choose one.
PRNT-211
DRWG-307 Expanded Field
18
Life Study I
PRNT-211
Silkscreen I
4
PRNT-212 Relief I
2
Studio Electives
6
SCJ-205
Sculpture I
2
Liberal Arts Electives
4
FAU-243
2
PRNT-211
Credit subtotal
HA-215
Century
2
Choose one.
Math/Science
3
Studio Elective
2
Credit subtotal
17
PRNT-203 Intaglio I
PRNT 406 Senior Printmaking II
Painting I
3
4
Silkscreen I
PRNT-212 Relief I
PRNT-311
Silkscreen II
PRNT-312 Relief II
2
14
134
curricul a 183
B.F.A. in Photography
semester 6
semester 4
Sculpture IV
4
FDC-143
4
FAU-344
Fine Arts Seminar IV: Sculpture
2
FDC-163
3
CH-400
3
PHOT-101 Photography I
Tech Elective
2
FVID-109
Video I
2
Intensive
Studio Elective
4
HA-115
Survey of Art I
3
3
Life Study II
Credit subtotal
Critical Studies I
2
PTG-206
or
PTG-208
2
or
PTG-212
semester 1
SCJ-306
DRWG-206 Drawing II
or
Painting II
18
Credit subtotal
2
3
17
Choose one.
semester 7
PRNT-203 Intaglio I
SCJ-405
Sculpture V Senior Intensive
4
semester 2
FAU-441
Fine Arts Seminar V
2
FDC-144
4
3
FDC-164
3
PRNT-212 Relief I
Studio Elective
2
PHOT-102 Photography II
3
FVID-141
Film I
2
Credit subtotal
HA-116
Survey of Art II
3
PRNT-211
PRNT-311
Silkscreen I
semester 8
Silkscreen II
Sculpture VI Senior Intensive
4
2
3 Studio Electives
6
2
Century Art
2
Credit subtotal
3
Studio Elective
2
Credit subtotal
17
PRNT-312 Relief II
2
SCJ-206
Sculpture II
FAU-244
HA-216
14
SCJ-406
semester 5
SCJ-305
Sculpture III
4
FAU-343
Fine Arts Seminar III: Sculpture
2
CH-300
3
Math/Science
3
2
Tech Elective
2
Studio Elective
2
Credit subtotal
18
4
14
134
Critical Studies II
Credit subtotal
2
3
17
semester 3
FDC-157
3-D Design I
3
PHOT-201 Photography III
2
PHOT-250 Photography: Digital I
2
PHOT-265 Photography: Color I
2
HA-215
2
HA-337
Photography I: 1839 to WWII
2
CH-300
3
Studio Elective
2
Credit subtotal
18
semester 4
FDC-158
3-D Design II
3
PHOT-266 Photography: Color II
2
PHOT-303 Photography: B/W Printing
2
PHOT-320 Photography: Studio I
2
HA-216
2
HA-338
Photography II: 1946 to present
2
CH-400
3
PHOT-350 Photography: Digital II
Credit subtotal
2
18
184 curricul a
School of Design
semester 5
B.F.A. in
(Emphasis in Illustration)
semester 1
PHOT-307 Photography: Large Format I
2
FDC-143
4
PHOT-315 Processes: Non-Silver
or
PHOT-450 Photography:Digital III
2
FDC-157
3-D Design I
3
FDC-163
3
PHOT-321 Photography: Studio II
2
FDC-180
4-D Design I
2
HA-115
Survey of Art I
3
3
Studio Elective
6
3
Credit subtotal
18
semester 6
PHOT-301 Photography: Advanced
Critique
2
PHOT-308 Photography: Large Format II
2
Math/Science
PHOT-316 Processes: Platinum/Palladium
or
PHOT-450 Photography: Digital III
3
2
Studio Elective
6
Credit subtotal
15
Critical Studies I
Credit subtotal
3
18
semester 2
FDC-144
4
FDC-158
3-D Design II
3
FDC-164
3
FDC-181
4-D Design II
2
HA-116
Survey of Art II
3
Critical Studies II
Credit subtotal
3
18
semester 3
COMD-201 Visual Communication I
2
PHOT-401 Senior Project I
4
COMD-211 Design Procedures I
2
PHOT-441 Contemporary Issues in
Photography
2
COMD-215 Typographic Design I
2
COMD-221 Illustration I
2
semester 7
Math/Science
3
COMD-231 Communications Imaging I
2
3
2
Studio Elective
2
COMD-235 Illustration Methods and
Media I
2
HA-215
Credit subtotal
16
semester 8
2
3
Credit subtotal
17
4
semester 4
Studio Elective
6
COMD-202 Visual Communication II
2
5
COMD-212 Design Procedures II
2
15
COMD-216 Typographic Design II
2
COMD-222 Illustration II
2
COMD-232 Communications Imaging II
2
COMD-236 Illustration Methods and
Media II
2
PHOT-402 Senior Project II
Credit subtotal
134
HA-216
2
Math/Science
3
Credit subtotal
17
curricul a 185
B.F.A. in Communications
Design (Emphasis in
Advertising Art Direction)
semester 1
semester 5
semester 5
COMD-321 Illustration III
2
FDC-143
4
COMD-302Copywriting for Advertising
2
TECH-227 Illustration: New Media I
or
COMD-345 Children's Books I
2
FDC-157
3-D Design I
3
COMD-313 Typographic Design III
2
FDC-163
3
COMD-315 Graphic Design I
2
CH-300
3
FDC-180
4D Design I
2
COMD-317 Advertising I
2
HA-115
Survey of Art I
3
CH-300
3
2
Studio Elective
4
4
Credit subtotal
17
semester 6
ENGL-101 Introduction to Literary and
Critical Studies I
Credit subtotal
3
18
semester 2
FDC-144
4
FDC-158
3-D Design II
3
FDC-164
3
FDC-181
4D Design II
2
3
HA-116
Survey of Art II
3
Studio Elective
4
6
Critical Studies II
Credit subtotal
17
COMD-322 Illustration IV
2
TECH-228 Illustration: New Media II
or
COMD-346 Children's Books II
2
CH-400
semester 7
COMD-401 Senior Project
8
3
Studio Elective
4
Credit subtotal
15
semester 8
COMD-402Senior Project
8
Math/Science
3
Studio Elective
4
Credit subtotal
15
134
Credit subtotal
3
18
semester 3
2
2
2
2
2
HA-215
2
3
Studio Elective
2
Credit subtotal
17
semester 4
2
2
2
2
2
HA-216
2
Math/Science
3
Studio Elective
2
Credit subtotal
17
2
4
Credit subtotal
17
semester 6
COMD-314 Typographic Design IV
2
COMD-316 Graphic Design II
2
COMD-318 Advertising II
2
CH-400
Film/Video Elective
2
3
6
Credit subtotal
17
semester 7
8
3
Studio Elective
4
Credit subtotal
15
semester 8
8
Math/Science
3
Studio Elective
4
Credit subtotal
15
134
186 curricul a
B.F.A. in
(Emphasis in Graphic Design)
B.F.A. in Fashion Design
semester 1
semester 5
FASD-112
Textiles
2
FASD-113
Drawing: Figure/Form
3
FASD-121
Drape and Construct I
4
FDC-143
4
COMD-313 Typographic Design III
2
FVID-101
Digital Cinema I
3
FDC-157
3-D Design I
3
COMD-315 Graphic Design I
2
3
FDC-163
3
COMD-317 Advertising I
2
Critical Studies I
FDC-180
4D Design I
2
HA-115
Survey of Art I
3
semester 1
Critical Studies I
Credit subtotal
3
18
semester 2
FDC-144
4
FDC-158
3-D Design II
3
FDC-164
3
FDC-181
4D Design II
2
HA-116
Survey of Art II
3
Critical Studies II
Credit subtotal
3
18
semester 3
2
2
2
2
2
HA-215
2
3
Studio Elective
2
Credit subtotal
17
semester 4
2
2
2
2
2
HA-216
CH-300
2
Math/Science
3
Studio Elective
2
Credit subtotal
17
Printmaking Elective
2
3
2
4
Credit subtotal
17
semester 6
HA-115
Survey of Art I
3
Credit subtotal
18
semester 2
FASD-110
Fashion Studio: Concepts +
Criteria
FASD-114
Fashion Illustration I
3
FASD-122 Drape and Construct II
4
FVID-102
Digital Cinema II
3
3
COMD-314 Typographic Design IV
2
COMD-316 Graphic Design II
2
COMD-323 Package Design I
2
Critical Studies II
Film/Video Elective
2
HA-116
3
CH-400
2
Survey of Art II
3
Credit subtotal
18
6
semester 3
Credit subtotal
17
FASD-213 Fashion Illustration II
2
FASD-221 Drape and Construct III
4
semester 7
8
FASD-201 Hand Knitwear
3
3
CH-300
3
Studio Elective
4
HA-215
2
Credit subtotal
15
HD-207
History of Costume 1400-1900
2
semester 8
8
Studio Elective
2
Credit subtotal
18
Math/Science
3
semester 4
Studio Elective
4
FASD-214 Fashion Illustration III
2
Credit subtotal
15
FASD-222 Drape and Construct IV
4
134
FASD-217
Fashion Design I
2
FASD-202 Knitwear: Cut and Sew
3
FASD-208 20th Century Fashion
2
HA-216
2
CH-400
3
Credit subtotal
18
curricul a 187
B.I.D. in Industrial Design
semester 1
semester 5
Fashion Design II
3
FDC-143
4
IND-585
Production Methods
2
FASD-301 Shape and Form I
4
FDC-157
3-D Design I
3
ICH-300
3
FASD-233 Tailoring Techniques
HD-361
History of Industrial Design
2
3
FASD-317
2
FDC-163
3
Studio Elective
2
FDC-180
4-D Design I
2
Math/Science Elective
3
HA-115
Survey of Art I
3
Social Studies/Philosophy
3
Credit subtotal
17
Critical Studies I
4
semester 2
semester 6
FASD-302 Shape and Form II
FASD-368 Experimental Surface Design
2
FASD-318 Fashion Design III
3
4
FDC-158
3-D Design II
3
IND-312
3-D Design IV
2
FDC-164
3
IND-586
Production Methods
2
FDC-181
4-D Design II
2
CAID II: Alias
2
HA-116
Survey of Art II
3
IND-540
or
IND-542
CH-400
Math/Science Elective
3
Social Studies/Philosophy
Elective
3
Credit subtotal
17
Critical Studies II
FASD-401 Collection I
4
semester 3
FASD-441 Portfolio
2
FASD-280 Internship
2
2
3
3
Credit subtotal
FASD-402 Collection II
4
FASD-500 Special Topics
2
FASD-281 Internship
2
Credit subtotal
Credit subtotal
3
1
12
18
3
CAID II: Solid Works
18
4
Credit subtotal
3
3
16
IND-145
Drawing I
2
semester 7
IND-201
Design I
4
IND-401
Design V
4
IND-211
3-D Design I
4
Space Analysis I
2
IND-214
Model Making and Drafting
4
HA-215
2
IND-509
or
IND-515
Math/Science
3
IND-441
Professional Practice and
Portfolio
2
Credit subtotal
17
Math/Science
3
Studio Elective
2
16
semester 8
18
FDC-144
2
Studio Elective
Credit subtotal
semester 6
IND-302A Design IV (exhibit)
or
IND-302B Design IV (product)
or
IND-302C Design IV (transportation)
Credit subtotal
Studio Elective
semester 7
3
s emester 4
Prototypes: Selected Topics
IND-146
Drawing II
2
IND-202
Design II
4
Credit subtotal
IND-212
3-D Design II
4
semester 8
IND-215
Introduction to Prototypes
2
IND-402
Design VI
4
HA-216
2
IND-442
2
3
Professional Practice and
Portfolio II
Credit subtotal
17
IND-510
or
IND-516
Space Analysis II
2
134
semester 5
IND-301A Design III (exhibit)
or
IND-301B Design III (product)
or
IND-301C Design III (transportation)
4
IND-311
3-D Design III
2
IND-539
or
IND-541
CAID I
2
CAID I: Solid Works
2
15
Prototypes: Selected Topics
3
Studio Elective
2
Credit subtotal
2
15
134
188 curricul a
B.F.A. in Interior Design
semester 1
semester 5
FDC-143
4
INT-301
Design III
4
FDC-157
3-D Design I
3
INT-315
Building Construction I
2
FDC-163
3
INT-323
Presentation Techniques
2
FDC-180
4-D Design I
2
INT-517
Furniture Design
2
HA-115
Survey of Art I
3
HD-360
History of Interior Design
2
Math/Science
3
Critical Studies I
Credit subtotal
3
18
semester 2
FDC-144
4
FDC-158
3-D Design II
3
FDC-164
3
FDC-181
4-D Design II
2
HA-116
Survey of Art II
3
Critical Studies II
Credit subtotal
Design IV
4
INT-316
Building Construction II
2
INT-332
Environmental Theory I
2
INT-561
CADD II: 3-D Max
2
3
18
Design I
4
Construction Systems
2
INT-216
Color and Materials
2
INT-223
Architectural Drawing I
2
HA-215
2
CH-300
3
Math/Science
3
Credit subtotal
18
semester 4
INT-202
Design II
4
INT-221
Lighting Design I
2
INT-224
Architectural Drawing II
2
INT-560
CADD I: Autocad
2
HA-216
2
CH-400
3
Credit subtotal
3
18
17
INT-302
Studio Elective
2
3
Credit subtotal
semester 3
INT-215
2
Credit subtotal
semester 6
3
INT-201
Studio Elective
18
semester 7
INT-401
Design V
4
INT-403
Directed Research
2
INT-415
Working Drawings I
2
INT-424
Portfolio Development
2
4
Credit subtotal
14
semester 8
INT-402
Design VI: Thesis
4
INT-416
Working Drawings II
2
INT-431
Professional Practice
2
Studio Elective
2
3
Credit subtotal
13
134
School of Liberal
Arts and Sciences
curricul a 189
B.A. in History
of Art and Design
B.A. in Critical and
Visual Studies
semester 1
semester 6
semester 1
CST-100
First Year Seminar
3
HA-115
Survey of Art I
3
3
CH-300
3
FDC-143
4
Foreign Language
3
PHIL-208 History of Philosophy, Ancient
OR
PHIL-209 Modern Philosophy
3
Critical Studies I
3
English/Humanities
3
4
Critical Studies I
3
MSCI-210 Science and Society
3
CST-190
1
Beyond Google I: Basic
Information Literacy
Credit subtotal
16
semester 2
Critical Studies II
3
CH-400
3
All Institute Electives
9
Credit subtotal
Symposium
3
3
English/Humanities
3
FDC-144
4
5
3
All Institute Elective
4
Critical Studies II
Credit subtotal
5
semester 8
2
HMS Elective
3
Credit subtotal
17
HA-405
or
HA-406
2
12
CH-300
3
Credit subtotal
15
Math/Science
3
Foreign Language
3
Moderation
2
3
Theory and Practice Electives
3
9
Credit subtotal
Beyond Google II: Thesis and
Information Research
Credit subtotal
semester 6
1
Credit subtotal
15
semester 7
Senior Seminar
3
12
Credit subtotal
15
semester 8
Senior Thesis/Project
3
12
Credit subtotal
HA-216
2
CH-400
3
Math/Science
3
16
15
15
121
2
16
semester 4
15
semester 7
Survey of Art II
semester 3
14
2
15
HA-116
HA-215
CST-480
16
3
Credit subtotal
CST-440
Credit subtotal
Credit subtotal
15
semester 5
CST-390
2
semester 2
semester 4
SS-299
4
semester 3
SS-225
Foreign Language
3
4
2
Credit subtotal
17
semester 5
HA-402
Theory and Methodology
MSCI-430P Chemistry for Art Historians
3
3
3
Foreign Language
3
4
Credit subtotal
2
18
Senior Project
15
3
Senior Seminar
3
English/Humanities
6
3
Credit subtotal
3
15
129
190 curricul a
B.F.A. in Writing
B.F.A. in History
of Art and Design
semester 1
semester 1
semester 6
FDC-143
4
FDC-157
3-D Design I
3
5
FDC-163
3
3
FDC-180
4-D Design I
2
Studio Elective
4
HA-115
Survey of Art I
3
2
Credit subtotal
Critical Studies I
Credit subtotal
MSCI-430P Chemistry for Art Historians
3
18
4
FDC-158
3-D Design II
3
FDC-164
3
FDC-181
4-D Design II
2
HA-116
Survey of Art II
3
Critical Studies II
Credit subtotal
3
18
semester 3
HA-215
2
CH-300
3
6
Studio Elective
6
Credit subtotal
17
semester 4
HA-216
2
CH-400
3
6
Studio Elective
6
Credit subtotal
17
semester 5
HA-402
Theory and Methodology
3
3
2
3
Studio Elective
6
Credit subtotal
17
Writer’s Studio I
4
WR-110
Critical Thinking and Writing I
3
WR-120
Word, Usage, Style I
3
WR-300
Writer’s Forum
3
3
17
MSCI–270 Ecology
or
MSCI-221P Conceptual Physics
Credit subtotal
17
3
semester 2
5
WR-102
Writer’s Studio II
4
Studio Elective
4
WR-111
Critical Thinking and Writing II
3
2
WR-121
Word, Usage, Style II
3
14
WR-300
Writer’s Forum
Math/Science
Credit subtotal
HMS-203B World Literature Survey II
semester 8
HA-405
or
HA-406
1
HMS-203A World Literature Survey I
semester 7
semester 2
FDC-144
3
WR-101
Senior Thesis
3
Senior Seminar
1
3
HMS Elective
3
Credit subtotal
17
semester 3
3
WR-201
Writer’s Studio III
4
WR-300
Writer’s Forum
1
Studio Elective
4
CH-300
3
2
HMS-304B Perspectives on U.S. Literature
3
Credit subtotal
16
134
4
3
Studio Elective
4
Credit subtotal
18
semester 4
WR-202
Writer’s Studio IV
WR-300
Writer’s Forum
4
1
WR-320
Special Topics
3
CH-400
3
HMS Elective
3
Studio Elective
2
Credit subtotal
16
curricul a 191
semester 5
Center for
Continuing and
Professional
Studies
B.P.S. in Professional
Services Management
WR-300
Writer’s Forum
1
WR-301
Writer’s Studio V
4
WR-320
Special Topics
3
WR-330
The Professional Workplace
2
HMS Elective
3
Math/Science
3
PSMC-205 Fundamentals of Marketing
3
Credit subtotal
16
Credit subtotal
6
semester 6
Year 1
TERM 1
PSMM-205 Fundamentals of Management
3
TERM 2
WR-302
Writer’s Studio VI
4
WR-320
Special Topics
3
WR-390
Internship/Seminar
3
Elective in the Major
3
HMS Elective
3
Credit subtotal
6
Credit subtotal
3
16
semester 7
WR-420
PSMF-205 Introduction to Finance and
Accounting
term 3
Critical Studies I
3
Senior Project
4
Elective
3
6
Credit subtotal
6
3
Studio Elective
2
3
Credit subtotal
TERM 4
15
semester 8
WR-421
3
Art and Design History Elective
3
Credit subtotal
6
3
Senior Project
4
TERM 5
Elective
3
HMS-103
Elective
3
Introduction to Literary and
Critical Studies II
Studio Elective
2
3
Credit subtotal
12
Credit subtotal
6
Art and Design Elective
3
127
TERM 6
Elective
3
Credit subtotal
6
Year 2
TERM 1
PSMC-305 Advertising I
CH-300
3
3
Credit subtotal
6
TERM 2
PSMH-305 Introduction to Human
Resources
CH-400
3
3
Credit subtotal
6
192 curricul a
term 3
TERM 4
PSML-305 Fundamentals of Business Law
3
Elective
3
Elective
3
Credit subtotal
6
Credit subtotal
6
3
3
Elective
3
Elective
3
Credit subtotal
6
Credit subtotal
6
3
Elective
3
Elective
3
Elective
3
Credit subtotal
6
Credit subtotal
6
Elective
3
Elective
3
Credit subtotal
6
TERM 4
3
TERM 5
TERM 5
term 6
TERM 6
Year 4
TERM 1
PSMM-405 Ethics & Management
Year 3
TERM 1
PSMM-305 Organizational Theory
3
3
Credit subtotal
6
TERM 2
3
Credit subtotal
6
3
TERM 2
Elective
3
Credit subtotal
6
PSMM-407 Introduction to International
Business
3
3
Credit subtotal
6
term 3
PSMM-409 Innovation, Change, and
Management
3
Elective
3
Credit subtotal
6
3
120
curricul a 193
Undergraduate Minors
Architect ur al Theory and
Technolo gy
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:
ARCH-252 History and Theory of Architecture 4
ARCH-262 Architectural Assembly Systems ARCH-361 Building Environments
ARCH-362 Building Services
ARCH-363 Professional Practice
ARCH-364 Construction Documents I
ARCH-461 Planning I
ARCH-551A Alvar Aalto
ARCH-551B Frank Lloyd Wright
ARCH-551C Kahn and Venturi
ARCH-555A Islamic Architecture
ARCH-559C Collaboration: Artists & Architecture ARCH-563A Energy Conscious Design
ARCH-573A Architectural Analysis
ARCH-581A Special Topics
ARCH-581B Impact of Technology
ARCH-591A Elements of Landscape Design
ARCH-593B Architecture of the City
ARCH-595A Vintage New York
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 their diploma.
Complete the following required courses:
CM-201 Intro to Construction Management
CM-401 Construction Managment I
CM-402 Construction Management II
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
School of Art
Art Design and So cial Pr actice
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.
Topic: Art and Design Education
Students can choose from either:
ADE-419 Foundations in Art
ADE-420 The Art of Teaching Art & Design
Topic: Fieldwork
ADE-215A Fieldwork in Art
ADE-215B Fieldwork with Special Populations
Topic: Teaching Practicum
ADE-521/522 Student Teaching: Saturday
Art School
ADE-523 Student Teaching: After School
ADE-524 Student Teaching: In the Galleries
Topics: Social Science and Critical and Visual Studies
Students can choose from:
SS-512 Art, Culture and Community Development
SS-490 The Art Museum: Theory and Practice
3 N None
CST-310 Culture in Motion
SS-369 Perception and Creativity
SS-355 Mass Media and Society
Topic: History of Art and Design
HD-506 Concepts of Design
HA-350 Arts of the Other in a Changing World 2 HA-551.07/08 Sculpture and the Public Imagination (Issues in Art History)
HA-560 Museology
School of Design
Interior 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—INT-301, 302, 401—will be based
upon a review of a student’s transcript and portfolio.
INT-216 Color and Materials
INT-221 Lighting Design I
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
194 curricul a
School of Liberal Arts and Sciences
Cinema St udies
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.
Take the following required course:
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
Cult ur al St udies
L iter at ure and Writing
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 for 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.
SS-330 Cultural Studies
SS-430 Methods of Cultural Studies
SS-510 Controversies in Cultural Theory
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
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
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
[email protected] with your questions.
Complete 18 credits of art history courses.
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
Media St udies
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 world-changing 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.
Take the following required course:
HMS-440C Contemporary Media Theory
curricul a 195
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
Performance and Performance
St udies
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.
HMS-360C Introduction to Performance Practice
HMS-360D Introduction to Performance Studies
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, COM-314
Philosophy Sustainabil it y
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.
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.
Choose 3 credits from the following history of
philosophy courses:
PHIL-208 History Of Philosophy: Ancient To Medieval
PHIL-209 - History Of Modern Philosophy
Choose 3 credits from one of the following
contemporary philosophy courses:
PHIL-200 Problems In Philosophy
PHIL-210 Ethics And Social Issues
PHIL-265 Aesthetics
PHIL-301 Logic
Take the following required courses:
SUST-201 The Sustainable Core
MSCI-270 Ecology
PHIL-307, PHIL-311, PHIL-312, PHIL-320,
PHIL-350, PHIL-355, PHIL-356, PHIL-400,
PHIL-450, SS-460, CH-442
SUST-401 Power, Pollution, and Profit
SUST-405 Production, Consumption, And Waste
PHIL-356 Environmental Ethics
INT-332 Environmental Theory
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.
196
197
Architecture Faculty
Emily Abruzzo
Tulay Atak
Frederick Biehle
Visiting A s sistan t Profe s sor
Visiting A s so ciate Profes sor
Adjunct Profes sor
M.Arch., Princeton University; B.A., Columbia
University.
Ph.D., EHESS, UCLA; B.Arch., Middle East Technical
University.
Nicholas Agneta
Guillermo Banchini
Adjunct A s so ciate Profe s sor
visiting A s sistant Profes sor
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.
M.Arch., SCI-ARC; Dipl. Universidad Nacional de
Rosario, Argentina.
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.
Gilland Akos
M.S., University of Illinois; B.S., Georgia Institute of
Technology.
M.S., Columbia University; M.Arch., B.A., University
of Kansas.
Philippe Baumann
Evan Akselrad
M.Arch, Rice University; Honors Degree Art History,
Brown University; Rhode Island School of Design.
Adjunct A s sistan t Profe s sor
B.S., B.S.C.E., City College of New York.
Howard Albert
adjunct A s sistan t Profe s sor
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.
Annie Barrett
Visiting A s sistant Profes sor
M.Arch., Harvard; B.Arch., Yale.
John Barry
Karen Bausman
B.Arch., The Cooper Union.
Francis Bitoni
M.Arch., Pratt Institute; B.F.A., Long Island
University.
Ezio Blasetti
M.S., Columbia University; Dipl. National Technical
University of Athens.
Lawrence Blough
A s so ciate Profes sor
William Bedford
M.S., Columbia University; B.Arch., Tulane University.
Robert Brackett III
M. Planning and Urban Design, Harvard University;
M.Arch., Pratt Institute; B.Arch. Texas A&M
University.
Jacob Bek
M.S., Architectural Association School of
Architecture, England; B.Arch., Pratt Institute.
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.
198 architecture facult y
Bronwyn Breitner
Michael Chen
Adam Dayem
Adjunct A s sistant Profes sor
B.A., Duke University; M.Arch., Parsons The New
School of Design.
M.Arch., Columbia University in the City of New York;
B.A., University of California at Berkeley.
M.Arch., Columbia University; B.Arch., University of
California at Berkeley.
Jeff Brock
Jesse Chrismer
Ronald DiDonno
Visiting A s so ciate Profe s sor
Adjunct A s so ciate Profes sor
M.Arch., Columbia University. B.A. Arch., Princeton
University.
M.S.S.E., Columbia University.
B.Arch., Pratt Institute.
Christopher Brokaw
Karl Chu
Profes sor
Livio Dimitriu
M.F.A., University of Maryland; B. Environmental
Design, Miami University.
James Brucz
M.S.A.A.D., Columbia University; B.Arch.,
Pennsylvania State University.
Jonas Coersmeier
Adjunct Profes sor
Patrick Donbeck
M.Arch., B.S., University at Buffalo.
M.S.A.A.D., Columbia University; M.Arch.,
Massachusetts Institute of Technology.
Kathleen Dunne
Anthony Buccellato
Abigail Coover-Hume
M.Arch., Pratt Institute; BSBA Management
Information Systems, Northeastern University.
M.Arch., Yale University; B.Arch., University of
Virginia.
Dan Bucsescu
Donald Cromley
Adjunct Profes sor
Adjunct Profes sor
M.S., University of Surrey; B.Arch., City College of
New York.
M.Arch., University of Pennsylvania; B.Arch.,
Massachusetts Institute of Technology.
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.
George Cambourakis
Patrick Curry
Cathryn Dwyre
Ph. D. candidate., City College of New York; Columbia
University; M. Engineering, Structural of Engineering.,
City College of New York; B. Engineering, Civil
Engineering., City College of New York.
M.Arch., University of Illinois; B.E.D., Texas A&M
University.
Reese Campbell
B.S., Arizona State University.
Anthony Caradonna
Profe s sor
M.Arch., Harvard University; B.Arch., Pratt Institute.
Jeremie E. Carvalho
M.S., Columbia University; B.Arch., University
of Kansas.
Bianca Celestin
B.Eng., Concordia University
George Cutsogeorge
Adjunct Profes sor
Theoharis David
Profes sor
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.
Profes sor
MLA., University of Pennsylvania; B.A., Colgate
University.
Adam Elstein
M.Arch., Pratt Institute; M.B.A., M.Phil., Oxford
University; M.S., London School of Economics; B.A.
of History, Yale University (cum laude).
Dieter Feurich
Academic Degree in Structural Engineering,
Unversity of Hanover; M.B.A., Baruch College, City
University of New York.
Giuliano Fiorenzoli
Profes sor
M.A.A.D., Massachusetts Institute of Technology;
M.Arch., University of Florence.
architecture facult y 199
Lapshan Fong
Lou Goodman
Erika Hinrichs
Adjunct Profes sor
Chair, Adjunct A s so ciate Profe s sor
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.
B.Arch., Philadelphia Textile Institute; B.A., University
of Pennsylvania
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.
Carlyle Fraser
M.S. Arch., Columbia University; B.Arch., Pratt
Institute.
Michele Gorman
Visiting AS sistant profes sor
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.
Dipl., Architectural Association School of
Architecture; B.S., City College of New York.
Benjamin Hait
Nina Freedman
Emma Fuller
Antonio Furgiuele
M.Sc., History, Theory & Criticism of Architecture
and Art, Massachusetts Institute of Technology;
B.Arch., Syracuse University.
Deborah Gans
Profe s sor
M.Arch., Princeton University; B.A. Harvard University
(summa cum laude).
Frank Gesualdi
Visiting Instructor
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.
Benjamin Howes
B.Arch., California Polytecnic State University.
M. Engineering in Product Architecture, B.Arch.,
Pratt Institute.
Thomas Hanrahan
Nathan Hume
De an of the Scho ol of Architect ure
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
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 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.
Yong-Wook Jo
M.S., University of California at Berkeley; B.S., Yonsei
University.
Latoya Johnson
Adminis tr ative Cl erk
David Jones
B.S.A.E., Pennsylvania State University.
Rebecca Jones
Jason Lee
A s sistant Chair, Adjunct A s sistant
Profes sor
M.Arch., Columbia University; B.A. Arch., University
of California at Berkeley.
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.
Visiting Instructor
Philip Lee
Scott Lomax
M.Eng., Princeton University; B.S.C.E. Iowa State
University.
Zachary Phillip Joslow
Adam Kacperski
M.Arch., Rice University; E.C.-U.S., Princeton
University; B.S., The University of Michigan.
A s sistant to the chair
Rodney Leon
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
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 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
M.S. Arch. and Building Design, Columbia University.
Haresh Lalvani
Profe s sor
Ph.D. Arch., University of Pennsylvania; M.S.Arch.,
Pratt Institute; B.Arch., Indian Institute of
Technology, Kharagpur (India).
M.Arch., Yale University; B.Arch., Pratt Institute.
Frederic Levrat
Diploma of Architecture at the School of
Architecture at École Polytech Federale de
Lausanne.
Diane Lewis
Visiting Profes sor
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
Profes sor
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;
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
John McNanie
Institute of Design at Illinois Institute of Technology.
Juliet Medel
Academic Advisement C o ordinator
William Menking
Profes sor
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
A s sistant Profes sor
Product Architecture Lab, Stevens Institute of
Technology; B.Arch., University of Auckland,
New Zealand.
architecture facult y 201
Signe Nielsen
Brent Porter
Ostap Rudakevych
Adjunct Profes sor
Adjunct Profes sor
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 5 states. Her work
has been published and exhibited extensively.
M.Arch., The Pennsylvania State University; B.Arch.,
University of Kansas.
M.Arch., Harvard University; B.Arch., Carnegie Mellon
University.
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.
M.Arch., Yale University; B.Arch., Rice University; B.A.
Arch., B.A. Art and Art History, Rice University.
Dagmar Richter
Anne Nixon
Beth O'Neill
M.Arch., Columbia University; B.A., Smith College;
B.F.A. Parsons College.
Ran Oron
Visiting Instructor
B.Arch., The Cooper Union; B.A., University of Haifa.
Robert Otani
M.S. Civil Engineering, The Pennsylvania State
University; B.S. Civil Engineering, Rutgers University.
Mark Parsons
Profes sor
Vordiplom, University of Stuttgart; M.Arch. Royal
Art Academy School of Architecture; post-graduate
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).
Direc tor of produc tion technolo gie s,
Brian Ripel
M.F.A., Cornell University; B.P.A., University of
Massachusetts at Dartmouth; Fine Arts/Pre-Med.
Major at Rochester.
M.S., Columbia University; B.Arch., Pratt Institute;
Phillips Exeter Academy.
Ronnie Parsons
M.Arch., Ohio State University; B.S. with Honors in
Architecture, University of Texas at Arlington.
Robert Pelosi
Norman Rosenfeld
Bryon Russell
M.Arch., B.A., SEAS, Columbia University.
Yehuda Safran
Adjunct Profes sor
Ph.D., University College London; M.A., Royal College
of Art; Dipl., St. Martin School of Art.
Richard Sarrach
M.S., Columbia University; B.Arch., Pratt Institute.
Marc Schaut
M.Arch., University of Florida; Vicenza Institute of
Architecture; B.Arch., University of Florida.
Alex Schweder
Ph.D. Arch., University of Cambridge, Cambridge;
Fellow of Architecture, American Academy in Rome;
M.Arch., Princeton University; B.Arch.,
Pratt Institute.
Eunjeong Seong
M.Arch., Columbia University; B.S., INHA University.
Ashley Simone
M.Arch., Columbia University.
Justin Snider
B.Arch., Pratt Institute; Fine Arts., Adelphi University.
Scott Sorenson
Otto Ruano
B.Arch., Pratt Institute; B.A., Parsons The New School
of Design.
Terilyn Stewart
S t udent advisement C o ordinator
Michael Su
Winston Von Engel
Robert Zaccone
Adjunct Profes sor
M.A., Princeton University; B.Arch., The Cooper
Union; M.S., Columbia University; B.S., California
Institute of Technology.
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.
M.S. Arch., Columbia University; B.Arch., Pratt
Institute; B.A. Art, C.W. Post College, L.I.U.
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
Omar Walker
Christa Waring
M.S., Columbia University; B.Arch., University of
Texas at Austin.
Ed Wendt
Stephen Szycher
B.S.C.E., Cornell University.
B.A., Princeton University; cum laude, Fine Arts and
Art History; Ph.D., Columbia University; Dissertation:
The Burkean Sublime in British Architecture.
Meredith TenHoor
Danielle Willems
A s so ciate Profe s sor in history & Theory
Ph.D. (in progress), M.A., Princeton University; B.A.,
Brown University.
M.S., Columbia University; B.Arch., SCI-ARC; A.A.,
Orange Coast College.
Salvatore Tranchina
Suzan Wines
M.Arch., Columbia University; B.S., Swarthmore
College.
B.Arch., B.A., The Cooper Union.
Michael Trencher
Visiting Instructor
Profe s sor
M.S. Urban Design, M.Arch., B.Arch., Columbia
University; B.A. English Literature, Yale College.
Evan Tribus
M.Arch., Southern California Institute of
Architecture; B.S., University of Virginia.
Erik Verboon
M. Eng., Stevens Institute of Technology; B.Arch.,
University of Cincinnati.
Florencia Vetcher
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.
Gia Wolff
M.Arch., Harvard University; B.A., Parsons The New
School of Design.
Chi-Fan Wong
M.S., Columbia University; B.Arch., The Cooper
Union.
Farzam Yazdanseta
M.S. Advanced Architectural Design, M.Arch.,
University of Maryland School of Architecture; B.A.,
University of Maryland.
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.
203
Construction Management Faculty
Nure Aiza
Martin Bruno
Visiting A s sistan t
B.S. Civil Engineering (Summa Cum Laude), University
of the Americas; M. Project Management, M.S.,
Northwestern University; S.M. Construction
Management, Massachusetts Institute of Technology.
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 Employer’s
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.
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.
George Cambourakis
Visiting A s sis tant
Ph. D. candidate, City College of New York; M.
Engineering, Structural Engineering, Columbia
University; B. Engineering, Civil Engineering, City
College of New York.
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 Profes sor
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
Schiavone Construction Co., LLC
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.
George Fowler
Diane S. Kaese, RA
Bryan Diffley
Visiting A s sis tant
B.Arch., City College of New York.
B.S. Architecture, University of Nebraska; M.S.
Preservation, Columbia University; Partner in Kaese
& Lynch Architecture and Engineering LLP in New
York City.
T. Kent Hikida
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
204 construction management facult y
Hillary Lobo
Clifford Opurum
Marjorie St. Elin
B.Eng. (Electrical), Bombay University, India; member
IEEE; professional engineer, State of New York;
associate principal at Arup, 2000–present; Syska &
Hennessey, 1995–2000.
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 (AccessA-Ride), while serving as a member of NYC’s
Transportation Task Force and Senior Citizen’s
Transportation Advisory Committee.
B.P.S., C.M., Pratt Institute; M.C., Management,
Baruch College, School of Continuing and
Professional Studies; engineer/superintendent,
Turner Construction Co.
John Osborn
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.
Mary Matthews
Profe s sor 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.
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.
Harriet Markis
Edward Re
Chair, Adjunct Profe s sor
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.
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).
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.
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.
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
Juris Doctor, Fordham University, School of Law;
B.A., Williams College; partner, Gartner + Bloom, PC.
205
Art and Design Education Faculty
Lisa Capone
Shari Fischberg
Adjunct Instructor
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.
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 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
grant-funded 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.
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.
Borinquen Gallo
ASSISTANT PROFESSOR
B.F.A., The Cooper Union, M.F.A., Hunter College;
Ed.D. candidate, Teachers College, Columbia
University, NY. 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 10+
years of planning, development, and management
experience in the education sector. 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.
Tonya Leslie
Visiting Instructor
B.A., University of New York, New Paltz College;
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.
Heather Lewis
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.
206 art and design education facult y
Theodora Skipitares
Aileen Wilson
Profes sor
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.
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 cocurated with Tara Kopp the group exhibition Studio
Pedagogy: The Imperative of Teaching at Gallery
Bergen, New Jersey.
Amy Brook Snider
Profes sor
B.A., Queens College, City University of New York;
M.S., University of Wisconsin at Madison; Ph.D., New
York University; Chair, Art and Design Education,
Pratt Institute, 1981–2010. Dr. Snider’s approach to
the profession is exemplified by the range of her
interests, i.e., narrative, children’s picture books,
self-taught artists, and the integration of design in
art education. In addition to consulting in arts
education, she has lectured in the United States,
Canada, and Great Britain, designed educational
programs, conducted staff development workshops,
organized international study projects in Italy and
Amsterdam, written articles for juried publications,
curated exhibitions, organized panels and
conferences, collaborated with an architectural firm,
and served on the Beginning with Children Charter
School Board. She was invited to develop and
supervise Saturday workshops for children at the
Scandinavia House. In 2010, she received a Fulbright
Specialist Grant.
207
Associate Degree Programs Faculty
Jonathan Andrew
Barbara Friedman
Andrea Loefke
Visiting Instructor
Visiting Instructor
M.A., Hunter College; B.F.A., The Cooper Union;
president, Andrews Design.
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.
M.F.A., Ohio State University; M.Ed., University of
Leipzig, Germany. Solo exhibitions include: Michael
Steinberg Gallery, New York; Islip Art Museum;
Galerie Schuster, Frankfurt, Germany; PH Gallery,
New York; residence and fellowship awards: Bemis
Center for Contemporary Art; Studio Program;
Smack Mellon, Brooklyn, N.Y.; and the MacDowell
Colony, Peterborough, N.H.; reviews in Sculpture
magazine and Artforum.
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.
Harley Goode
Dean Dalfonzo
Jun Y. Lee
Visiting Instructor
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.
M.F.A., Yale University; B.F.A., Rhode Island School
of Design; Design Director at Condé Nast; clients
include AT&T, HSBC (UK), and Citibank.
Lee Epstein
Adjunct Profes sor
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 Profes sor
B.F.A., Philadelphia College of Art; M.F.A., Brooklyn
College; clients include Marvel Entertainment
Group, DC Comics, Tops Inc., Children’s Television
Workshop.
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.
Jenna Lucente
Visiting Instructor
B.F.A., Syracuse University; M.F.A., Queens College,
CUNY.
David Marcinkowski
M.A., Media Studies, New School; B.A., Philosophy
and Religion, Kean University.
Heather Lewis
Michael Marston
Ph.D., New York University; her research explores
the intersection between the history of urban social
movements and urban policy and politics in housing,
education, social welfare, and the arts. Her most
recent publication, New York City Public Schools From
Brownsville to Bloomberg: The Community Control
Movement and its Legacy, was published by the
Teachers College Press in 2013. Her presentations
include “The Aftermath of the Community Control
Movement in Central and East Harlem,” in 2013, and
“Bytes of the Past: Archivists and Art Educators’
Collaboration for Stewardship and Teaching,” which is
planned as a research lecture in 2014 for the National
Arts Education Association.
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,
Hoffman-LaRoche, Lancome, NYNEX, Equitable Life,
and Architectural Digest.
Yoko Motomiya
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.
208 associate degree programs facult y
John Nickle
Jamie Powell
Victoria Vebell
Visiting Instructor
Visiting Instructor
M.F.A. University of South Florida; 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.
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 in Newark.
B.A., Philadelphia College of Art; M.F.A., Lesley
University.
Susan G. Young
Sung No
Dungjai Pungauthaikan
Visiting Instructor
Technician, Visiting Instruc tor
A.A., Monroe Community College; B.F.A., M.F.A.,
Pratt Institute.
Mark O’Grady
Profe s sor
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.
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, A s so ciate Profe s sor
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.
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.
Visiting Instructor
M.F.A., Rhode Island School of Design; B.A., University
of California, Berkeley; clients include: Metropolis
magazine, Yale RIS Press, RISD: Infinite Radius;
recipient of Print Magazine Regional Design Annual
Award and Society of Publication Designers Award.
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.
Herman Schaper
Visiting Instructor
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.
Nancy Stamatopoulos
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.
Ashley Stevens
Visiting Instructor
M.F.A., School of Visual Arts; B.A., Portland State
University; clients include: Metropolis magazine, The
AH Project, Pitchfork Media, Graphis, Allegro Media
Group; awards: Fingerprint 2 (Chen Publishing), SVA
MFAD Buck Thesis Grant.
Heidi Younger
M.A., Illustration, Fashion Institute of Technology;
B.F.A., School of Visual Arts; clients include: The
Boston Globe, Bloomberg Businessweek magazine,
Colgate Corporate, Cosmopolitan magazine, CVS
Pharmacy Corporate, Fitness magazine, Fortunoffs,
Harper Collins Publishing, Nestlé Corporate,
Newsweek, Random House/Ballantine, Symantec,
The New York Times, The Wall Street Journal, and
The Washington Post.
M. Christopher Zacharow
Visiting Instructor
M.F.A., Academy of Fine Arts, Krakow, Poland;
painter and illustrator.
209
Digital Arts Faculty
Peter Patchen
Thomas Bone
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.
Professional digital and traditional animator and
cartoonist with over 14 years of professional work
experience in film, television, illustrations, web,
advertising, and merchandising productions.
Carla Gannis
A s sistant 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.
Rick Barry
Profe s sor
M.F.A., Pratt Institute; president, Desktop Design
Studio; past president of the Graphic Artists Guild of
New York; Board of Directors, NYC ACM SIGGRAPH;
chair SIGGRAPH 2003 courses program; chair
NYC MetroCAF 2005; ACM SIGGRAPH director for
education 2006–09; founding member of ACM
SIGGRAPH Digital Arts Committee; chair, Digital Arts
at Pratt Institute, 1995–2000; interim chair, 2004–06.
Justin Berry
Digital Arts
Liubomir Borissov
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 Graduate School of
Architecture, Planning and Preservation.
Svjetlana Bukvich-Nichols
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-in-residence 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 will be 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.
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.
Edward Darino
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.
210 digital arts facult y
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
Visiting Instructor
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, whose 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, hand-processed 16mm tribute to boxing
featured at MoMA (2006.)
Kay Hines
Visiting Instructor
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
Stephen Jackett
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 anti-smoking 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. Everett Kane
Visiting Instructor
B.A., Religion, Princeton University, 1993; B.F.A., with
distinction, Fine Arts, Art Center College of Design,
1997; M.F.A., Fine Arts, Art Center College of Design,
2001. 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
Lara Kohl
M.A., Performance Studies, New York University;
M.F.A. Time Based Arts, The School of the Art
Institute of Chicago; B.A., Barnard College,
Columbia University; residencies: EdLab digital
artist in residence, Teacher’s College, Columbia
University, 2008; Banff Centre for the Arts, Banff,
Canada, 2008; Queen Street Digital Studios, Belfast,
Northern Ireland, 2008; selected exhibitions: P.S.1
Contemporary Art Center, Queens, NY; Artists Space,
NYC; Triple Candie, NYC; Exit Art, NYC; Lehmann
Maupin Gallery, NYC; Alona Kagan Gallery, NYC; Black
and White Gallery, Brooklyn, NY, Jack the Pelican
Presents, Brooklyn, NY; Repetti Gallery, Brooklyn, NY.
Linda Lauro-Lazin
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.
Peter Mackey
Profes sor
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.
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.
digital arts facult y 211
Ramsey Nasser
Visiting Instructor
M.F.A., Design and Technology, Parsons The New
School for Design; B.S., Computer Science, American
University of Beirut; fellow at Eyebeam Art +
Technology Center; residency at Karaj Beirut; works
featured in Kellen Gallery, Babycastles gallery.
NIcholas O'Brien
Visiting Instructor
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. Last year 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 Art at Pratt Institute.
Genevieve Okupniak
Visiting Instructor
Digital Arts
Michael O’Rourke
Profe s sor
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, San Diego; M.F.A.,
University of California, 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.
Jamal Sullivan
Visiting Instructor
Claudia Tait
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
Lukas Wadya
Visiting Instructor
Digital Arts
Gregory Webb
Adjunct Instructor
Daniel Weisbard
Visiting Instructor
Digital Arts
Elizabeth White
Visiting Instructor
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. She holds a B.A.
from Vassar College and an M.F.A. in photography,
video, and related media from the School of Visual
Arts, where she was the 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 will present a newly commissioned
project at the Institute of Contemporary Art in
Philadelphia in the spring of 2014.
212
Film/Video Faculty
Perry Bard
Lisa Crafts
Perry Bard works with video, installations, and public
art. Her work has been exhibited internationally in
such venues as the Museum of Modern Art, New
York, Scanners Video Festival at Lincoln Center,
the Reina Sofia Museum Madrid, VideoBrasil. In
collaboration with community groups she has
created site-specific public video installations in
New York, the UK, Poland and Bulgaria. Her current
project, 2008: Man With A Movie Camera is a global
remake of Vertov’s 1929 film, an experiment in
database cinema for the 21st century.
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.
Mary Billyou
Acting A s sistant Chair
M.F.A., The School of the Art Institute of Chicago; B.A.,
Art History, University of Rochester; experimental
filmmaker, programmer and writer. Her short films
have screened at festivals such as Film Mutations,
Images, Sundance, and Chicago Underground; and
at various venues such as Art in General, Squeaky
Wheel and Microscope Gallery. Her work has been
recognized in Artforum, Idiom, and Octopus Journal.
Recent awards include a filmmaking grant from the
Jerome Foundation and finishing funds from NYSCA.
Billyou is currently working on a series of five short
films, entitled GUN, HAT, GIRL…
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.
John Crowe
technician
M.F.A., Tyler School of Art; B.F.A., University of
Georgia; California Institute of the Arts; time-based
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
M.F.A. San Francisco Art Institute; B.A. University of
Washington; 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
M.F.A., Electronic Arts, Rensselaer Polytechnic
Institute; B.A., Creative Writing, University of Arizona.
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
Visiting A s sistant Profes soR
B.F.A., SUNY 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.
Steve Holmgren
Visiting Instructor
A graduate of Boston University’s School of
Management, Holmgren is the programmer at
UnionDocs. He has previously worked in film sales
and distribution (Catus Three, Gartenberg Media
Enterprises). He also has worked with several film
festivals in a variety of capacities, including the
Robert Flaherty Film Seminar, Sundance, Tribeca,
and Sound Unseen. Steve is also an independent
digital arts facult y 213
producer. He started his career in production at
HDNet Films, and most recently produced Matt
Porterfield’s Putty Hill and The Ballad of Genesis
and Lady Jaye with Marie Losier.
Matthew Hysell
Visiting Instructor, Fil m/ Video L ab 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.
Joshua Koury
B.F.A., Pratt Institute; Koury is a documentary
filmmaker in Brooklyn, NY. His most recent feature
documentary, Journey to Planet X, had its World
Premiere at the 2012 Tribeca Film Festival and was
released as an Epix Original Documentary nationwide
in 2013. In 2008, Koury directed We Are Wizards
which world premiered at SXSW and was theatrically
released in five cities across the country. From
2002 through 2006, Koury was the programming
director at the Brooklyn Underground Film Festival
and a programmer and programming manager at the
Hamptons International Film Festival. His first feature,
Standing By Yourself, opened theatrically in 2002 to
critical acclaim in both Variety and The New York Times.
Ross McLaren
AOCA Associate of College Art (B.F.A. equivalent),
Ontario College of Art; winner of the EVVY Millennium Achievement Award in 2009, whose films and
photographs can be found in the collection 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
Profe s sor
M.F.A. School of the Art Institute of Chicago;
B.S. Northwestern University; Whitney Museum,
Independent Study Program; clients include the
BBC, IFP, Steelcase, Cook’s magazine, and the
Whitney Museum of American Art.
John Murphy
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.
Alexander Noyes
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.
Jacki Ochs
Ac ting Chair
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, Cineaste, Variety, and International Documentary Magazine, among
others. Ochs is executive director of the Human Arts
Association, a not-for-profit media arts foundation
Ramón Rivera-Moret
M.A., University of Iowa; B.A., University of Notre
Dame. His film and video work combine documentary
material with experimental narrative strategies.
Alexandra Sumner
M.F.A., School of the Art Institute of Chicago, B.F.A.,
School of the Museum of Fine Arts, Boston; Sumner
is a 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. Sumner is chair of the Pratt INITIATIVE for
Art, Community and Social Change.
Ramzy Telley
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; also president of Rodeo
Circus Films, Inc., an independent film and video
production company providing production, editing,
and programming services; clients include: HBO,
Discovery Network, A&E Network, The Learning
Channel, and The Travel Channel.
Florina Titz
Visiting Instructor
M.F.A, Film and Video Production, University of
Iowa; B.A., University of Letters, Romania; writer
and filmmaker from Romania; wrote and directed
TRIP, a no-budget guerrilla-style feature film about
the Romanian post-communist lost generation
and is 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.
214
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
Scul p t ure Technician , Visiting Instruc tor
Karen Bachmann
B.F.A., Pratt Institute, 1982; 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
Visiting Instructor
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, 1998; B.A., Wellesley
College, 1989; has spent a decade developing and
exhibiting an oeuvre of androgynous portraiture;
had recent 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, Profes sor
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 PollockKrasner fellowship; www.lisabateman.tumblr.com/
post/3622546208.
Michael Brennan
Adjunct Instructor
M.F.A., Pratt Institute, 1992; B.A., University of
Florida, 1987; 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.
Mona Brody
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
fine arts facult y 215
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.
Howard Buchwald
Profe s sor
M.A., Hunter College, 1972; B.F.A., The Cooper
Union, 1964; 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.
William Carroll
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.
Nanette Carter
Adjunct A s so ciate Profe s sor, Co ordinator
for Dr awing
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 will exhibit in São Paulo, Brazil, in 2013 and
Havana, Cuba, in 2014; www.nanettecarter.com.
Grayson Cox
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.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.
David Cohen
Peggy Cyphers
Cammi Climaco
B.A., Hons (History of Art) University of Sussex; M.A.,
(History of Art) Courtauld Institute of Art, University
of London.
Alexia Cohen-Tortoledo
Je wel ry 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.
James Costanzo
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; last fall created
a multimedia installation titled datamap_2001.2
that dealt with the social and political climate of the
last two years and was shown at the Annex, which is
affiliated with White Box; www.jimcostanzo.us.
Adjunct Profes sor
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.
Pradeep Dalal
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.
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:
National Endowment for the Arts Fellowship, New
York Foundation for the Arts Fellowship; author of:
216 fine arts facult y
“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
A s sistant Profe s sor
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.).
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.
Patrick Fenton
M.F.A., Stanford University; B.A., University of
California, 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.
Allen Frame
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, CECArtslink 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.
Linda Francis
Adjunct Profes sor
M.A., B.F.A., Hunter College; selected solo exhibitions
include Hal Bromm Gallery, Gallerie Gislain MolletVieville, 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.
Michael Fujita
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.
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 Mid-Atlantic 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.
Anne Gilman
B.F.A., State University of New York, 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.
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.
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.
Toni Greenbaum
M.A., Hunter College; B.A., City College of New
York; curator and critic, jewelry. Exhibitions include
Jewelry Beyond Jewelry: Five Contemporary
Artists, Hunterdon Museum of Art; Messengers of
Modernism: American Studio Jewelry, Montreal
Museum of Decorative Arts; Modernist Jewelry in
the Permanent Collection, American Craft Museum;
Contemporary American Jewelry: Sources and
Concepts, Victoria and Albert Museum. Essays
include: “GAS Bijou: Adorning Bardot to J. Lo,” “Love
in Three Dimensions: Svetozar and Ruth Radakovich,”
and “Tea and Jewelry: Modernist Metalsmithing in
San Diego, 1940–1970,” in Metalsmith. Recipient
of the George Wittenborn Memorial Book Award
and the Sixteenth Annual Susan Koppelman Award
for Women Designers in the USA, 1900–2000
(2000). Presently acquisition consultant for jewelry
and metalwork, Montreal Museum of Fine Arts;
Exhibitions Advisory Group, American Craft Museum.
Dave Hardy
Visiting Profes sor
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.
Eric Heist
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.
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.
Shirley Kaneda
Profes sor
B.F.A., Parsons The New School of Design; recent
solo exhibitions: Danese Gallery, New York; Bernard
Jacobson Gallery, London; Galerie Jean-Luc &
Takako Richards, Paris; Feigen Contemporary, NY;
Galerie Schuster & Scheuerman; Berlin & 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.
Michael Kirk
Adjunct Profes sor
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.
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.
Benjamin La Rocco
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.
David Lantow
M.F.A., City University of New York, Brooklyn College,
1987; B.F.A., University of Iowa, 1985; 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, 1985;
M.A.E., Art Education, Philadelphia College of
Art, 1981; B.F.A., Philadelphia College of Art, 1979;
B.A., Political Science, Ursinus College, 1974;
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 Profes sor
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 (NJ) 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 BorgenichtBrandt; www.ironmite.com.
Colin Leipelt
wo od shop technician
B.F.A., Kansas City Art Institute; an artist,
educator, and custom fabricator; has taught in the
Interdisciplinary and Design departments at KCAI
and served as a visiting artist at the University of
Chicago M.F.A. program; work interrogates the
ideal, systematized ontologies, structured belief,
and collective consciousness through multi-sensory
immersion; installations and videos have been
shown nationally at venues including The Smart
Museum, SCOPE NY, Okay Mountain, and Bemis
Center for Contemporary Arts; has performed his
sound works extensively throughout the U.S.; in
addition to his studio practice, currently works at
Pratt as the Fine Arts Woodshop Technician and as
an independent fabricator.
Marc Lepson
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.
Frank Lind
Profes sor
M.F.A., Pratt Institute, 1974; B.A., Georgetown
University, 1970; 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.
Patricia Madeja
B.F.A. Pratt Institute, 1985; recipient of an American
Vision Award, AJDC (American Jewelry Design
Council), Saul Bell Award, Jewelry Arts Award, and
Niche Award and has been 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.
Ann Mandelbaum
Adjunct Profes sor
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 Photogaphy, 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.
Dennis Masback
Adjunct Profes sor
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 Berry-Hill
Galleries, New York; www.dennismasback.com.
Naohisa Matsumoto
Visiting Instructor
B.A., B.S., Pitzer College; Biology Research Exchange,
Mweka National Wildlife University, Moshi, Tanzania;
M.F.A., Pratt Institute; exhibitions: International
Contemporary Art Fair, Scope East Hampton,
New York; Jacob Javits Center, International
Contemporary Furniture Fair, New York; Whitebox
Gallery, New York; Brooklyn Designs, New York;
Baktun, New York; designer and fabricator for Dennis
Oppenheim, Keith Edmier, James Turrell, Lesley Dill,
and Woody Allen; publications: The New York Times;
Interior Design Magazine; Time Out New York; Japion;
www.naomatsumoto.com.
J. Martin Mazzora
Ann Messner
Adjunct Profes sor
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.
B.F.A., Pratt Institute, 1973; 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.
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
A s sistant to the Chair, Visiting Instruc tor
M.F.A., Pratt Institute, 2007; B.F.A., University of
Oregon, 2001; 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.
Jennifer Melby
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.
Curtis Mitchell
M.F.A., Sculpture, Yale University School of Art,
1983; M.A. Sculpture, Goddard College, 1981;
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.
John Monti
Profes sor
M.F.A., Pratt Institute, 1983; B.S., Painting, Portland
State University, 1980; 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; 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 American Telephone
& Telegraph; the Arkansas Arts Center, The Eli and
Edythe Broad Foundation, the Brooklyn Museum,
the Castellini Art Museum of Niagara University, and
the Chase Manhattan Bank, among others;
www.johnmonti.com.
Donna Moran
Profes sor
M.F.A., Painting/Printmaking, Pratt Institute, 1971;
B.A., Art Education, C. W. Post College, 1969;
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 Profes sor
P.hD., 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. Motta’s 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. Motta prepared 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. Motta is a
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 Profes sor
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-in-residence 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, 1985; B.F.A., School of Visual Arts, 1980;
independent curator and critic; contributor: Art in
America, Flash Art, d’art Int’l, Artnet, and Trans; cocurator 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.
Mario Naves
Adjunct Instructor
M.F.A., Pratt Institute, 1987; B.F.A., University of
Utah, 1984; 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.
Ross Neher
Adjunct Profes sor
M.F.A., Pratt Institute, 1975; B.F.A., Washington
University School of Fine Arts, 1971; 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.
Thirwell Nolen
M.Arch., Georgia Institute of Technology, 1985;
B.Arch., Auburn University, 1983; 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.
John O’Connor
Skowhegan School of Painting and Sculpture
Skowhegan, 2000; M.F.A., Pratt Institute; M.A.,
Theory, Criticism, and History of Art, Pratt Institute,
1995; 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, 2012; B.F.A.,
Ceramics, University of Miami, 2007; 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.
Catherine Redmond
Howard Rosenthal
Art Students League of New York, 1974; Harpur
College, SUNY, 1965; Cornell University, 1962;
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.
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.
Max Reinhardt
M.F.A., The School of the Art Institute of Chicago,
2006; B.F.A., University of Colorado at Boulder,
2001; www.maxreinhardtart.com.
William Richards
M.F.A., University of New Mexico, 1970; M.A.,
University of Iowa, 1968; B.F.A., Pratt Institute, 1966;
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.
Mary Beth Rozkewicz
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
M.F.A., Yale University School of Art, 1987; B.F.A.,
Boston Museum School, 1982; 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-scaled work
made for the Institute of Contemporary Art in
Philadelphia; by the mid-1990s, 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
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.
Carla Shapiro
International Center of Photography, 1979;
B.F.A., Syracuse University, 1978; Central London
Polytechnic, London England, 1977; 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.
Sarah Shebaro
Printm aking Technician , Visiting Instruc tor
M.F.A, Printmaking, University of Tennessee,
Knoxville; B.F.A University of Iowa; Non-Degree
Assistantship, Bucknell University; exploring the
communities she lives in (often in search of secondhand artifacts) is the primary ritual that influences
her work; the objects obtained and the experiences
surface in the prints, installation, sound, drawings,
painting, and objects she produces;
www.sshebaro.com.
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
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; site-specific
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)
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
Cer amics Technician, Visiting Ins truc tor
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
Profes sor
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 Magazome, 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.
Tim Spelios
B.F.A. University of Illinois at Urbana-Champaign,
1978; 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.
Joseph Stauber
M.F.A., SUNY 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.
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 Profes sor
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.
Christopher Verstegen
Non -Academic S t udio and G al l ery
Supervisor, Visiting Ins tructor
B.A., The College of Wooster, 2003; M.F.A., Pratt
Institute, 2010; 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.
Emily Weiner
M.F.A., School of Visual Arts, 2011; B.A., Studio Art,
Barnard College, 2003; 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 artistin-residence at The Banff Centre in Alberta, Canada,
and Camac Centre D’Art in Marnay-sur-Seine,
France; www.emilyweiner.com.
Dina Weiss
Acting A s sistant Chair
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.
Rachel Wiecking
M.A., Art History, Purchase College, New York, 2011;
M.F.A., Studio Art, Purchase College, New York,
2010; B.F.A., Book Arts, Oregon College of Art and
Craft, Portland, Ore., 2002; B.A., American Studies,
Literature, University of California, Santa Cruz, 1995;
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 role-playing,
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 & Company; Swiss Institute-Contemporary 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
Profe s sor
B.F.A., M.F.A., Pratt Institute; exhibitions: Brooklyn
Museum; Riverside Museum; Alan Stone Gallery,
New York; Royal Mark.
225
Photography Faculty
Tyler Coburn
Dominica Giglio
visiting A s sistan t Profe s sor
visiting a s sistant Profes sor
New York-based artist and writer; B.A. in Comparative
Literature,Yale University; M.F.A., University of
Southern California, Los Angeles. Publications include
Frieze, e-flux journal, Art-Agenda, 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.
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.
James Costanzo
M.A., University of Iowa; M.F.A., University of Iowa;
his interdisciplinary, socially engaged artworks have
been shown in the 2006 Whitney Biennial and and
the 2012 Berlin Biennale. As a member of Occupy
Wall Street he has worked with Occupy Museums,
Student Loans 1T Day, Strike Debt, the Rolling Jubilee
and Making Worlds, a forum for the Commons.
Ernst Fischer
visiting a s sistan t Profe s sor
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.
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
CHAIRPERSON
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
ADJUNCT ASSOCIATE PROFESSOR
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
VISITING ASSOCIATE PROFESSOR
B.F.A., New York University; photographer, publisher,
curator and teacher; Director of the Eakins Press
Foundation; co-editor of the book CIRCUS: The
Photographs of Frederick W. Glasier. His photographs
have been widely exhibited and are in the collections
of the Museum of Modern Art, the Brooklyn Museum
of Art, The New York Public Library, the San Francisco
Museum of Modern 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 Road!
Photographs of America) his new book Totems, with
an essay by Jed Perl, is available from the Purple
Martin Press.
Robert Kozma
B.F.A., SUNY 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).
John Lehr
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.
226 photography facult y
Ann Mandelbaum
Tori Purcell
Sarah van Ouwerkerk
ADJUNCT PROFESSOR
ASSISTANT CHAIR
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.
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.
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.
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.
Julie Pochron
ADJUNCT ASSISTANT PROFESSOR
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.
Stephanie Powell
VISITING ASSISTANT PROFESSOR
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.
Aura Rosenberg
ADJUNCT PROFESSOR
B.A., Sarah Lawrence College; M.A., Hunter College;
Whitney Museum of American Art, Independent
Student Program; her photographs have been
exhibited in Germany, France, Switzerland, Belgium,
Ireland, Austria, New York, and Los Angeles, and have
been published and reviewed in Artforum, Artscribe
and the Guggenheim Magazine.
Anna Shteynshleyger
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.
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.
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.
227
Communications Design Faculty
Donn Albright
Audrey Arbeeny
Pooja Badlani
Profe s sor
Visiting Instructor
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, Boys 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.
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.
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, non-profit, and science
organizations.
Cecilia Almeida
A s sistant 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; award-winning
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.
Ricardo Armas
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.
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.
228 communications design facult y
Christopher Calderhead
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.
Megan Cash
Visiting Instructor
B.F.A., Communications Design, Pratt Institute; has
designed books for Houghton Mifflin, Harcourt,
and Scholastic; logos for L’Oreal and Nickelodeon
on-air; ads for Elektra Entertainment and WYNC;
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; awardwinning 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.
Kathleen Creighton
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, Non-Traditional 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.
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; well-published
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.
Andrew Degraff
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.
Frank Derose
Visiting Instructor
B.A., English, Skidmore College; M.A., Communication
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.
communications design facult y 229
Bruce Duhan
Adjunct Profes sor
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 award-winning
design for world-renowned clients such as CocaCola, 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 eleven 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.”
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
Lee Epstein
Adjunct Profes sor
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.
Gary Fogelson
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.
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
B.F.A., Filmmaking, NYU Tisch School of the Arts;
photographer; published in Art Forum, 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.
David Frisco
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
non-profit 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.
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.
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.).
Michael Gerbino
A s sistant to the Chair
Adjunct Profes sor
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.
Christine Gignac
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.
Tom Graham
Profe s sor
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
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
Brendan Griffiths
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.
Cheryl Gross
Adjunct Profes sor
B.F.A., Communications Design, Pratt Institute,
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.
Rudy Gutierrez
Profes sor
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.
Duncan Hamilton
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.
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 re-branding 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.”
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.
Jim Hoston
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.
Floyd Hughes
Jordin Isip
Visiting Instructor
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.
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, Business Week, 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.
Margaret Hurst
Adjunct Profes sor
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
B.F.A., Communications Design, Pratt Institute;
Brooklyn-based graphic designer, originally hailing
from Washington, D.C.; Art Director at MRY, an
integrated advertising agency; clients include Burton
Snowboards, Taco Bell, Coca-Cola, 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
Tom La Padula
Phil Lubliner
Adjunct Profes sor
Visiting Instructor
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.
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 Communication Design faculty in 1986;
Illustration Coordinator for Pratt ComD.
Partner at Other Means, an independent graphic
design studio; print, animation, and digital work
primarily for cultural and non-profit clients such as
Bloomberg, The New York Times, Good Magazine,
Emeco, The Van Alen Institute, Recyclebank.;
formerly a partner in design studio FogelsonLubliner; 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.
Michael Kelly
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.
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.
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.
Veronica Lawlor
Adjunct Profes sor
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-byStep, Communication Arts, World Association of
Newspapers; correspondent on the Urban Sketchers
international blog; believes in drawing as the primary
tool of the graphic communicator.
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.
Richard Luna
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.
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.
Lorraine McNeill-Popper
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.
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).
Anita Merk
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 award-winning websites that
cultivate a client’s member-driven 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 handsewn, 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.
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
Kyle Olmon
Visiting Instructor
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.
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.
Tim O’Brien
Adjunct Profes sor
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.
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, award-winning 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 breath-taking mountain
views or world-class skiing as she was in writing and
watching TV.
Isaac Paris
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., AntiViolence 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 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.”
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 & FrereJones, 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.
Joe Roberts
Profe s sor
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.
Scott Santoro
M.F.A., Cranbrook Academy of Art; principal of the
graphic design studio Worksight; in a live-and-work
loft on Great Jones Street in Manhattan, he has
crafted designs for large and small companies for
over twenty 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.
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
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.
Kelly Shea
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 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 & 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.
Alexander Smith
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.
Claudia Sohrens
Visiting Instructor
B.F.A., Communications Design, IN.D, Hamburg,
Germany; M.A., PhD. 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.
Thaddeus Szumilas
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.
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.
Lindsay Stadig
K.C. Tagliarini
James Spahr
Visiting Instructor
manages the Display Production studio at Barneys
New York, where she oversees the production of
display elements for Barneys stores nation-wide 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).
Matthew Strong
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.
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.
Jessica Tice-Gilbert
Visiting Instructor
B.F.A., Illustration, Pratt Institute; creates pop-up
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.
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 communication
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.
Joel Tretin
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.
James Tung
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.
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.
Dan Weber
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.
Jon Weiman
Adjunct Profes sor
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 & 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.
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
Anthony Williams
B.F.A., Tyler School of Art, Temple University;
over 24 years of experience in identity and
communication 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 researchbased 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.
Edmund Zaloga
B.A., School of Visual Arts; Brooklyn-based graphic
designer who handles a wide variety of projects
for businesses large and small, non-profits and
individuals; designs identities, print, and interactive
media; is developing a typeface family based on
American vernacular signage; teaches typography
and a creative crash course at Pratt; clients include
Allure Restaurant & Bar, Alzheimer’s Foundation,
Casa Brio Estate, Casa Nova Studios, Chase
Manhattan, Cliff Freeman & Partners, Closet Door
Company, Daniel Gingert, Dr. Greene Online, East
End Outdoor Supply, Federal Pump Corporation,
Gelb Center, Haus Interactive, Hemming + Gilman
Productions, Her House Boutique, Kimberly Stillman,
Living Art Aquariums, Maclean’s Magazine, McGarry
Bowen, Mike Bennet, Motorola, New York Women’s
Agenda, Nova Clutch Band, Office of Paul Sahre
(O.O.P.S.), Psychology Today, Quiznos, Raleigh, Rich
Levering, Rita Hayworth Gala NYC, Smiling Goat,
Spark Notes, Third Wave Films, and Wesco Industries.
239
Fashion Design Faculty
Erin Cadigan
Roxanne Eklund
Visiting Instructor
B.F.A., University of the Arts, Philadelphia; Post
Graduate Degree, Helen Le Feaux School of Fashion;
Cadigan has worked in the fashion industry for many
years, combining her love of illustration with apparel
and accessory design. Cadigan currently teaches
Light, Color and Design to fashion design freshmen.
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 14
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.
Susan Cianciolo
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 1960’s
Butterfly Girl (which featured many of her designs),
and teaching positions at both Pratt and Parsons The
New School for Design.
Rose DePasquale
Profe s sor
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 Design
department.
Gabriela Galvan
B.F.A., Fashion Design, California College of the Arts;
a patternmaker for contemporary ready-to-wear
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-a-kind 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.
240 fashion design facult y
Elmaz Huseyin
David J. Krause
Jennifer Minniti
Visiting Instructor
Chair
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.
M.A. Costume Studies, New York University; B.S.
Fashion Design, Philadelphia 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.
Kim Jenkins
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.
B.A., Cultural Anthropology and Art History,
University of Texas at Arlington, M.A., Fashion
Studies, Parsons. 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 and
Cosmetic Constructions of Resilience in Divorced
Women, which investigated the role clothing and
cosmetics play in transforming the self in effort to
attain the psychological trait of resilience.
Adrienne A. Jones
Profe s sor
M.S., Art Therapy; B.S., Art Education, College of
New Rochelle; A.A., Fashion Design, Fashion Institute
of Technology; 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.
Gene Lakin
M.F.A., Yale University; B.F.A., University of North
Carolina, Winston-Salem; 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.
Jacqueline Lamont
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.
Van Lupu
Profes sor
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.
Alnea Miskiv
B.F.A. Fashion Design, California College of the
Arts; A.A. Business Administration, University of San
Francisco; 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.
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.
fashion design facult y 241
Luigi Montesano
Martin Price
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.
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 senior-year 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
21st-century fashion designer.
Laura Moore
B.A., Syracuse University; graduate work, Clothing
and Textile Technology, Syracuse University; M.S.,
Education, Capella University; 29 years’ experience
in the apparel industry; positions held include
patternmaker, production manager, technical
designer, and samplemaker; profiled in Fashion
Inside Out: Daniel V’s Guide to How Style Happens
from Inspiration to Runway and Beyond (Potter Craft,
2008); featured expert on the Dr. Oz Show, June 2011.
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.
Joong Park
B.F.A., Fashion Institute of Technology; an apparel
graphic designer with extensive experience in
T-shirt design, textile and pattern development,
flat sketching, photo retouching, trip and hardware
development, brand direction, technical packages,
and research and presentation; has worked
for Calvin Klein Jeans, Block Corp, Swiss Army
Victorinox, Tokyo5Jeans, BUREAU, CockpitUSA,
Vokal, ENYCE, Summit Resource, and Success
Apparel; has taught graphic design, CAD, and
apparel design at Pratt, Parsons, Marist College,
SUNY FIT, and Xincon Tech School.
Shannon Price
A s sistant Chair
B.A. Anthropology, University of California at
Berkeley; M.A. Visual Culture, New York University;
after a decade in music industry management,
costume design, and fashion styling, she entered
academia through The Costume Institute at The
Metropolitan Museum of Art. As associate research
curator at the Met, she collaborated with Harold
Koda, curator in charge, and Andrew Bolton,
curator, on exhibitions, publications, acquisitions,
and education. Since 2000, exhibitions in which she
has participated include Extreme Beauty: The Body
Transformed (2002); Wild: Fashion Untamed, which
she co-curated (2004); Anglomania: Tradition and
Transgression in British Fashion (2006); Superheroes:
Fashion and Fantasy (2008); and Alexander McQueen:
Savage Beauty (2011). In addition to co-authoring
Wild: Fashion Untamed, Price has contributed to
the Encyclopedia of Clothing and Fashion (2004)
and the Met’s award-winning Timeline of Art History.
She is co-editor for the upcoming journal on luxury
to be published by Berg and serves as an editorial
board member for the Fashion, Style & Popular
Culture Journal (PCA/ACA, Intellect Books) slated
for 2013. She has taught and lectured at New York
University and Parsons, with research interest areas
that include twentieth-century avant-garde fashion
and sub-cultural style, non-Western costume as it
relates to contemporary fashion practice, issues of
sustainability, and postwar decorative arts and design
history. Price is currently pursuing her doctorate in
decorative arts, design, and culture at Bard Graduate
Center in New York City.
Karen Pritchett-Neuman
Adjunct Profes sor
A.A.S., Fashion Illustration, Art Institute of Pittsburgh;
freelance illustrator; clients include Bill Blass, major
department stores, and children’s books.
Emily Putterman Handler
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.
Karen Rippy
B.F.A., Fashion Institute of Technology; Assistant
Professor at F.I.T.; The New School; Freelance
intimate apparel designer; teach classes in draping,
patternmaking, sewing, body contour, knitwear
design, lingerie design.
Dean Sidaway
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 School of Fashion at
Pratt Institute, Sidaway secured teaching positions
242 fashion design facult y
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 Profes sor
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.
Beverly Semmes
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.
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.
Shabd Simon-Alexander
Drake Stutesman
Ph.D., American Studies, University of Sussex,
M.A., Cultural Studies, University of London, B.A,
Literature, Bard College. 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.
Shabd Simon-Alexander is an internationally
renowned dye artist with a background in fine arts.
Her clothing line, Shabd, is dyed by hand in her
Brooklyn studio and can be found in boutiques and
museums around the world. She teaches handdyeing, and taught Martha Stewart how to tie-dye.
Her book, Tie-Dye: Dye it, Wear it, Share it, was
published in 2013. She has a B.F.A. in Photography
and Imaging from NYU’s Tisch School of the Arts.
Freya Tamayo
Emily Spivack
Karin S. Yngvesdotter
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 will be 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.
B.F.A., Fashion Design: Pratt Institute; more than
15 years industry experience designing activewear
and active lifestyle apparel for companies such as
Skechers, Fila, Jockey, Avia, le Coq Sportif, USTA,
Nordstrom, Academy stores, Lady Footlocker, and
DSG. Currently teaching Swimwear and Activewear to
juniors in the Fashion Design department.
Studentexamen Science, Polhem, Sweden; A.A.,
F.I.T., 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.
243
Foundation Faculty
Luis Alonso
Cathey Billian
Kye Carbone
Adjunct Profes sor
Adjunct Profes sor
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.
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, 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.
B.F.A., School of Visual Arts; M.F.A., Brooklyn College;
An illustrator from 1979 to 1992, Carbone’s 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 Kye returned to his first passion: painting. His
abstract works have been exhibited widely and are
held in many private and corporate collections.
Brian Brooks
Myrel Chernick
Philip Ayers
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;
grants-fellowships 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, Art Forum, 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.
Paul Carrellas
B.F.A., Swain School of Design; M.F.A., Queens
College of the University of New York.
B.F.A, Pratt Institute; MSE, Queens College; M.F.A,
Brooklyn College.
B.A., Rutgers University; M.F.A., School of the Art
Institute of Chicago.
David Brown
Pier Consagra
Profes sor
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.
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.A.F.A., University of New Mexico.
Hank DeRicco
Adjunct Profes sor
B.F.A., SUNY/ Empire State College; M.F.A., School
of Visual Arts.
244 foundation facult y
Carol Diamond
Mimi Kim
Sung No
Technician, Visiting Instruc tor
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 University of New York.
B.A., Smith College; M.F.A., University of
Pennsylvania.
M.F.A., Pratt Institute; B.F.A., Pratt Institute; A.A.,
Monroe Community College.
Ellen Kozak
Reeva Potoff
Adjunct Profes sor
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.
B.F.A., Pratt Institute; M.F.A., Yale University.
Andrew Lenaghan
B.A., Yale University; M.F.A., Parsons the New School
for Design; He has shown his drawings and paintings
in and out of New York 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 IngramMerrill Foundation Award.
William Fasolino
B.F.A., Pratt Institute; 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–present.
Deryck Fraser
B.F.A., Pratt Institute; M.F.A., Pratt Institute.
Iona Fromboluti
Yechiam Gal
Adjunct Profes sor
Visiting Instructor
B.F.A., Cornell University; M.F.A., Brooklyn College.
B.F.A., School of Visual Arts; A.S., Haddassah College
of Technology.
James Lipovac
Jane Haimes
B.F.A. Maryland Institute College of Art; M.F.A.,
Indiana University.
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 NY, on national print and television
advertising campaigns for Canon USA, General
Foods/Kraft, Phillip Morris. NY Art Directors’ Club,
Effy, Andy awards.
Sabrina Lovell
William Hochhausen
Profe s sor
Associate Degree, The Cooper Union; B.F.A., Yale
University; M.F.A., Yale University; Exhibits in
New York.
Administr ative A s sistant
James McElhinney
B.F.A., Tyler School of Art; M.F.A., Yale School of Art.
Jennifer McNutt
M.F.A., Yale School of Art.
Leslie Roberts
B.A., Yale University; M.F.A., Queens College, City
Christopher Sanderson
B.F.A, Leeds College of Art; M.F.A., Slade School of
Fine Art.
Kimberly Sloane
ac ting chair
Migiwa Spiller (Watanabe)
B.F.A., Kansas City Art Institute; M.F.A, Ohio
State University.
Vadis Turner
Adjunct Instructor
B.F.A., Boston University; 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
foundation facult y 245
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, Courier-Journal, 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.
Patrick Webb
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.
David Weinrib
Adjunct Profes sor
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.
Rebecca Welz
Adjunct Profes sor
B.F.A., School of the Museum of Fine Art, Boston.
Doug Wirls
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.
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.
246
Industrial Design Faculty
Harvey Bernstein
Adjunct Profes sor, 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, Business Week, 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 Business Week
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 device
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
Adjunct Profes sor
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.
Kevin Crowley
B.I.D., Pratt Institute; Lowell Technical Institute,
polymer chemistry; has 40 years 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, 1995-present; 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: Twentieth
Century American Designers in the USA; and High
Style: Twentieth Century American Design, Whitney
Museum Exhibition (aluminum clock).
Steve Diskin
Chair
B.A. Visual Studies, Harvard College; M.Arch.,
Harvard University; Ph.D., École Polytechnique
Fédérale de Lausanne; began his professional career
with the architecture firm of Kenzo Tange in Tokyo,
the establishment of his studio in Los Angeles, and
the design of the HELIX clock, which is now in the
permanent collection of the Cooper-Hewitt National
Design Museum; was a professor of advanced
product design and founder of the grad ID program
at Art Center College of Design in Pasadena; visiting
professor at the University of Ljubljana (2002–2010);
and visiting professor at the Academy of Art,
Architecture, and Design in Prague (2004–2005);
has taught and lectured at a number of institutions,
notably in Switzerland, Germany, France, Norway,
Denmark, Estonia, Poland, Cyprus, Israel, and Turkey.
industrial design facult y 247
Peter Erickson
Colin Gentle
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 modelmaking processes at Pratt.
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.
Assaf Eshet
B.A., Vital-Tel Aviv Center for Design Studies, Israel;
Eshet strives for innovative designs that create a
balance between the playful and the functional; his
creations are led by his detail-oriented, whimsical
curiosity that allows him to push the boundaries
of mediums; projects range from toy design to
conceptual art; opened Assaf Eshet Design Studio
in 2000, specializing in toy design and inventions
for leading toy manufacturers such as Fisher-Price
and Hasbro; many of his designs are patented and
have won numerous prizes, while being enjoyed by
children worldwide; led a notable toy workshop held
in Anji, China, in 2000 to research and create ecofriendly toys made of bamboo.
Patrick Fenton
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.
Kathryn Filla
Kate Hixon
Adjunct A s so ciate Profes sor, 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.
Yen Yu (Gary) Hou
TECHNICIAN , VISITING INSTRUCTOR
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.
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.
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
500+ products of which 60% are medical/surgical;
experience also includes extensive work on new
consumer products and equipment design; primary
inventor and co-inventor on 35 US 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.
Robert Langhorn
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.
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.
248 industrial design facult y
Jong S. (Mark) Lim
Katrin Mueller-Russo
Jeanne Pfordresher
M.F.A. with distinction, Pratt Institute; B.F.A., Seoul
National University; 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 develop
ment and author of design patents (U.S. and Europe)
at the Conair Corporation; has exhibited at Gallery
Korea; Hyundai Art Gallery.
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.
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.
Scott Lundberg
A s sistant chair; Adjunc t a s so ciate
Profes sor, 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.
John Medley
Technical Co ordinator, Visiting A s sistan t
Profe s sor
B.F.A., California State University at Long Beach;
technician at Wentworth Institute, Boston, and Otis
College of Art, Los Angeles; graphic designer, Master
Glass, Newport Beach, California; a carpenter and
educator, Medley has been in the Industrial Design
program at Pratt Institute since 2008, where he
teaches prototyping and manages the department’s
shop facilities; his tool of choice is the hand chisel.
Frank Millero
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.
Judith Nylen
M.L.S., Pratt Institute; M.F.A., Pratt Institute; B.A.,
Scripps College; 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, Pratt Institute; 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.
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.
Russell Robertson
B.F.A., Cleveland Institute of Art and Design; his
focus incorporates a comprehensive balance of
academic theory and professional practice; has
worked on corporate design staffs in Korea and
The Netherlands for Samsung, LG Electronics, and
Philips Electronics, and design consultancies such
as Brook Stevens Design, Insight PD LLC, ECCO
Design, and 4Sight; participates and designs within
a wide range of product segments: POP displays,
exhibits, recreational sports equipment, medical
equipment, agricultural equipment, housewares,
personal care products, structural packaging,
and home audio/video equipment; a founding
partner of Hybrid Product Design + Dev. Inc.,
which develops innovative product solutions and
meaningful experiences for global consumer culture;
from 2002–2004, he served as chair of the IDSA/
NYC chapter and director of the design magazine
POPSICLE, which highlighted NYC design scene and
schools; has built curriculum and taught at Pratt for
more than 10 years: Sophomore and Junior Design
Studio, Experimental Transportation, Drawing for
Design, Portfolio and Professional Practice, and
industrial design facult y 249
Internship courses. Robertson infuses strategic
design process with the student’s unique vision,
resulting in clear and direct presentations.
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, University of Michigan Ann
Arbor; M.B.A. Marketing, University of Michigan 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 US 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.
Martin Skalski
Profe s sor
M.I.D., Pratt Institute; B.A., University of Toledo;
director of Pratt’s Transportation Design Program;
teaches transportation design, color theory, threedimensional 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.
Kimberly Snyder
Irvin Tepper
M.F.A., Rhode Island School of Design; B.F.A., B.S.,
Art Education, Indiana University of Pennsylvania;
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.
M.F.A., University of Washington; B.F.A., Kansas City
Art Institute; 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 TwentyFive Year Survey (San Jose State University, 2002).
Karen Stone
Adjunct A s so ciate Profes sor, 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.
Jonathan Thayer
B.I.D., Pratt Institute; in his professional design work,
he has developed projects in lighting, furniture, and
house-wares 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.
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, fuel-efficient
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.
250 industrial design facult y
Ignacio Urbina Polo
Rebecca Welz
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 Ibero-American 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),
mounting 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 & 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, MercedesBenz, 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
TECHNICIAN , VISITING INSTRUCTOR
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, PhilipMorris, Samsung, Timex, Victoria’s Secret, Warner
Brothers, YSL, and Zegna.
251
Interior Design Faculty
Doreen Adengo
Francesca Bastianini
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. B.A., Smith College; M.S., Lesley University; M.F.A.,
Parsons The New School for Design.
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.F.A.,
School of the Art Institute of Chicago; 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.
Harvey Bernstein
Adjunct Profes sor
B.F.A., M.S., Pratt Institute; consultant on interior,
industrial, graphic, exhibit, and retail design; clients
include JC Penney, Sony, Hallmark, Knoll, Chase,
Calvin Klein, American Crafts Museum, Speedo,
Warnaco, and Franklin Mint; past chair, N.Y. Industrial
Design Society of America (IDSA); awards include
gold/silver IDSA (product), Lumen, (lighting), Interior
Magazine (retail, office, exhibit), AIGA (graphics),
Roscoe, (furniture), and I.D. Magazine; exhibited at
MoMA, Cooper-Hewitt National Design Museum,
Gallery 91, AIGA, ADC, and ICSID.
Tania Branquinho
B.F.A., New York School of Interior Design; M.Arch.,
Pratt Institute.
Barrett Brown
B.Arch., Southern California Institute of
Architecture; M.S. Columbia University.
Mary Burke
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 is the 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.
Ike Cheung
B.Arch., Pratt Institute; LEED AP; formerly senior
designer and design director at HOK and TPG
Architecture respectively; currently at Haworth as a
senior workplace design strategist collaborating with
clients to integrate their business needs, workplace
knowledge, and applied design to deliver knowledgebased interior architecture workplace solutions;
recent projects include Penguin Publishing
Headquarters in New York City, Mullen Advertising
Headquarters in Boston, and Marchon Eyewear
Headquarters in Long Island; has been featured in
publications such as The New York Times, Contract
magazine, Interior Design magazine, Real Estate
Weekly, OfficeInsight, and IIDA Newsletter.
252 interior design facult y
Melissa Cicetti
James Counts Jr.
Philip Farrell
Adjunct Profes sor
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.Arch., Kansas State University; M.S., Columbia
University.
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).
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.
Anita Cooney
Chair
B.A., Brown University; B.Arch., Pratt Institute;
LEED AP; principal , acoo design, llc. whose work
includes residential and commercial interiors and
restaurant design; previously, co-founder of AC2, a
multidisciplinary design studio, whose notable works
included commercial and residential interiors as
well as product design; regular participant of and
serves on the board of the educational organization
DesignInquiry, a transdisciplinary educational
organization devoted to researching design issues
in intensive team-based gatherings; her work has
been published in Interior Design and I.D. as well as in
several design annuals.
Annie Coggan
B.A., Bennington College; M.Arch., Southern
California Institute of Architecture.
Carol Crawford
M.S., Pratt Institute; N.Y. Certified Interior Designer;
professional member ASID, IIDA, USGBC; since
1997, Carol Crawford Environments, Inc., has
combined sustainable interior design with fine art
for residential, commercial and healthcare clients;
her creative work in mixed media construction,
photography, lithography and drawing has been
shown in solo and group exhibitions in the U.S.,
Canada, Europe, and Japan.
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 awardwinning 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.
Ron Eng
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 mixeduse 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.
David C. Foley
Visiting Profes sor
B.A., University of Pittsburgh; M.A., University of
Illinois, Chicago; M.Arch., University of Norte 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.
Nancy Gesimondo
B.A., Queens College; Certificate, Parsons The New
School of Design.
Jennifer Hanlin
B.A., Princeton University; M.Arch., Harvard
University; Technical University, Berlin; principal,
Cooper Hanlin, her own interiors’ practice started
in 2003, which is known for its emphasis on a
collaborative relationship with clients; has designed
residential, office, retail, and gallery projects as
well as custom furnishings; previously developed
her interior design skills at Gabellini Sheppard
Associates, N.Y., where she earned the 2002 best of
competition award from the International Interior
Design Association (IIDA) for her work as project
architect for the Jil Sander, London flagship store;
interior design facult y 253
currently collaborating with Cooper Joseph Studios
on retail and residential design as their interior
design principal.
John Heida
B.S., University of Montana; B.Arch., California
College of the Arts.
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.
Komal Kehar
Scott Larrabee
B.F.A., University of Michigan; M.S., Pratt Institute.
Jason Livingston
B.A., Brown University; M.Arch., Parsons New School
of Design; M.S., Columbia University.
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
theatre 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.
B.Arch., California State Polytechnical; M.S.,
Columbia University in the City of New York; Plain
Space Inc., Architecture and Design.
Margaret Kirk
Chelsea Limbird
Lindsay Homer
Adam Koogler
B.A., Bates College; M.S., Pratt Institute.
M.S., M.Arch., University of Cincinnati.
Ben Howes
Katerina Kourkoula
B.Arch., Pratt Institute; M.S., Stevens Institute
of Technology.
B.S., The Bartlett School of Architecture; B.Arch.,
M.Arch., The Cooper Union
Eric Kachelhofer
Archana Kushe
A commercial artist since 1977, with more than 15
years experience in the computer graphics field,
he has worked in advertising, publishing, and in the
comic industry.
Academy of Architecture, India; M.Arch., Ohio State
University.
Moira Henry
B.S., University of Illinois at Urbana-Champaign;
M.Arch., Southern California Institute of
Architecture.
Claudia Hernandez
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
B.A., Concordia University; M.Arch., Parsons The
New School of Design; project manager, SPaN LLC,
New York, N.Y.
Poonam Khanna
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 Kwon
B.Arch., Rhode Island School of Design; M.S.,
Columbia University; principal, Serge Studio.
B.A., Brown University; M.Arch., Rhode Island School
of Design.
Jennifer Logun
B.A., Gettysburg College; M.Arch., University of Florida.
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
B.F.A., B.Arch., Rhode Island School of Design;
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.
T. Camille Martin
B.A., Miami University; M.Arch., Washington
University; principal, TCM Studio, Brooklyn, N.Y.
Robert Nassar
Andrew Pettit
B.F.A., Syracuse University; principal, Robert Nassar
Design, New York.
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 multifamily 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
night-club, 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. Joseph E. Nocella
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. Tetsu Ohara
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.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.
Francine Monaco
Jon Otis
Anthony Mekel
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.
Profes sor
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, 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.
Ilona Parkansky
B.A., Cornell University; M.P.S., New York University,
Tisch School of the Arts.
J. Woodson Rainey
B.F.A., B.Arch., University of Utah.
Denise Ramzy
B.A., Williams College; M.S. RED, Columbia University;
M.I.D., University of the Arts, LEED AP; designer
whose work bridges multiple disciplines within the
built environment; after working in architecture and
real estate development, she recently established
Field Dimension, a research-based practice focused
on sustainable urban redevelopment; also teaches at
New York University and Parsons The New School for
Design; a LEED AP BD+C, she serves as a volunteer
for the U.S. Green Building Council, advising
on their educational and research initiatives; also
curates Design Diversions, a series of design-related
tours and events in and around New York City.
Eduardo Rega
M.P.A.A., Polytechnic University of Madrid; M.S.,
Columbia University.
interior design facult y 255
Christian Rietzke
Hazel Siegel
Yutaka Takiura
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, New Jersey; 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.
B.F.A., Skidmore College; M.F.A., Hunter College,
City University of New; Atelier Hazel Siegel Ltd.
B. Eng., Waseda University; M.Arch., University
of Pennsylvania; M.Arch., Illinois Institute of
Technology; RA; architect based in New York City
and focusing on interior architecture projects;
professional experience includes working with
prestigious designers of such as Marcel Breuer and
becoming known as a specialist in modern design of
the 20th century.
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.
Deborah Schneiderman
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 upcoming 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.
Andrew Simons
B.F.A., Carnegie Mellon University; partner,
Emphasis Design.
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, 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. Myonggi Sul
Profes sor
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
B.F.A., B.Arch., Rhode Island School of Design;
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
A s sistant Chair, Adjunct A s so ciate
Profes sor
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, 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
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 insure
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.
Corey Yurkovich
Kevin Walz
Michael Zuckerman
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 in Ann Arbor; M.Arch.,
Harvard University; professional work has included
residential, town house 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.
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.
B.S., B.Arch., City College of New York; RA, LEED
AP; principal, G.V.Z. Architects; recent work
includes projects for Saint Ann’s School, Enterprise
Lighting Sales, Arcus Foundation, Harlem United,
The Bellhouse, as well as many residential clients;
prior work included designing lobbies for residential
co-ops and retail stores and collaborating on
restaurants, residences, and offices with Judith
Stockman and Associates, The George Office, and
Richard Bloch Architect; has designed custom light
fixtures and furniture during the course of various
projects; formerly, project architect, project
manager, and senior designer with the firm of Jack L.
Gordon Architects (1974–1983), responsible for many
projects of varying scope and complexity including
building renovations and new construction.
257
Liberal Arts and Sciences Faculty
Andrew W. Barnes
Cynthia Elmas
Thomas Healy
Dean of the School of Liberal Arts and
Sciences
L ec t urer, Intensive Engl ish
L ect urer, Intensive Engl ish
Master of Arts in TESOL Hunter College, B.A. in
French Literature from Rutgers University, where she
also studied Art History at the graduate level. She has
over 15 years experience of teaching ESL to adults in
New York and was also Assistant Editor for the multidisciplinary journal, RES: Anthropology and Aesthetics
for 8 years. In addition to ESL, she is also a dancer
who performs regularly in the New York area.
M.A.,English Literature, University of Ireland;
Thomas has and a certificate in TEFL from the
Galway Language Centre, Ireland. He has studied
at the Takabijustu School of Art, Tokyo, and the
Massachusetts Institute of Art, Boston. He has
taught English in Ireland, Japan, and the U.S.
Since 1992, Thomas 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 coursebook published by Oxford
University Press.
Gloriana Russell
A s sistant to the De an
Erich Kuersten
Academic Advisemen t Co ordinator
Laura Elrick
Intensive English
Barbara Anello- Adnani
Nichole Van Beek
Channing Burt
Rachid Eladlouni
a s ses sment and educational technolo gy
Co ordinator; L ec t urer, In tensive Engl ish
B.A. Ibn Tofail University (Morocco); M.A.
Hunter College.
Visiting Instructor ; L ect urer,
In tensive Engl ish; T u tor
B.A., Rhetoric and Communication, University
of Southern California; Laura Elrick teaches in
the English and Humanities Department and the
Intensive English Program. She has published
two books of poetry and numerous essays on
contemporary literature 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.
Dana Gordon
CEP C o ordinator ; L ect urer, Intensive
Engl ish
M.A., University of California at Berkeley; Dana
Gordon has two decades of experience teaching
English as a Second Language, including eleven years
in Tokyo, Japan. She is the author of Folly (Roof
Books); Are Not Our Lowing Heifers Sleeker than Night
Swollen Mushrooms? (Spuyten Duyvil), foriegnn bodie
(Voces Puerulae); V. Imp (Faux Press); and with Gary
Sullivan, Swoon (Granary Books).
Jamerry Kim
Allegra Marino-Shmulevsky
Helen McNeil
M.A. in TESOL, New York University; Helen earned
her ESL certificate from the New School in Social
Research in 1990. She taught in the summer
program at Nanjing University, China in 1993. She
won her MA in Tesol from New York University
in 1998 while teaching in their intensive English
program. She has also taught in Columbia University
and La Guardia Community College. She has been
teaching in the IEP for the past six years at Pratt. She
is currently singing in a chorus which performed in
Carnegie Hall in 2007.
258 liberal arts facult y
Jon Pauley
Jonathan Beller
Profes sor
Nancy Seidler
Director, Intensive Engl ish
B.A., Brooklyn College; M.A. in 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.
Humanities and
Media Studies
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.
Priya R. Chandrasekaran
Caterina Bertolotto
Laurea in Pedagogia, University of Turin, Italy;
Caterina Bertolotto, a graduate of the University of
Turin, Italy, has received 8 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. She is the
author of four books, two audio and two PowerPoint
CDs. She has also taught seminars to language
teachers and undergraduates at The New School,
Sarah Lawrence College, Montclair State University,
Eugene Lang, and Baruch College.
Stephanie Boluk
Warren Burdine
Donald Andreasen
M.F.A., New School; Don earned his Masters of Fine
Arts degree in Playwriting from the Actors Studio,
The New School. He 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. Don has also worked as a
voice-over artist doing various commercial work in
addition to network television
Saul Anton
Emily P. Beall
Professor Beall’s 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.
(including many remarkable Pratt scholars). His
consuming interests include his two babies, poetry,
contemporary art, and African art.
Melissa Buzzeo
Diana Cage
Philip Carroll
Visiting Instructor
Pamela Casey
Visiting Instructor
Lis Cena
Peter Chamedes
Peter Chamedes is 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
Visiting Instructor
Youmna Chlala
Diane Cohen
Visiting Instructor
Ellen Conley
M.S., Wagner College; B.A., Pennsylvania State
University; MTMS ASCP, Jefferson Medical College;
Ellen Conley is 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
A s sistant Chair
B.A., New York University; M.F.A., Goddard College;
Kathryn Cullen-DuPont is the author of the
Encyclopedia of Women’s History In America (Facts
on File, 1996, rev. ed., 2000) and Elizabeth Cady
Stanton (Facts on File, 1992); co-author of Women’s
Suffrage in America (Facts on File, 1992, rev. ed.,
2005) and Women’s Rights on Trial: 101 Historic Trials
from Anne Hutchinson to the Virginia Military Institute
Cadets (Gale Research, 1997); and editor of American
Women Activists’ Writings: An Anthology, 1637–2002
(Cooper Square Press, 2002). She is currently
working on a book about human trafficking.
Maria Damon
Chair, Humanities and Media S t udie s
Amanda Davidson
Don Doherty
Visiting Instructor ; T u tor
B.A., Hunter College, City University of New York;
New York University; Don Doherty 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,
liberal arts facult y 259
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.
Steven Doloff
Profes sor; L ect urer, In tensive Engl ish
B.A., Stony Brook University; M.phil.; Ph.D.,
City University of New York Graduate Center;
TESOL Certificate, Columbia University Teachers
College; Steven Doloff was named a Pratt Institute
Distinguished Professor (2001–02) and received the
Institute’s Student Government Association Faculty
Excellence Award in 1990.
Rachid Eladlouni
Visiting A s sistan t Profe s sor; L ec t urer,
Intensive Engl ish
Laura Elrick
Visiting Instructor; L ec t urer, In tensive
Engl ish; T u tor
B.A., Rhetoric and Communication, University
of Southern California; Laura Elrick teaches in
the English and Humanities Department and the
Intensive English Program. She has published
two 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.
Elizabeth Fow
Adjunct Instructor; T u tor
B.A., University of Waikato, New Zealand; M.F.A.,
Brooklyn College.
Sacha E. Frey
Visiting Instructor
John Gendall
Visiting Instructor
Daniel Gerzog
Profe s sor
Daniel Gerzog (B.A. ‘53, M.A. ‘54, A.B.D. ‘58, New York
University) is Professor of English and Humanities and
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 M.F.A. program.
Elizabeth Grinnell
M.F.A., Brown University; B.A., Mills College; E. Tracy
Grinnell is the author of Some Clear Souvenir (O
Books, 2006) and Music or Forgetting (O Books, 2001).
She is the founding editor of Litmus Press, a nonprofit
publisher of new American poetry and works in
translation.
Amy Guggenheim
Amy Guggenheim is a 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.
Christian Hawkey
Profes sor
Professor Hawkey is the author of three awardwinning 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.
Kwame Heshimu
Visiting Instructor ; T u tor
B.A. in English (with a specialization in writing), New
York University; Kwame Heshimu grew 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. Kwame 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.
Jeffrey Hogrefe
B.A., University of California at Berkeley; Jeffrey
Hogrefe is an author, architectural critic, and coordinator of 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.
Samantha Hunt
Profes sor
M.F.A., Warren Wilson College; Samantha Hunt is
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; Dexter Jeffries was
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. Jeffries 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. Jeffries lives in Brooklyn.
Sean Kelly
B.A., Loyola College University of Montreal.
Politics 2004 She has taught at California Institute
of the Arts, New York University, and University of
California at Los Angeles.
David D. Kim
Tracie Morris
Visiting Instructor
Visiting Instructor
Elizabeth Knauer
Christoph Kumpusch
Krystal Languell
Rachel Levitsky
Professor Levitsky’s 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.
Ellen Levy
Ira Livingston
Profe s sor
Ph.D., Stanford University; Ira Livingston’s primary
field is cultural theory. He is the author of
Between Science and Literature: An Introduction
to Autopoetics (2006) and Arrow of Chaos:
Romanticism and Postmodernity (1997), and coeditor
of Posthuman Bodies (1995, with Judith Halberstam)
and Poetry and Cultural Studies: A Reader (2009, with
Maria Damon).
Jennifer Miller
Circus Amok founder and artistic director Jennifer
Miller has been working with alternative circus
forms, theater, and dance, for over twenty 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 a
New York 2002 and Brazilian documentary, Juggling
Profes sor
Ph.D., Performance Studies, New York University;
M.F.A. Poetry, Hunter College, City University of New
York; Tracie Morris is 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.
Cecilia Muhlstein
Cecilia Muhlstein 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.
Mendi Lewis Obadike
Ph.D., Duke University.
Robert Obrecht
B.A., Sarah Lawrence Coll; TESOL Certificate,
Columbia University Teachers College; Obrecht was
born in New York City in 1951. His 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 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. Obrecht has
been teaching at Pratt since 1988.
Kristin A Pape
Jean-Paul Pecqueur
adjunct A s sistant Profes sor
M.F.A., University of Washington; B.A., Evergreen
State College; Jean-Paul Pecqueur is a poet and
writing instructor who has published poems,
critical reviews, and essays in a number of national
publications. He has taught creative writing, critical
writing, and literature courses at The University of
Washington and The University of Arizona’s Poetry
Center. Jean-Paul 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 ; L ect urer, In tensive
Engl ish
B.A., English, Ohio University; M.F.A., Fiction Writing,
Syracuse University; Eric’s fiction and non-fiction
have appeared in Guernica Magazine, the Chicago
Tribune and the Chicago Reader.
Carole Rosenthal
Visiting Profes sor
B.A., Pennsylvania State University; M.A., New York
University; M.A., Graduate Faculty of the New
School for Social Research; Carole Rosenthal is
the author of a short story collection in which
characters’ inner lives collide explosively with
external reality. Her fiction has been translated into
11 languages and dramatized for radio and television
networks, including Italy’s RAI and South Africa’s
Springbok Broadcasting. Widely anthologized,
she teaches modern and contemporary ideas in
literature and film at Pratt. She is also a former
psychotherapist whose art work has appeared in
shows and magazines.
Matthew Sharpe
Yijue Sun
Heidi Singer
Holly Tavel
Visiting Instructor
Visiting Instructor
Heidi Singer holds a Ph.D. from CUNY Graduate
Center (1983) in German Languages and Literatures,
an M.A. in German from Syracuse University (1973),
and a B.A. in Psychology from San Francisco State
University (1969). She has taught at Queensborough
College (1981–1991) and Hunter College (1986–2000)
and at The New School (since 1995) and Pratt (since
2001). She was a translator for The Rockefeller
Archive Center, translated numerous books and
articles, and wrote a book for Living Languages:
German All the Way (Crown, 1994).
Sharon Snow
Visiting Instructor
B.A., Vassar College; Master of Arts, 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. Josephs College.
Ethan Spigland
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. Professor Steil has also 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.
Barbara Turoff
Ph.D., New York University; Laurea, Universita di
Bologna
Suzanne Verderber
B.A., Dartmouth College; Ph.D., Univiversity of
Pennsylvania; Suzanne Verderber’s 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.
Christopher Vitale
B.A., State University of New York at Binghamton;
Ph.D., New York University; his 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, he is writing a book about
complexity studies and theories of networks. He has
taught at New York University, University of California
at Berkeley, and Hunter College.
Mathematics and Science
Damon Chaky
Ph.D., Rensselaer Polytechnic Institute; B.S.,
Rensselaer Polytechnic Institute; Dr. Chaky’s
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
Profes sor
Ph.D., University of Massachusetts at Amherst, 2000;
Licenciada (equivalent to MS degree), University of
Buenos Aires, Argentina, 1991.
Anatole Dolgoff
Adjunct Profes sor
M.S., Miami University; B.S. Hunter College, CUNY.
Elizabeth Williams
Margaret Dy-So
A s sistant to the Chair
M.F.A., Columbia University; B.A., Middlebury
College.
Aman Gill
Thad Ziolkowski
Co ordinator, The Writing Pro gr am;
Profes sor
B.A., George Washington University; Ph.D., Yale
University; Ziolkowski is 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.
B.S., Integrative Biology and History, University of
California at Berkeley; Ph.D. candidate in Ecology
and Evolution, Stony Brook University.
Christopher Jensen
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 ecologicallyconscious 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
Ph.D., M.S., University of Aarhus; Dr. Kehlet teaches
Introductory Science and the Chemistry of
Pigments. Her research interests are in the field of
Conservation Science.
Steve Kreis
M. A.. Hunter College, CUNY; B.S., University of
Missouri.
Richard Leigh
Visiting Profe s sor
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’Ecole
Normale Superieure (Paris); joined Brookhaven
National Laboratory and switched to energy analysis
and development of energy-efficient technologies;
taught full time at Pratt 1987–93; back to BNL,
acquired NYS Professional Engineering license; then
into the non-profit 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.
Joel Levitt
Jemma Lorenat
Vincent Tedeschi
Visiting Instructor
Ph.D. candidate in History and Math, Simon Frasier
University and Université Pierre et Marie Curie, Paris;
M.A., CUNY Graduate Center; B.A., San Francisco
State University.
Tiffany Liu
L ab Technician
Ágnes Mócsy
Ph.D., University of Minnesota; M.Sc., University of
Bergen, Norway; Dr. Mócsy 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. Dr. Mócsy teaches Introductory Physics
and Astronomy.
Stephen Sabatino
Ph.D. Stony Brook University; M.S., San Francisco
State University; B.S., University of South Carolina.
His focus is in population genomics and molecular
evolution in marine species.
Carole Sirovich
Chair
Ph.D., M.S., New York University; B.S., Brooklyn
College.
Gerson Sparer
Adjunct Profes sor
Profes sor
B.S.E.E.; M.S.E.E., Columbia University School of
Engineering; M.A. (Physics), Columbia University;
Professional Degree (E.E.), Columbia University
School of Engineering; He is the Director of the
Anxiety and Hypoglycemia Relief Institute and the
Chairman of The Engineering In Medicine and Biology
Society (New York chapter), part of the non-profit
IEEE. He has lectured at Rockefeller University and
elsewhere on software and health (anxiety and
hypoglycemia).
B.S., Brooklyn College; M.S., Courant Institute; 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.
M.S., B.A., Stony Brook University.
James Wise
Visiting Instructor
B.A., Hunter College; M.A., Brooklyn College.
Daniel Wright
Ph.D., Stanford University; M.S., University of
California at San Diego; B.S., Pennsylvania State
University.
Social Science and
Cultural Studies
Sameetah Agha
A s so ciate Profes sor, 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, City University of
New York.
Alheli Alvarado-Diaz
B.A., Johns Hopkins University; M.A., M.Phil., Ph.D.,
Saul Anton
Visiting Instructor, Cult ur al S t udie s
B.A., University of Michigan; M.A., Graduate Center,
City University of New York; Ph.D., Princeton
University.
Mariana Assis
J.D. and M.A., Federal University of Minas Gerais,
Brazil; Ph.D. Candidate, New School for Social
Research.
Robert Ausch
Corey D’Augustine
Gabriel Hernández
Adjunct A s so ciate Profe s sor, Psycholo gy
Visiting Instructor, Theory and Pr actice
B.A., New York University; M.A., City College, City
University of New York; Ph.D., Graduate Center, City
B.A., Oberlin College; M.A., Institute of Fine Arts at
New York University.
B.A., City College of New York; M.A. and Ph.D.
Candidate, Stony Brook University.
Josh Blackwell
Lisabeth During
Ann Holder
A s so ciate Profes sor, Philosophy
B.A., Wesleyan University; M.Th., King College,
University of London, London, U.K.; Ph.D., Trinity
College, Cambridge University, Cambridge, U.K.
B.A., Hampshire College; Ph.D., Boston College.
Visiting Instructor, Fa shion and De sign
History
B.A., Bennington College; M.F.A., California Institute
of the Arts.
Francis Bradley
A s sistant Profe s sor, History
B.A., M.A., Ph.D., University of Wisconsin at Madison.
B. Ricardo Brown
Taylor Easum
B.A., University of California at Los Angeles; M.A.,
Ph.D., University of Wisconsin at Madison.
Barbara Duarte Esgalhado
Visiting Instructor, P sycholo gy
Co ordinator and Profe s sor, Critical and
Visual St udies, Cult ur al St udie s
B.A., Rutgers University; Ph.D., Columbia University.
B.A., Bard College at Simon’s Rock; M.A., Syracuse
University; M.Phil., Ph.D., Graduate Center, City
Bernard Flynn
Josiah Brownell
John Frangos
Co ordinator amd A s sistan t Profe s sor,
Worl d History Pro gr am, History
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.
Caitlin Cahill
A s sistant Profe s sor, P ol itics and
Geo gr aphy
B.A., Middlebury College; M.A., Hunter College;
M.Phil., Ph.D., Graduate Center, City University of
New York.
Matthew A. Carlin
Visiting Profe s sor, An throp olo gy
B.A., M.A., University of Oregon; Ph.D., Columbia
University.
Paul Dambowic
Adjunct Instructor
B.A., New York University; M.A., Yale University.
Mareena Daredia
Visiting Instructor, Cinema St udie s
B.F.A., York University; M.F.A., Pratt Institute.
Visiting Ins tructor, Philosophy
B.A., M.A., Ph.D., Duquesne University.
Adjunct A s sistant Profes sor, History
B.A., M.A., Queens College; M.A., C.W. Post Campus,
Long Island University; Ph.D., New York University.
Eric Godoy
B.A., Rollins College; M.A., New School for Social
Research.
P.J. Gorre
B.A., Villanova University; M.A. and Ph.D. Candidate,
New School for Social Research.
Monica A. Grandy
Visiting A s sistant Profes sor, P sycholo gy
Travis Holloway
B.A., Belmont College; M.A., Boston College, M.F.A.,
New York University; Ph.D. Candidate, Stony Brook
University.
Estelle Horowitz
Profes sor Emerita, Economics
Gregg M. Horowitz
Chairperson & Profes sor of Philosophy
B.A., Sarah Lawrence College; M.A., Boston
University; Ph.D., Rutgers University.
May Joseph
Profes sor, Global S t udies
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Shelley Juran
Profes sor, P sycholo gy
B.A., M.A., Brooklyn College; Ph.D., City University of
New York.
Marina Kaneti
B.A., Columbia University; M.S., Columbia University
School of Social Work.
Josh Karant
Adjunct A s sistant Profes sor, Philosophy &
Fo od S t udies
B.A., Sarah Lawrence College; Ph.D., City University
of New York.
B.A., Pomona College, M.A., New School; M.A.,
Rutgers University; Ph.D., University of Maryland.
Mitchell Harris
Kathleen C. Kelley
Adjunct A s sistant Profes sor, History
B.F.A., State University of New York at Purchase;
M.A., M.Phil, City University of New York.
B.A., St. John’s College; M.A. and Ph.D. Candidate,
New School for Social Research.
Todd Kesselman
Erum Naqvi
Ritchie Savage
Visiting Instruc tor, Philosophy
Visiting Instructor, So ciolo gy
B.A., Trinity College; M.A. The New School for Social
Research.
B.Sc. Hons., Philosophy and Economics, London
School of Economics; M.A. and Ph.D. Candidate,
Temple University.
B.S., Bradley University; M.A., Ph.D. The New School
for Social Research.
Darini Nicholas
Adjunct A s sistant Profes sor, His tory
Annie Khan
B.A., Columbia University; M.A. City College of New
York; Ph.D. Candidate, Stony Brook University.
Hunter Kincaid
Visiting Instructor, Psycholo gy
B.S. University of Washington; M.A. University of
Chicago.
Elizabeth Knauer
Visiting Instructor, Cult ur al St udie s
Gerald Levy
Visiting Instructor, Ec onomics
B.A., New York University; M.A. The New School for
Social Research.
Luka Lucic
A s sistant Profe s sor, Psycholo gy and
Dia sp or a S t udies
B.A., City College of New York; M.Phil., The Graduate
Center of the City University of New York.
Bettina Mathes
Visiting Instructor, Queer St udie s
State Examination (M.A equivalent), Johann Wolfgang
Goethe University, Frankfurt/Main, Germany; D. Phil,
Humboldt University, Berlin, Germany; Habilitation,
Humboldt University, Berlin, Germany.
Alex McCown
Visiting Instructor, P ol itical Theory
Ph.D. Candidate, The New School.
John McGuire
Adjunct Instructor, Philosophy
B.A., New York University; M.A., The New School.
Liam Moore
B.A., Reed College; M.A., M. Phil., and Ph.D.,
Jeff Surovell
Adjunct Instructor, Anthrop olo gy
B.A., M.A., Ph.D., Columbia University.
B.A., University of Louisville; M.A., Goddard College
(Kentucky); Ph.D. Candidate, The New School.
Kumru Toktamis
Cheol-Soo Park
Adjunct A s sistant Profes sor, So ciolo gy
Visiting Instructor, Economics
B.A., Middle East Technical University, Ankara, Turkey;
M.A., Ph.D., The New School.
B.A., M.A., Ph.D., Seoul National University; Ph.D.
The New School.
Basil Tsiokos
Irving Perlman
Profes sor Emerit us, History
B.A., Brooklyn College; M.B.A., J.D., New York
University.
Robert Richardson
Adjunct A s sistant Profes sor, Philosophy
B.A., Wheaton College; M.A., ABD, Pennsylvania
State University.
Uzma Z. Rizvi
A s sistant Profes sor, Anthrop olo gy and
Urban S t udies
B.A., Bryn Mawr College; M.A., Ph.D., University of
Pennsylvania.
Adam Rosen-Carole
Visiting A s sistant Profes sor, Philosophy
B.A., Vanderbilt University; M.A., Ph.D., The New
School.
Matthew Sanger
B.A., Colorado College; M.A., Hunter College; M.Phil,
John Santore
Visiting Instructor, Theory and Pr ac tice
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.
Sal A. Westrich
Profes sor, His tory
B.A., City College of New York; M.A., University of
Wisconsin; M.A., Harvard University; Ph.D., Columbia
University.
Rebecca Winkel
M.A., Columbia University; M.A., Gordon-Conwell
Theological Seminary; Ph.D., The New School for
Social Research.
Iván Zatz-Díaz
A s so ciate Profes sor, Global iz ation
B.A., State University of New York at Purchase;
M.F.A., New York University; Ph.D., Graduate Center,
City University of New York.
Carl Zimring
A s so ciate Profes sor, History and
Sus tainabil it y
B.A., M.A., Temple University; Ph.D., Columbia
University.
B.A. University of California at Santa Cruz; M.A.,
Ph.D., Carnegie Mellon University.
Zachary Sapolsky
B.A., University of Rochester; M.A., Ph.D., Long Island
University.
Sameetah Agha
A s so ciate Profe s sor, History
B.A., Smith College; M.A., M.Phil., Ph.D., Yale
University.
Dory Aghazarian
B.A., Columbia University; M.A. Fordham University;
Ph.D. Candidate, Graduate Center, City University of
New York.
Alheli Alvarado-Diaz
B.A., Johns Hopkins University; M.A., M.Phil., Ph.D.,
Saul Anton
B.A., University of Michigan; M.A., Graduate Center,
City University of New York; Ph.D., Princeton
University.
Mariana Assis
J.D. and M.A., Federal University of Minas Gerais,
Brazil; Ph.D. Candidate, The New School for Social
Research.
Robert Ausch
Adjunct A s so ciate Profe s sor, Psycholo gy
B.A., New York University; M.A., City College, City
University of New York; Ph.D., Graduate Center, City
Josh Blackwell
Visiting Instructor, Fa shion and De sign
History
B.A., Bennington College; M.F.A., California Institute
of the Arts.
Francis Bradley
A s sistant Profe s sor, History
B.A., M.A., Ph.D., University of Wisconsin at Madison.
Josiah Brownell
John Frangos
Co ordinator amd A s sistant Profes sor,
Worl d History Pro gr am, History
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.
Caitlin Cahill
A s sistant Profes sor, P ol itics and
Geo gr aphy
B.A., Middlebury College; M.A., Hunter College;
M.Phil., Ph.D., Graduate Center, City University of
New York.
Matthew A. Carlin
Visiting Profes sor, Anthrop olo gy
B.A., M.A., University of Oregon; Ph.D., Columbia
University.
Paul Dambowic
Adjunct Instructor
B.A., New York University; M.A., Yale University.
Mareena Daredia
Visiting Instructor, Cinema S t udies
B.F.A., York University; M.F.A., Pratt Institute.
Corey D’Augustine
Visiting Instructor, Theory and Pr actice
B.A., Oberlin College; M.A., Institute of Fine Arts at
New York University.
Lisabeth During
A s so ciate Profes sor, Philosophy
B.A., Wesleyan University; M.Th., King College,
University of London, London, U.K.; Ph.D., Trinity
College, Cambridge University, Cambridge, U.K.
Taylor Easum
B.A., University of California at Los Angeles; M.A.,
Ph.D., University of Wisconsin at Madison.
Barbara Duarte Esgalhado
B.A., M.A., Queens College; M.A., C.W. Post Campus,
Long Island University; Ph.D., New York University.
Eric Godoy
B.A., Rollins College; M.A., The New School for Social
Research.
P.J. Gorre
B.A., Villanova University; M.A. and Ph.D. Candidate,
The New School for Social Research.
Monica A. Grandy
B.A., Sarah Lawrence College; Ph.D., City University
of New York.
Mitchell Harris
B.F.A., State University of New York at Purchase;
M.A., M.Phil, City University of New York.
Gabriel Hernández
B.A., City College of New York; M.A. and Ph.D.
Candidate, Stony Brook University.
Ann Holder
B.A., Hampshire College; Ph.D., Boston College.
Travis Holloway
B.A., Belmont College; M.A., Boston College, M.F.A.,
New York University; Ph.D. Candidate, Stony Brook
University.
Estelle Horowitz
Profes sor Emerita, Economics
Gregg M. Horowitz
Chairperson & Profes sor of Philosophy
B. Ricardo Brown
B.A., Rutgers University; Ph.D., Columbia University.
B.A., Sarah Lawrence College; M.A., Boston
University; Ph.D., Rutgers University.
Co ordinator and Profe s sor, Critical and
Visual St udies, Cult ur al St udie s
Bernard Flynn
B.A., Bard College at Simon’s Rock; M.A., Syracuse
University; M.Phil., Ph.D., Graduate Center, City
May Joseph
B.A., M.A., Ph.D., Duquesne University.
Profes sor, Global S t udies
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Shelley Juran
Bettina Mathes
Adam Rosen-Carole
Profe s sor, Psycholo gy
Visiting Instructor, Queer S t udies
Visiting A s sistant Profes sor, Philosophy
B.A., M.A., Brooklyn College; Ph.D., City University of
New York.
State Examination (M.A equivalent), Johann Wolfgang
Goethe University, Frankfurt/Main, Germany; D. Phil,
Humboldt University, Berlin, Germany; Habilitation,
Humboldt University, Berlin, Germany.
B.A., Vanderbilt University; M.A., Ph.D., The New
School.
Marina Kaneti
B.A., Columbia University; M.S., Columbia University
School of Social Work.
Josh Karant
Alex McCown
Visiting Instructor, P ol itical Theory
Ph.D. Candidate, The New School.
Matthew Sanger
B.A., Colorado College; M.A., Hunter College; M.Phil,
John Santore
Adjunct A s sistan t Profe s sor, Philosophy &
Fo od St udies
John McGuire
B.A., Pomona College, M.A., The New School; M.A.,
Rutgers University; Ph.D., University of Maryland.
B.A., New York University; M.A., The New School.
B.A., M.A., Temple University; Ph.D., Columbia
University.
Liam Moore
Zachary Sapolsky
B.A., Reed College; M.A., M. Phil., and Ph.D.,
B.A., University of Rochester; M.A., Ph.D., Long Island
University.
Erum Naqvi
Ritchie Savage
Visiting Instructor, So ciolo gy
B.A., Trinity College; M.A. The New School for Social
Research.
B.Sc. Hons., Philosophy and Economics, London
School of Economics; M.A. and Ph.D. Candidate,
Temple University.
B.S., Bradley University; M.A., Ph.D. The New School
for Social Research.
Annie Khan
Darini Nicholas
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., Columbia University; M.A. City College of New
York; Ph.D. Candidate, Stony Brook University.
Hunter Kincaid
Visiting Instructor, Psycholo gy
B.S. University of Washington; M.A. University of
Chicago.
Elizabeth Knauer
Gerald Levy
Visiting Instructor, Ec onomics
B.A., New York University; M.A. The New School for
Social Research.
Luka Lucic
A s sistant Profe s sor, Psycholo gy and
Dia sp or a S t udies
B.A., City College of New York; M.Phil., The Graduate
Center of the City University of New York.
Adjunct Instructor, Philosophy
Jeff Surovell
Adjunct Instructor, Anthrop olo gy
B.A., M.A., Ph.D., Columbia University.
B.A., University of Louisville; M.A., Goddard College
(Kentucky); Ph.D. Candidate, The New School.
Kumru Toktamis
Cheol-Soo Park
Adjunct A s sistant Profes sor, So ciolo gy
Visiting Instructor, Economics
B.A., Middle East Technical University, Ankara, Turkey;
M.A., Ph.D., The New School.
B.A., M.A., Ph.D., Seoul National University; Ph.D.
The New School.
Basil Tsiokos
Irving Perlman
B.A., Brooklyn College; M.B.A., J.D., New York
University.
Robert Richardson
Adjunct A s sistant Profes sor, Philosophy
B.A., Wheaton College; M.A., ABD, Pennsylvania State
University.
Uzma Z. Rizvi
A s sistant Profes sor, Anthrop olo gy and
Urban S t udies
B.A., Bryn Mawr College; M.A., Ph.D., University of
Pennsylvania.
Visiting Instructor, Theory and Pr ac tice
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.
Sal A. Westrich
Profes sor, His tory
B.A., City College of New York; M.A., University of
Wisconsin; M.A., Harvard University; Ph.D., Columbia
University.
Rebecca Winkel
Thomas Beachdel
Visiting A s sistan t Profe s sor, Psycholo gy
M.A., Columbia University; M.A., Gordon-Conwell
Theological Seminary; Ph.D., The New School for
Social Research.
Iván Zatz-Díaz
A s so ciate Profe s sor, Global iz ation
B.A., State University of New York at Purchase;
M.F.A., New York University; Ph.D., Graduate Center,
City University of New York.
Carl Zimring
A s so ciate Profe s sor, History and
Sustainabil it y
B.A. University of California at Santa Cruz; M.A.,
Ph.D., Carnegie Mellon University.
M.Phil., Ph.D., Art History, Graduate School and
University Center, CUNY, M.A., Art History, Institute
of Fine Arts, New York University; Thomas Beachdel
is a specialist in nineteenth century art and
architectural history. He is currently completing
a dissertation on landscape aesthetics and the
sublime in late 18th-century France. He has lectured
at the Dahesh Museum, and currently lectures at
the Metropolitan Museum, the Guggenheim, the
New Museum and at contemporary galleries in
conjunction with the art education programs at the
92nd Street Y and Tribeca Y. He has taught courses
on art and architectural history at Hunter College
and at Spitzer School of Architecture (City College).
Agnes Berecz
Lisa A. Banner
M.A., Ph.D., Institute of Fine Arts, New York University,
A.B. Princeton University; Lisa A. Banner is a specialist
in Spanish Baroque art, with a focus on the role of
the artist, patronage and collecting, and drawings.
She has held a Samuel H. Kress Curatorial Fellowship
at the Hispanic Society of America, and a Research
Fellowship at the National Gallery of Canada, and
has written extensively about Spanish art. Banner
has lectured at the Metropolitan Museum of Art,
Museum of Fine Arts, Boston, the Frick Collection,
and the Morgan Library, among other venues in the
U.S. In addition, she has been an invited speaker
at international venues, including the Courtauld
Institute, London and the Consortium for the History
of Collecting of the Universitat de Barcelona. Banner
has curated exhibitions of drawings for The Frick
Collection and various international venues. Most
recently, she curated exhibitions of contemporary
art, including painting, sculpture, new media,
installation and conceptual art.
Ph.D., Université Paris I, Panthéon-Sorbonne, 2006;
teaches modern and contemporary art history
at Pratt and the Department of Graduate Studies
of the Fashion Institute of Technology and at The
Museum of Modern Art; New York correspondent of
the Budapest-based art monthly, Müértö, currently
writing a book about the cultural politics of painting
in postwar France; published in Art in America,
Artmargins, Praesens, Treca, and European and U.S.
exhibition catalogs.
Sam Bryan
Adjunct Profes sor
B.A., Dartmouth College; M.A., Howard University;
D.A., Carnegie-Mellon; a filmmaker and film archivist;
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; he’s a past president of
the New York Film Council and continues as executive
director of the International Film Foundation.
Corey D’Augustine
M.A., Art History, Advanced Certificate in Art
Conservation, Institute of Fine Arts, New York
University; B.A., Visual Arts and Biochemistry, Oberlin
College; specialist in 20th-Century Technical Art
History and the Conservation of Modern Paintings
and Sculpture; Special Project Conservator at the
Solomon R. Guggenheim Museum; Lecturer at the
Museum of Modern Art; studio work in Painting and
Sculpture; 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;
selected papers: CAA, Yale University Materials of
Modern Art Symposium.
Edward DeCarbo
B.S., Foreign Service, Georgetown Univ; M.A.,
University of Chicago; M.A., Ph.D., Indiana University;
has earned 2 degrees in international relations and 2
others in anthropology and African studies; his field
research is in West Africa with a focus on aesthetics,
the place and practice of the arts in everyday life.
Eva Diaz
B.A., University of California at Berkeley; M.A., Ph.D.,
Princeton University; Curator for Art in General
and has served as faculty for the Whitney Museum
Independent Study Program, Parsons The New
School for Design, and Sarah Lawrence College; in
addition, she is a freelance critic of contemporary
and modern art for publications such as Art in
America, Time Out New York, and Modern Painters.
Dorothea Dietrich
CHAIR
Ph.D., M.Phil., M.A., B.A., Yale University; Dietrich is
a modernist whose primary research areas are the
arts and culture of the Weimar Republic and the
post-WW II era in Germany; publications include The
Collages of Kurt Schwitters: Tradition and Innovation
(Cambridge University Press, 1993) and German
Drawings of the 60s (Yale University Art Gallery and
Art Gallery of Ontario, 1982) as well as many essays
for exhibition catalogues and contributions to
scholarly volumes in the United States and Europe,
most recently a chapter on avant-garde magazines
in Hannover, Germany, for a comprehensive study
of modernist magazines (Oxford University Press);
she was also Contributing Editor to Art on Paper
and Critical Matrix; before coming to Pratt, Dietrich
was Chair of Arts and Humanities at the Corcoran
College of Art and Design and earlier, Curator of
Prints and Drawings and Director of the Morse
Research Center at the Jane Voorhees Zimmerli
Art Museum at Rutgers; she taught modern art at
Princeton University (1984–1996) and held visiting
appointments at Yale University, MIT, Washington
University, Duke University, Boston University,
and Bryn Mawr College; she recently was a Senior
Research Fellow at the Henry Moore Institute
in Leeds, England; she also serves on the board
for Kurt Schwitter’s Merzbarn in England; she is
currently working on art and technology in the
former German Democratic Republic.
Mary Edwards
Adjunct Profes sor
B.S., M.A., Ph.D., M.L.S., Columbia University;
Edwards grew up in Oklahoma and lives in
Manhattan; studied at the Art Students League and
Columbia University; received a Columbia University
Kress Fellowship for 1982–83; a National Endowment
for the Humanities Travel-to-Collections Grant
for 1988; a Gladys Krieble Delmas Grant for 2000;
and travel grants from Columbia University, Pratt
Institute, and the School of Visual Arts; has been
a fellow at the Virginia Center for the Creative
Arts, the Ragdale Foundation, the Cummington
Community of the Arts, the Mary Anderson Center,
and the Hambidge Center.
Diana Gisolfi
Profe s sor
B.A., Manhattanville, Harvard; M.A., Yale; Ph.D.,
University of Chicago; Gisolfi’s research and teaching
focus is on Italian Renaissance Art, art historical
methodology, the context of the Catholic Reform
in Italy, and art by women; she has published
particularly on sixteenth-century Venetian and
Veneto art, including that of Veronese, Tintoretto,
and Zelotti; current work looks at materials and
techniques of such artists in relation to workshop
practice; lectures in national and international
venues and has reviewed books and exhibitions;
chaired the art history department and is director of
the Pratt in Venice Program.
Dimitri Hazzikostas
B.A., Athens University, Greece; M.A.; Ph.D.,
Columbia University; an art historian and
archaeologist; member of the Hellenic
Archaeological Society; participated in excavations
at Ancient Corinth, Troezen and Lechaion; areas of
special interest include Greek, Roman, and early
Medieval art, iconography and interpretation;
he is a Whiting Fellow and received the Sears
Distinguished Professor Award; a contributor to
the Encyclopedia of Comparative Iconography; as
a member of the Pratt Academic Senate since its
inception, he chaired the Senate’s Programs and
Policies Committee; also teaches in the Pratt-inVenice program.
Frima Fox Hofrichter
Profes sor
Ph.D., Rutgers University; M.A., Hunter College;
B.A., Brooklyn College; as a specialist in Art of the
Early Modern period, issues of gender and class
have informed Hofrichter’s writings and teaching;
author of a monograph on Judith Leyster, numerous articles, and has curated several exhibitions;
besides graduate courses in Dutch still-life painting
and Vermeer, Hofrichter also teaches undergraduate Survey; she is a co-author of the major text,
Janson’s History of Art: The Western Tradition; a
member of the College Art Association’s Committee
on Women in the Arts.
Heather Horton
M.A., Ph.D., Institute of Fine Arts, New York University;
B.A., DePauw University; Heather Horton specializes
in Medieval and Renaissance art and architectural
history. Her current research focuses on questions of
authorship, originality, and imitation, especially in the
career of the pivotal writer and architect Leon Battista
Alberti. She 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. She has taught at
New York University, the City University of New York,
Purchase College, and The Cloisters Museum, where
she remains a frequent guest lecturer.
Il Kim
Ph.D., M. Phil., and M.A., Columbia University,
Architectural History; M.A. and B.A., Tokyo National
University of Fine Arts and Music, Architecture; Il
Kim’s work and studies focus on architecture and
architectural history. His dissertation entitled,
“Nicholas of Cusa, Leon Battista Alberti, and
the Cult of Light in Fifteenth-Century Italian
Renaissance Architecture,” discusses how the mutual
understanding between Cusa and Alberti led to the
creation of unprecedented Renaissance buildings.
He is in the early stages of developing his dissertation
into a book. His publications include studies of the
Italian Renaissance, an essay on Isamu Noguchi, and
several books on contemporary architecture. Il Kim is
an architect as well, and his work has been published
in the U.S.
Vivien Knussi
B.A., M.A., Tufts University; Ph.D., Columbia
University; upon moving to New York City from
Boston in 1986, Knussi lectured at the Museum
of Modern Art focusing on photography; she
also worked for six years as curator and head of
acquisitions for the Dreyfus Mellon Fund; since
completing her Ph.D. she has begun writing a
textbook on photography.
Gayle Rodda Kurtz
A s sistant Chair
B.A., Stanford University; M.A., Hunter College,
City University of New York; Ph.D., The Graduate
Center—City University of New York; concentration
in European art of the 18th and 19th centuries; from
1995 to the present—Contractual Lecturer at The
Metropolitan Museum of Art with a focus on the
African art galleries.
Marilyn Kushner
Visiting Profes sor
B.A., M.A., University of Wisconsin at Milwaukee;
Ph.D., Northwestern Univ; Curator and Head,
Department of Prints, Photographs and Architectural
Collections at the New-York Historical Society
(2006-Present); previously she was Department
Chair, Prints, Drawings, and Photographs and Curator
of Prints and Drawings at the Brooklyn Museum
(1994–2006); 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 served on juries and guest-curated
exhibitions nationwide.
Anca Lacs
Ph.D., Art History Department, University of Southern
California (Dissertation: “Before Art Nouveau: The
Invention, Commercialization, and Display of the
Modern Interior in Nineteenth-Century France”);
Graduate Certificate in History and Theory of
Collecting and Display; Graduate Certificate in
Visual Cultural Studies; M.A., University of Southern
California; B.A., Jacobs University, Bremen,
Germany; Lasc’s work focuses on the invention and
commercialization of the modern French interior
and on the development of the profession of interior
designers in the 19th century. She has published
articles in Interiors: Design, Architecture, Culture and
the Journal of Design History and has presented at
numerous conferences, including those organized
by the College Art Association, the Society of
Architectural Historians, and the Society for French
Historical Studies. In addition to the modern interior,
she also studies the art of commercial window
dressing in 19th-century France and America.
Michele LiCalsi
M.A., New York University, Institute of Fine Arts,
Certificate in Art Conservation; B.A., New York
University; studied art at the New York Academy
of Art, the Art Students’ League, and the National
Academy of Design; she 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;
worked as a conservator on sites in Florence,
Rome, Parma, and Sardis.
paintings, photography, and hand-bound artist
books; inducted into the Visual Lunacy Society; has
worked as a graphic designer at Hearst’s Victoria
Magazine, as a writer at The Los Angeles Daily News,
at Pierogi Gallery in Brooklyn, as an instructor at
Brooklyn Botanic Garden, as an adjunct faculty
member at Virginia Commonwealth University, and
now as a visiting faculty member at Pratt Institute.
Marsha Morton
Profes sor
Ph.D., Institute of Fine Arts, New York University;
M.A., University of Chicago; primary area of research
is 19th-century German art, with published articles
on interdisciplinary topics in Neoclassicism,
Romanticism, Biedermeier, Impressionism,
and Symbolism; currently finishing a book on
the printmaker Max Klinger that explores his art
within the context of Darwinism, anthropology,
psychology, and the grotesque; books include The
Arts Entwined: Music and Painting in the Nineteenth
Century (Garland, 2000) and Pratt and Its Gallery:
The Arts and Crafts Years (1998); she has served as
the secretary of Historians of German and Central
European Art (HGCEA) since 2005.
Art, the North East Popular Culture Association, and
many scholarly venues; current work is focused on
Eugène Delacroix and 19th-Century European and
American Art.
Katarina Posch
M.A., University of Applied Arts, Vienna, Austria;
Ph.D., National University of Fine Arts and Music,
Tokyo, Japan; publications: Design: Isamu Noguchi
and Isamu Kenmochi (Noguchi Museum, New York,
2007); About Creativity (Querdenker Magazin 2007,
European Forum Alpbach 2007, the University of
Applied Sciences, Salzburg, 2007); Isamu Noguchi–
Sculptural Design (Vitra Design Museum, Germany,
2001); curatorial work for the Pompidou Center in
Paris, the Vitra Design Museum in Germany, and the
Noguchi Museum in NYC.
Janice Robertson
VISITING ASSOCIATE PROFESSOR
B.F.A., Fine Art, Art Education, Brooklyn College;
Independent artist, researcher, film archivist, and
programmer; publications include museum notes
and articles in Animation Magazine, AnimaFilm, and
others; author: “Lillian Friedman Astor—Pioneer
Woman Animator”; Executive Board Member
ASIFA-East, the International Animated Film
Association; Curator, Animation Over Broadway,
Museum of Modern Art, 1993; other areas of
interest: film and illustration.
Ph.D., Art History, M.A., Art History, Columbia
University; B.F.A., Fine Arts, Parsons School of
Design; studied both 20th-century and Northern
European Renaissance Art, as well as postEnlightenment political and aesthetic theory;
recent work investigates the relationships between
19th-century American literature and 20th-century
painting and new genres; has taught courses at
Columbia University, Parsons School of Design, and
the Museum of Modern Art, on a variety of subjects,
including 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.
Ph.D., Art History, M.A., Art History, Columbia
University in New York City; B.A., Art History,
California State University at Fresno; specialist in
Pre-Columbian art with research and pedagogical
interests that revolve around writing technologies;
publications: “Pictures Silenced by Words:
Rethinking the Problem of Aztec Picture-Writing,”
Quaderni di THULE (2006); selected awards: FIT
Faculty Development Grant for VoiceThread Pilot
Project (2009-10), Columbia University President’s
Fellowships, CSU Fresno Dean’s Medal of Honor
in the School of Humanities; selected papers:
“Between Painting and Writing: The Problem of
Aztec Picture-Writing and the Paragone at the Root
of the Problem,” Renaissance Society of America
(2008); “Art><Writing Border Crossings: a Nahua
Riddle Sparks an Interactive Reading and Renewed
Vision of Aztec Picture-Writing,” CSU, Sacramento
Art History Symposium (2009); “Alive with Movement:
The Pulse of Aztec Picture-Writing,” Columbia
University Seminar in the Arts of Africa, Oceania, and
the Americas (2010).
Elizabeth Meggs
Joyce Polistena
Ann Schoenfeld
VISITING INSTRUCTOR
M.A., Painting (with distinction), Pratt Institute, 2008;
B.A., Communication Arts and Design, Illustration
(Summa Cum Laude), Virginia Commonwealth
University, 1999; a Brooklyn-based artist, illustrator,
and designer, whose most recent work includes
Ph.D., M.Phil., CUNY; TESOL, Columbia University;
published articles in Religion and the Arts, The Van
Gogh Museum Journal, Italian Americans and the Arts
and Culture; has presented several papers at the
College Art Association, also the Museum of Biblical
B.A., University of California at Berkeley; M.A.,
University of Chicago; Ph.D., City University of
New York, Graduate Center; recipient of CUNY
Dissertation Fellowship, Pratt Institute Faculty
Development Fund grant; lecturer, S.U.N.Y. at
William Lorenzo
Evan Neely
Purchase; nominator, Joan Mitchell Foundation
for Painting and Sculpture; curator, Get Close,
Marymount Manhattan College gallery; published in
Arts Magazine, I.D., Eye.
Dorothy Shepard
Adjunct Profes sor
Ph.D., Bryn Mawr College; B.A., Sweet Briar College;
M.A., Southern Methodist University; specialist in
Medieval Art, especially Romanesque manuscripts;
author of Introducing the Lambeth Bible (2007);
AAUW American Fellowship; Haakon Traveling
Fellowship; invited lectures include College Art
Association (1998), Medieval Academy (2000);
Symposia on the History of the Bible (1995–2000),
International Congress of Medieval Studies, Frick
Symposium (1987).
Jack Toolin
B.F.A., Ohio University; M.F.A., San Jose State
University; an artist working in new media, digital
imaging, and performance, who also teaches at
Polytechnic Institute at NYU and lectures at Rhode
Island School of Design and University of California
at Berkeley; his work considers contemporary
life in light of changing political, economic, and
technological landscapes.
Borhua Wang
B.A., National Taiwan University, Taipei, Taiwan,
ROC; M.A., University of Kansas at Lawrence; Ph.D.,
Columbia University; Wang specializes in Chinese
painting and calligraphy and in particular the Song
dynasty; other areas of research: Contemporary
Chinese Art, Buddhist Art of Southeast Asia, and
Western art theory; curator of Contemporary
Korean Art, Abstract Chinese Art, Taipei Fine Art
Museum; presented “Pan Yuliang’s Life and Art:
Alienation to Freedom of Expression,” CAA, 2001.
Sarah Wilkins
Ph.D., Rutgers, The State University of New Jersey;
M.S., Pratt Institute; B.A., Vanderbilt University;
Sarah Wilkins is a specialist in late medieval and
Renaissance art in Italy. Her research interests include
mendicant patronage, Angevin Naples, interactions
between text and image, and the cult of the saints—
especially the veneration of female saints. Dr. Wilkins’
dissertation, “She Loved More Ardently than the Rest:
The Magdalen Cycles of Late Duecento and Trecento
Italy,” investigating the iconography and patronage
of six Italian narrative cycles depicting the life of Mary
Magdalen, was completed in 2012. Among the grants
and fellowships that she has received are a Fulbright
fellowship at the Kunsthistorishes Institut in Florenz—
Max-Planck-Institut (2010-11) and a Mellon Finishing
Grant (2011-12). Her article, “Imaging the Angevin
Patron Saint: Mary Magdalen in the Pipino Chapel in
Naples,” was just published in California Italian Studies
3 (2012). Another article, “Adopting and Adapting
Formulas: The Raising of Lazarus and Noli Me Tangere
in the Arena Chapel in Padua and the Magdalen Chapel
in Assisi,” in La Formule au Moyen Âge, edited by Elise
Louviot, is forthcoming in early 2013. Her current
research investigates Magdalen Eucharistic imagery.
Karyn Zieve
Ph.D., Institute of Fine Arts, New York University;
M.A., University of Pennsylvania; B.A., Wellesley
College; Zieve is a specialist in 19th- and early
20th-century 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 including symbolism
and German Expressionism.
The Writing Program
Priscilla Becker
Visiting Instructor
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,
has just been released from 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.
Gabriel Cohen
Visiting L ect urer
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 & 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.
Jon Cotner
James Hannaham
Jason Helm
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.
M.F.A., University of Texas; B.A., Yale University;
James Hannaham’s 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 UK. 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.
M.F.A., Creative Writing, Sarah Lawrence College;
Jason’s 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-nineties
gutterpunk culture in Minneapolis.
Steven Doloff
Profes sor, L ect urer in In tensive Engl ish
B.A., Stony Brook University; Steven was named a
Pratt Institute Distinguished Professor (2001–2002)
and received the Institute’s Student Government
Association Faculty Excellence Award in 1990.
John Glassie
Visiting Instructor
B.A., The Johns Hopkins University. Professor Glassie
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
currently at work on a non-fiction book about a
17th-century polymath, published in the fall of 2012.
He is also the author of a book of photographs,
Bicycles Locked to Poles (McSweeney’s, 2005).
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.
Ryan Fischer-Harbage
Samantha Hunt
M.F.A., Warren Wilson College; Samantha Hunt’s
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. Hunt’s 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.
Mary-Beth Hughes
B.A., Kalamazoo College; M.F.A., Bennington College.
Professor Fischer-Harbage, a literary agent who runs
The Fischer-Harbage 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 &
Schuster, Little, Brown & Company as well as The
Penguin Group (U.S.A.).
Christian Hawkey
B.A., University of Montreal; Sean 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.
Profes sor
Professor Hawkey is the author of three awardwinning 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.
B.A., Marymount Manhattan College. Professor
Hughes’ 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).
Sean C. Kelly
Visiting Instructor
Rachel Levitsky
Anna Moschovakis
Eric Rosenblum
Professor Levitsky’s 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.
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.
Visiting Instructor ; L ect urer, In tensive
Engl ish
Robert Lopez
Cecilia Muhlstein
Visiting Profe s sor
Visiting Instructor, T u tor
M.F.A., The New School for Social Research; Robert
Lopez 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.
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.
B.F.A., Boston University School of the Arts;
M.F.A., Pratt Institute; Santlofer 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.
John O’Connor
Justin Taylor
Max Ludington
Visiting Instructor
M.F.A., Columbia University; B.A., University of
Minnesota; Ludington’s 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
Visiting Instructor
B.A., University of Michigan; M.F.A., Columbia
University. Professor O’Connor’s food and travel
writing has appeared in The New York Times, Men’s
Journal, The Financial Times, and Gastronomica, and
he has contributed essays to the literary journals
Open City, The Believer, and Quarterly West, and to
the anthologies The Best Creative Nonfiction Vol. 1,
The Gastronomica Reader and They’re At It Again: An
Open City Reader.
Profe s sor
B.A., M.F.A., Hunter College; M.A., Ph.D., New York
University; Tracie Morris is 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 Instructor
B.A., Tel Aviv University; M.F.A., Sarah Lawrence
College. Professor Oria’s 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, New York 1, Tel Aviv 0, is forthcoming
in 2014.
B.A., English, Ohio University; M.F.A., Creative
Writing-Fiction, Syracuse University; Eric’s fiction and
non-fiction have appeared in Guernica Magazine, the
Chicago Tribune and the Chicago Reader.
Jonathan Santlofer
Visiting Instructor
B.A., University of Florida; M.F.A., The New School.
Professor Taylor is the 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 limited-edition
arts annual.
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
Uljana Wolf
Visiting Instructor
Visiting Instructor
B.A., Wesleyan College. Temple is the publisher and
editor-in-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. Temple
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.
Magister, Humboldt University, Berlin. Wolf is 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*). Wolf
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.
Ellery Washington
a s so ciate Profes sor
D.E.U.G., Sorbonne University, Paris, France.
Ellery Washington’s 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.
Thad Ziolkowski
Co ordinator, The Writing Pro gr am;
Profes sor
B.A., George Washington University; Ph.D., Yale
University; Ziolkowski is 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.
Writing and Tutorial Center
Randy Donowitz
Director of the Writing and T u torial Cen ter
Terri Bennett
T u tor
Priya Chandrasekoran
T u tor, Writing, Thesis
Diane Cohen
A s sistant to the Director
Maura Conley
T u tor, Writing, Thesis
Brian Cook
T u tor
Amanda Davidson
T u tor
Elizabeth (Lol) Fow
Adjunct Instructor, T u tor, The sis,
Gr aduate Writing
Dominica Giglio
Gina Zucker
T u tor, Writing, Art History
Heather Green
B.A., Washington University; M.F.A., The New School;
Gina Zucker 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.
T u tor, Writing, Thesis, C on vers ation
Joseph Herzfeld
L ect urer Intensive Engl ish, T u tor, Writing
Kwame Heshimu
Visiting Instructor, T u tor, Writing
Cecilia Muhlstein
Adjunct A s sistant Profes sor, T u tor,
Writing, The sis
Evan Rehill
Visiting Instructor, T u tor, Writing, The sis
Zachary Slanger
T u tor
275
Undergraduate Admissions
vice president
for enrollment
associate director
of operations
Visiting Pratt
Judith Aaron
Jeffrey Tyack
We invite all prospective students and their
718.636.3743
718.636.3463
[email protected]
[email protected]
families to visit the Pratt campus. The Office
director of
undergraduate admissions
office of undergraduate admissions
William Swan
Tel: 718.636.3514 | 800.331.0834
individual portfolio reviews, and National
718.636.3518
[email protected]
Portfolio Days.
[email protected]
www.pratt.edu/admissions
director of graduate and
international admissions
questions?
Young Joo Hah
request_information/ask.
Myrtle Hall, 2nd Floor
Ask at www.pratt.edu/admissions/
718.636.3683
Office of Admissions Hours
The Office of Admissions is open weekdays
Christopher Paisley
from 9 am to 5 pm from September through
718.636.3593
May and from 9 am to 4 pm during June, July,
[email protected]
and August. It is located in Myrtle Hall, 2nd
associate director of transfer
admissions
Erica Wilson
acquaint students with the school including
information sessions, campus tours,
Campus Tours
General tour times for the Brooklyn
campus are Mondays and Fridays at 10 am,
[email protected]
director of admissions operations
and technology
of Admissions provides several ways to help
floor, Brooklyn campus. Myrtle Hall is the
first left past the main gate entrance.
718.636.3514
Pratt Institute
[email protected]
Office of Undergraduate Admissions
Brooklyn, NY 11205
12 pm, and 2 pm, as well as Tuesdays and
Thursdays at 10 am and 2 pm. The tour is a
general tour and does not visit individual
academic departments. It usually includes
a residence hall room. Tours to specific
academic departments are available upon
request and must be scheduled through the
Visit Coordinator. These are scheduled on
Fridays. Schedule campus tours online at
www.pratt.edu/visit.
The Admissions Office recommends
that prospective applicants visit as early
as the spring of their junior year for ample
276 undergraduate admissions
time to prepare portfolio work. Admissions
counselors are available from April 1
to December 1 each year. Call our Visit
Coordinator at 718.636.3779 or 800.331.0834
to schedule a portfolio review. You may also
email a request to [email protected].
Information Sessions
These are scheduled throughout the year.
Off-Campus Appointments
Pratt’s admissions counselors visit with
contact information:
pr at t instit u te
disabil it y services center
applicants and their families by appointment
215 Willoughby Avenue (WH-1)
throughout the United States. If you are
Suite 117
interested in meeting with an admissions
counselor to have your work reviewed
Tel: 718.802.3123 | Fax: 718.399.4544
or to discuss Pratt, please call our Visit
A person may also file a written complaint
Coordinator at 718.636.3779 or write to
with the Department of Education’s Office
[email protected]. The schedule is available
for Civil Rights regarding an alleged
at www.pratt.edu/visit.
violation of Title IX by visiting www2.ed.gov/
Please check our website at www.pratt.edu/
about/offices/list/ocr/complaintintro.html
visit for a schedule.
Website
Department-Specific
Sessions
These consist of individual department
Visit www.pratt.edu to request a catalog and
is found online at www.pratt.edu/visit.
National Portfolio Days
Representatives from Pratt Institute attend
National Portfolio Days throughout the
country to meet with prospective students
and offer advice about preparing portfolios.
A list of the events we attend can be found
online at www.pratt.edu/visit.
or calling 800.421.3481.
admissions events, requirements, deadlines,
Applying to Pratt Institute and
Pratt MWP
and your financial aid package.
Applications are welcome from all qualified
receive emails throughout the year about
presentations, and a campus tour.
Information on scheduling of all events
Brooklyn, NY 11205
students. The Admissions Committee
Title IX Statement
bases its decisions on a careful review of
all credentials submitted by the applicant.
It is the policy of Pratt Institute to comply
Acceptance decisions shall be made without
with Title IX of the Education Amendments
regard to race, color, sex, marital status,
of 1972, which prohibits discrimination
age, ethnic or national origin, religion,
based on sex (including sexual harassment
creed, sexual orientation, or physical or
and sexual violence) in the Institute’s
mental disability in accordance with federal,
educational programs and activities. Title
state, and local laws. Admissions files are
IX also prohibits retaliation for asserting
not considered complete and will not be
claims of sex discrimination. Pratt Institute
reviewed until all required materials have
has designated its Title IX Coordinator as
been received.
Mai McDonald Graves to coordinate Pratt
CollegeNET hosts Pratt Institute’s
Institute’s compliance with and response to
undergraduate application. The online
inquiries concerning Title IX.
application, as well as various requirements,
may be found at www.pratt.edu/apply.
Writing portfolios should be uploaded
on the new application. Visual portfolios
will continue to be submitted at pratt.
slideroom.com. See www.pratt.edu/apply for
undergraduate admissions 277
instructions on submitting your application
and supporting documents.
6.TOEFL (Test of English as a Foreign
postsecondary studies. Applicants also
Language) or IELTS (International
must submit official results of all external
English Language Testing System)
examinations. These include General
fal l admis sion deadl ines
exam results (international applicants
Certificate of Education, Hong Kong School
Early Action:
only, code: 2669)
Certificate of Education, Israeli matriculation
November 1 (freshmen applicants only;
nonbinding)
Regular Admission:
January 5 (freshmen)
February 1 (transfers)
All mailed materials must be sent to:
Pratt Institute
Brooklyn, New York 11205
All first-time freshmen applying to any of
September 1 (international applicants)
submitted by the application deadline.
October 1 (domestic applicants)
Transcripts should be submitted as soon
throughout the year.
as your school sends them.
Official High School Transcripts
A high school diploma or equivalent is
required for admission to Pratt Institute’s
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
undergraduate programs. Applicants may
request official transcripts from all secondary
schools attended using the “request
transcript” feature on our application.
High School Equivalency
Applicants who have received high school
submit either the TOEFL, SAT, or ACT. To
ensure that we receive scores by our posted
deadlines, students should take the tests as
early as possible but no later than one month
before the application deadline. Please be
sure to have your scores sent directly to Pratt.
Please do 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
AP code is 2669
admissions office in addition to official
submitted instead of TOEFL).
transcripts from all high schools attended.
5. Essay (part of application form)
or ACT. International applicants must
CLEP code is 2669
for international students unless
Construction Management)
submit official results from either the SAT
have official High School Equivalency
Examination (GED) scores sent to the
to pratt.slideroom.com (except
Pratt’s bachelor degree programs must
equivalency diplomas are required to
3. SAT or ACT test scores (not required
4.Visual or writing portfolio: submit
must be translated to English.
Test Scores (sat or act)
All supporting documents should be
may apply on a rolling admissions basis
Baccalaureate Part I and Part II. Transcripts
spring admis sion deadl ines
Two-year associate’s degree applicants
or Bagrut, Secondary School Certificates, and
International Transcripts
ACT code is 2862
ACT and SAT test requirements may
be waived for any first-time freshman
applicants if they have graduated from
International applicants must submit
high school five or more years prior to
official transcripts (academic records) of
their application.
all secondary school studies as well as any
Letter of Recommendation
(Optional)
Applicants may submit one letter by mail
of recommendation from a teacher or
professional who has direct experience
with the applicant’s artistic, academic,
and creative potential. See www.pratt.edu/
apply for information on how to submit.
replicates any other artist’s work (including
Op tion 2
replicating anime drawings, cartoons, or
Visual Sample: Applicants submit either A or
video game character designs). Please
indicate in the Description section for each
image on Slideroom if the work is your own
or was done in a group.
Film Applicants
B below, and all must submit C (the writing
sample).
A) Video: A brief three to five minute video in
which you had primary creative control.
This may be fiction, documentary, or
Recommendation letters are no longer required.
The following portfolio requirements are
experimental in approach, and it may be
required for film applicants.
silent or include sound, but it must reflect
Portfolio
Option 1 or Option 2, but all Film applicants
interests. (Should be submitted on
must submit the writing sample in C below.
Slideroom at pratt.slideroom.com.)
Film applicants must choose from either
All first-time freshman art, design,
and architecture applicants, including
photography, and fashion but not including
art history B.A. applicants, must submit a
visual portfolio consisting of 12–20 images
of two- or three-dimensional work. Film
applicants should see the section below for
Film portfolios. Art History B.A. applicants
must submit a writing portfolio. (See section
below.) B.F.A. in History of Art and Design
applicants must submit a visual portfolio.
Architecture freshmen with a GPA of 3.7 or
above are not required to submit a portfolio.
The visual portfolio should consist of
a variety of media and approaches. It can
include assignment-based projects, selfdirected work, or pieces of a collaborative
nature. The portfolio does not need to be
specific to the discipline to which you are
applying. The portfolio must include at least
three to five pieces of work from observation.
Examples might include landscape, still life,
figure, interior, or self-portrait. Applicants
should avoid including work that copies
photographs, uses the grid system, or directly
Op tion 1
A visual portfolio consisting of 12–25 examples
of two- or three-dimensional work. The
work should consist of a variety of media
and approaches; applicants may include a
three-minute-maximum video for which
the applicant has primary creative control in
addition to work in other media. Work may
include assignment-based projects, selfdirected work, or pieces of a collaborative
nature. The portfolio does not need to be
discipline-specific. The portfolio must
your aesthetic, intellectual, and emotional
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 brief (less
than one page) written narrative about the
character, place, or story you’ve created.
(Should be submitted on Slideroom.)
AND
include at least three to five pieces of work
Writing Sample
showing observational drawing; examples
(All film applicants submit C below.)
might include a landscape, still-life, selfportrait, life drawings, etc. Applicants should
C) A one- to two-page descriptive treatment
avoid including work that copies photographs,
for a short film. This film contains
uses the grid system, or directly replicates
no dialogue or voiceover but is all
any other artist’s work (including replicating
communicated through visual images,
anime drawings, cartoons, or video game
sound, and character behavior and
character designs).
action. Your film treatment must include
OR
at least two locations, one of which is a
kitchen. It must also include at least two
props, a pen and a jar of peanut butter. All
else is up to you. Please upload to either
lots of it. When it is time to apply, it is simply
the media section of Slideroom in pdf
a matter of editing what you have made to
format or to the attachments section as a
show us what you might accomplish while
Applicants should submit examples of
Word document.
you are here at Pratt.
analytical writing (no more than 10 pages).
If you want additional advice on
critical and visual st udies
and b.a. in art history
Do not upload to the application.
Submitting Your Visual Portfolio
your work, please feel free to contact our
Applicants must submit their portfolios
visit coordinator at [email protected] or
portfolios is unavailable through the
online at pratt.slideroom.com. You will be
718.636.3779 to set up an appointment
Admissions Office.
able to edit your portfolio online until you
with one of our admissions counselors.
press the “submit” button, and you will
Our admissions counselors are all active
receive immediate confirmation that we
artists and designers who are happy to give
received your work. Please submit by the
potential applicants feedback on their work
application deadline. Do not send original
and their application portfolio. They travel
work. All submitted materials, including
across the country to meet with students
the portfolio, become the property of Pratt
and are also available weekdays at our
Institute. Portfolios in any format will not be
Brooklyn admissions office. Applicants
returned or held for pickup. We do not review
seeking portfolio feedback from admissions
personal websites unless you indicate on
counselors should contact the office between
Slideroom. There is a $15 charge to submit
April 1 and December 1.
your portfolio on Slideroom.
Admissions advisement sessions and
reviews done during National Portfolio Days
or by appointment off-campus do not fulfill
Portfolios for Writing,
Critical and Visual Studies, and
Art History B.A. Applicants
the applicant’s visual requirement. They are
for guidance only.
The Portfolio
Applicants are required to submit a writing
portfolio of recent writing (no more than 10
pages). Writing applicants may submit poetry,
Some of the most frequent questions we
short stories, and excerpts from novels,
receive are about what should be included
articles, and essays. Please submit one sample
in the portfolio. Visit us at www.pratt.edu/
of analytical writing (essay, term paper, or
admissions/applying/applying_undergrad/
article). We encourage you to submit several
ug_application_requirements for more
examples of your writing in different genres. If
information on what you should include
you submit poetry, you must also submit some
in your portfolio. Click on your level—
prose. Please upload writing samples online
freshman or transfer—for more information
at pratt.slideroom.com to either the media
on your portfolio.
Do not make work specifically for the
admissions portfolio. Just make work, and
section in pdf format or to the attachments
section as a Word document.
At this time, feedback on writing
es say
Space is provided on the last page of the
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.
Additional Required
Application Materials for
Permanent Residents
Applicants who are permanent resident
aliens, refugees, and other eligible
noncitizens must provide a photocopy of
their alien registration card.
Additional Required
International Applicants
TOEFL or IELTS
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
• signature of the home school
English (PTE) and have the results sent by
administrator (the parent or other
the application deadline. Register online at
person who organized, taught,
www.toefl.org. International students who
and evaluated your home school
have taken the SAT or ACT test may submit
coursework).
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.
In the absence of a traditional transcript,
you may present a portfolio of the work you
consider most indicative of your academic
achievements (this is in addition to the
level courses that you may have taken,
1 unit
3–4 units
Science
2 units d
administered independently of schools),
Academic Electives
3 units a
General Electives
2 units b
recommendations from qualified tutors or
teachers, examples of independent research,
or descriptions of books and other curricular
level work.
This requirement may be satisfied by
1. Official scores from the official High
School Equivalency Examination
(GED)
2. A letter from your local superintendent
of schools as proof of your readiness
• course titles;
to enter college and that your home
• course grades;
• units of credit for courses;
• grading scale (if other than A–F letter
schooling
grades); and
College Prep Math
4 units
scores from AP tests (these are also
supplying any of the following:
Home school transcript should include:
Architecture, Writing, and Critical
and Visual Studies Programs
Social Studies community college or other postsecondary
Pratt Institute welcomes applications from
readiness for the programs that we offer.
programs.
may contain records such as grades from
Proof of High School Graduation
the items below will help us to evaluate your
recommended for admission to specific Pratt
English
Additional Required
Material for Home-Schooled
Applicants
conventional high school records, submitting
The following subjects are strongly
regular visual portfolio requirement). This
materials used in preparation for college-
home-schooled students. In the absence of
Recommended High
School Coursework
was conducted in accordance with
state laws
3. Certificate of graduation from a
diploma-granting organization or
nontraditional school
Construction Management Program
English
Social Studies
4 units
1 unit
College Prep Math
4 units c
Science
2 units e
Electives
5 units
Art and Design Programs
English
4 units
Social Studies
1 unit
Mathematics
1 unit
Science
1 unit
Academic Electives 3 units
Notes:
a. May include additional units in
Calculus AB
second languages (Language B) taken at
Transfer credit given for Math
the higher level only if the student’s major
social studies, science, math, foreign
Calculus BC
language or any combination of these
b. Should include studio art
Chemistry
c. Should include trigonometry
Transfer credit given for Sci
and advanced algebra
d. Should include chemistry,
physics, or biology
e. One unit must be in
either chemistry or physics,
preferably physics
Advanced Placement
Credit Policy
Pratt Institute accepts up to a maximum of
nine (9) total AP credits (up to 3 credits in
each of the categories) with a score* of four
(4) or five (5) only in the following:
Environmental Science
Physics B
Mechanics
course may not enroll in other courses listed
below as equivalent, but must enroll in more
advanced courses. AP courses of study
accepted are:
programs are similar to the freshman requirements including the portfolio requirements,
except that the test scores (SAT/ACT) are
on your portfolio, you may have it reviewed at
the Brooklyn campus by calling 718.636.3514
or you may schedule an appointment and
Biology
campus tour at the Manhattan campus
(where the programs are located) by calling
Statistics
212.647.7375 or by emailing [email protected].
edu. Applicants to the B.F.A. programs in
drawing or painting, graphic design, or illustration who do not meet the qualifications
for the B.F.A. may be accepted instead to the
associate’s degree program.
Art History
Transfer credit given for Art History
(Enrollment in ENGL-103 during the
Students given transfer credit for a specific
Requirements for the associate’s degree
section for details. If you would like feedback
AP course of study accepted is:
math or science—3 credits
Two-Year Degree Applicants
not required. See the freshman application
AP course of study accepted is:
first semester at Pratt is required.)
Visual Arts courses or exams.
art history*— 3 credits
Transfer credit given for ENGL-101
Institute does not award transfer credit for IB
Electricity and Magnetism
engl ish—3 credits
English Language and Composition
at Pratt requires foreign language. Pratt
International
Baccalaureate Policy
International Baccalaureate (IB) Diploma
recipients beginning with Fall 2012 applicants
may receive transfer credits for higher-level
courses in which they earn a score of five (5)
or higher. Pratt awards transfer credit for
*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 higher-level 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.
Application Requirements
for Transfer Students
Submit all documents postmarked no later
than the application deadline.
The online application, as well as various
requirements, may be found at www.pratt.
edu/apply. Writing and visual portfolios
must be uploaded at pratt.slideroom.com.
See www.pratt.edu/apply for instructions on
submitting your application and supporting
documents.
Checklist
1. Application form with fee
2. Official transcripts from each high
school attended or official GED scores
3. Official transcripts from each college
attended
Application Form with Fee
postsecondary studies. Applicants also
All applicants to undergraduate degree
must submit official results of all external
programs must complete the Pratt
undergraduate application with the
appropriate nonrefundable application
fee ($50 for U.S. citizens and permanent
residents, $90 for international applicants).
Applications must be completed online at
www.pratt.edu/admissions/applying.
Completing your undergraduate application form online is the required method.
Fees may be paid by credit card or electronic check.
In cases of extreme financial hardship,
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.
applicants may request a fee waiver.
The document must be officially translated
Official High School Transcript(s)
any other reputable education evaluation
Transfer applicants are required to submit
service, e.g., your embassy.
high school transcript(s).
into English before submitting to WES or
Recommendations
4.Portfolio*
Official College Transcript(s)
Recommendation letters are optional. You
5. Essay (part of application form)
Transfer applicants must submit official
may submit one from a teacher, guidance
6.TOEFL (Test of English as a Foreign
Language) or IELTS (International
English Language Testing System)
exam results (international applicants
only)
All mailed materials must be sent to:
Pratt Institute
transcripts from each college attended.
Students who attended college in the U.S.
may request their transcripts through the
National Student Clearinghouse (www.
studentclearinghouse.org) or directly from
their college.
International Transcripts
International applicants must submit
official transcripts (academic records) of
all secondary school studies as well as any
the applicant’s professional goal if possible.
These should be mailed to the address on
page 322.
Transfer Portfolio Guidelines
Visual or Writing Portfolio: The transfer
portfolio requirements are the same as the
freshman requirements if you have not taken
studio courses in your previous college or
have not taken our freshman year courses
and will enter as a freshman. Instructions
Detailed information on the requirements
follows.
counselor, or employer in a field related to
for submissions are listed below. Transfer
*Portfolio is not required for Construction
Management applicants.
applicants who have taken art courses should
include examples of work that reflect all
Film: Film applicants must choose from
studio experiences at their previous college
either Option 1 or Option 2, but all Film
in order to be reviewed for credit.
applicants must submit the writing sample
OR
B) Graphic Series: A series of photographs
in C below.
you have taken or drawings you have
architecture applicants who have taken
op tion 1
tells a simple story or portrays an original
college-level studio courses except Art
A visual portfolio consisting of a minimum of
character or place. Include a brief (less
History B.A. applicants and Film applicants
12–40 examples of two- or three-dimensional
than one page) written narrative about the
must submit a visual portfolio consisting of a
work reflecting as much as possible all your
character, place, or story you’ve created.
minimum of 12–25 pieces but no more than 45
studio or film courses taken in college. The
(May be uploaded at Slideroom under
of two- or three-dimensional work reflecting
work should consist of a variety of media
Media.)
as much as possible your studio courses
and approaches and may include a three-
taken in college. Film applicants should see
minute-maximum video. Work may include
the Film section below. (Art History B.A.
assignment-based projects, self-directed
applicants must submit a writing portfolio.
work, or pieces of a collaborative nature. The
See Writing section below.)
portfolio does not need to be discipline-spe-
Art and Design: All art, design, and
The work should consist of a variety of
cific. The portfolio must include at least three
made which, when viewed in a sequence,
AND
C. Writing Sample (All Film applicants submit
the writing sample below.)
Submit a one- to two-page descriptive
treatment for a short film. This film
media and approaches. This may include
to five pieces of work showing observational
assignment-based projects, self-directed
drawing; examples might include a land-
work, or pieces of a collaborative nature.
scape, still-life, self-portrait, life drawings,
The portfolio does not need to be discipline-
etc. Applicants should avoid including work
specific. The portfolio must include at
that copies photographs, uses the grid system,
least three to five pieces of work showing
or directly replicates any other artist’s work
observational drawing (examples could
(including replicating anime drawings, car-
include a self-portrait, life drawings, still-
toons, or video game character designs).
props, a pen and a jar of peanut butter.
OR
at pratt.slideroom.com under the
life, landscape). Applicants should avoid
including work that copies photographs,
uses the grid system, or directly replicates
any other artist’s work (including replicating
anime drawings, cartoons, or video game
character designs). The admissions portfolio
is used for placement and evaluation of
transfer credits. Students intending to
transfer studio credit are encouraged to
submit at least three examples from each type
of studio course. In this situation, a transfer
student could submit up to 45 images.
op tion 2
Visual Sample: Applicants submit either A or
B below.
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 include sound, but it must reflect
your aesthetic, intellectual, and emotional
interests. (May be uploaded at Slideroom
(pratt.slideroom.com) under Media.)
contains no dialogue or voiceover but is
all communicated through visual images,
sound, and character behavior and
action. Your film treatment must include
at least two locations, one of which is a
kitchen. It must also include at least two
All else is up to you. (May be uploaded
Attachment or media section.)
Architecture: All architecture transfer
applicants must submit a visual portfolio.
Applicants who have not taken architecture
design studio courses in their previous postsecondary 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 courses
should include examples of work that reflect
all design projects at their previous schools.
Writing, Critical and Visual Studies and
The number of images in the architecture
Art History B.A. Applicants: Applicants are
portfolio will reflect the number of projects
required to upload a writing portfolio of
completed. The architecture students
recent writing (no more than 10 pages) to
seeking the transfer of studio credit must
Slideroom at pratt.slideroom.com. Writing
use Slideroom to upload their images at
applicants may submit poetry, short stories,
pratt.slideroom.com.
and excerpts from novels, articles, and essays.
Submitting Your Visual Portfolio
Please submit at least one sample of analytical
writing. We encourage you to submit several
Portfolios should be uploaded using
examples of your writing in different styles.
Slideroom at pratt.slideroom.com following
If you submit poetry, you must also submit
instructions at the site. You will receive
some prose. Critical and Visual Studies and
immediate confirmation that your work has
Art History B.A. applicants should submit
been received. You may edit images until you
examples of analytical writing. At this time
hit the “submit” button. There is a charge of
feedback on writing portfolios is unavailable
$15 for submission. Admissions advisement
through the Admissions Office.
sessions and reviews at National Portfolio
Days or by appointment off-campus do not
Essay
fulfill the applicant’s visual requirement.
Space is provided on the last page of
They are for guidance only. Please submit
the online application to answer the
your work by the deadline (February 1 for fall
essay topic. Describe when and how you
and October 1 for spring).
became interested in art, design, writing,
Do not send work to the office. All
architecture, or the particular major to which
work must be submitted on Slideroom. All
you are applying. Describe how this interest
submitted materials, including the portfolio,
has manifested itself in your daily life.
become the property of Pratt Institute.
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 twoyear associate’s degree programs require a
TOEFL score of 530 (paper), 71 (Internet),
or 197 (computer).
Pratt’s TOEFL code is 2669. Pratt will
also 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.
Transfer Credit/Placement
Credit may be given for courses appropriate
to the curriculum at Pratt. Only a grade of
Portfolios in any format will not be returned
or held for pickup.
Toefl or ielts
(All International Applicants)
Additional Required
Permanent Residents
Applicants who are Permanent Resident
Aliens, refugees, and other eligible
noncitizens must provide a photocopy of
their alien registration card.
C or better regionally accepted institutions
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.
Institutions accredited by the New York
State Board of Regents will be individually
evaluated, and credits will be awarded
according to articulation agreements.
Credit may be awarded for courses in
which (1) a grade of C or better is earned from
domestic institutions (or 70 or better from
advisor using the estimate as a guide for
the supplemental documents by express mail
international institutions as determined by
the required work to be completed. After all
directly to the Office of International Affairs.
a reputable education evaluation service)
final official transcripts have been received,
For information, go to www.pratt.edu/oia/
and (2) the course corresponds to the specific
a complete evaluation of transfer credit will
I20. For questions, write to [email protected].
course requirements of the applicant's
be sent to the student. (Transfer students
proposed program of study. Grades lower
in interior design are required to bring their
than C (including C-) or less than 70 are not
portfolio to their academic advisor during
English Exam for
Enrolling Students
transferable.
registration.) Transfer credit is not included
All international students must meet the
in the scholastic index. If less than 50 percent
Institute English requirement. The English
studio courses in art, design, or architecture
of a student’s credits is earned at Pratt, the
exam determines if you meet Pratt Institute’s
are required to submit a portfolio reflective
student will not be considered for honors.
English requirement or if you will need
Students seeking transfer credits for
of their studio coursework completed in prior
Intensive English Program courses (IEP) to
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 studetn to complete the remaining
coursework successfully.
All students petitioning for transfer
credit(s) must submit official transcript(s)
from all colleges attended. Credit evaluations
will be completed only after acceptance.
AP credit will also be considered. Please
request that your official AP scores be sent to
Pratt during the summer before you enroll.
See page 277 for more detail.
Prior to registration, the transfer
student receives an estimate by the Office
of Admissions of the credit that 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
Accepted International
Students
All enrolling international students need to
submit International Student forms to the
Office of International Affairs. International
Students include both students who need
an I-20 for the F1 student visa as well as
international students in other immigration
statuses. Students will not be permitted
to register for classes until the forms are
submitted. (U.S. permanent residents are not
considered international students.)
Requesting the I-20
To request the I-20, first submit your
enrollment deposit to the Office of
Admissions. Then you will receive your
OneKey, which is a login and password. This
can take up to seven days to receive. After
you receive your OneKey, go to MyPratt at
www.pratt.edu/mypratt. Log in with your
OneKey. Under PRATT RESOURCES ,
go to Web Services, then International
Student Forms. Submit your I-20 Request
online and print out the PDFs to send with
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 about the test, please
visit www.pratt.edu/iep. If your TOEFL
score is less than 100 iBT (or 600 pBT or
250 cBT), you will be required to take Pratt’s
in-house English exam before Orientation.
According to the test results, you will either
be placed in an Intensive English Program
(IEP) class or will be considered “exempt”
from IEP classes. Students either will either
take IEP courses until they exempt out (pass),
or be exempt after taking the test and will not
need to take any IEP courses. Students who
scored below 100 iBT (or 600 pBT or 250
cBT) on the TOEFL are strongly encouraged
to enroll in the Summer 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 +
all transcripts, test scores for freshmen,
Degree), therefore; you must apply for the
TOEFL test scores for international students,
SCP before requesting the I-20 from Pratt.
and portfolios if required.
Pratt will issue the I-20 for SCP first. Pratt
will issue the I-20 for the degree after you
complete the SCP. Some programs do not
permit students to enter in spring; you may
be required to take the full year of English
for that reason.
the Registrar or the Office of Admissions,
Accepted students who plan to enroll at Pratt
and the required $50 fee to the Office of the
for the fall term are required to make a deposit
of $300 by May 1, the official Candidate’s
term must submit their deposit by December
Transfer applicants to the Associate Degree
after the deposit deadline. The full amount of
Programs at Pratt’s Manhattan Center should
the nonrefundable deposit is credited to the
use the online application at www.pratt.edu/
student’s first semester tuition. The hous-
admissions/applying. Please follow the same
ing application deposit is also due on these
requirements listed for freshmen or transfers
dates. Deposits should be made at ipayvirtual.
to the B.F.A. The SAT/ACT is not required.
eposasp.com/?ID=1055.
1 or two weeks after acceptance, whichever
is later. International students should submit
their I-20 request forms as soon as possible
Applicants to the B.F.A. programs in fine arts
Financial Aid
Domestic applicants who intend to file
for financial aid must submit the FAFSA
Admissions decisions are issued as follows
for applicants who submitted complete
applications. Early action decisions will
be made by January 6. January 5 deadline
decisions will be made by April 1. Spring
decisions will be made by November 15.
Admissions files are not considered complete
and will not be reviewed until all required
materials have been received. This includes
the completed application, application fee,
or at www.pratt.edu/admissions/applying)
Registrar. This application for readmission
should be accompanied by a brief statement
outlining the student’s reasons for wishing
to return to Pratt and an official transcript
showing other schools attended after leaving
Pratt. Deadline dates for filing applications
for readmission are June 1 for the fall term
and December 1 for the spring term. Any student who did not file for an approved leave of
absence and who, during the preceding term,
either was not registered at Pratt or did not
complete the term is required to apply for readmission. Requests from students who left
the Institute while not in good standing may
or communications design who do not meet
Admissions Decisions
readmission should submit an Application
Deposit Deadlines
Admission to Associate
Degree Programs at Pratt
Manhattan
cepted instead to the associate’s degree.
Baccalaureate degree candidates seeking
for Readmission (available in the Office of
Reply Date. Accepted students for the spring
the qualifications for the B.F.A. may be ac-
Readmission
after January 2 and before March 1 for fall
enrollment and by October 31 for spring
enrollment. The FAFSA should be submitted
electronically. See all instructions at www.
pratt.edu/aid. Please make sure that the
email address you gave Pratt’s Office of
Admissions is the email address you use.
• FAFSA code is 002798
• tap school codes for New York State
residents: 0615—undergraduate
be reviewed by the Committee on Academic
Standing of the school to which readmission
is sought. Notification of final action and registration instructions are sent to the student
by the Office of the Registrar.
Every student, once matriculated as a
freshman or a transfer student, is expected to
complete his or her degree requirements at
Pratt both in professional areas and in liberal
arts and sciences. Credit earned at other
accredited institutions by readmitted students
who were previously matriculated will be
evaluated for transfer to the Pratt record by the
Office of the Registrar. Readmitted students
are expected to meet the degree requirements
that are in effect at the time of readmission.
Changing Schools
Within Pratt
application. Additional information is
We encourage students to have a wide selec-
available from the Office of Admissions. A
tion of courses ready at the time of registra-
Students who wish to transfer from one
nonmatriculated/special student who plans
tion. Application and detailed instructions
to apply for admission as a matriculated stu-
can be found on Pratt’s website at www.
dent should meet with the chairperson of the
pratt.edu/admissions/applying /applying _un-
program to which he or she wishes to apply.
dergrad/ug _application_requirements. This
A nondegree form is available at
program is for one semester only.
school to another within the Institute should
complete a Change of School Transfer
Application and return it to the Office of
Admissions no later than June 1 for the fall
term and December 15 for the spring term.
www.pratt.edu/admissions/applying.
A $50 application fee must accompany
this application. Students must meet the
admissions criteria for the program to which
they are applying. Students are required
to make an appointment with the Office of
Admissions to determine transfer credit. A
limit of one transfer between schools will be
considered. Students requesting a second
transfer will be required to obtain additional
approval from both deans and the Office of
the Provost.
Visiting Students
Affiliated Programs
The Visiting Student Program at Pratt
PrattMWP
Institute is open to students who are
Pratt’s Utica campus in upstate New York,
currently enrolled in a degree-seeking
Munson-Williams-Proctor, reviews its own
undergraduate program at another college
applications. To apply, visit www.mwpai.
or university and will have completed one
edu for an application and a description
full year of college credit by the time of
of requirements or check off PrattMWP
enrollment. International students are
on Pratt’s application. Students take the
permitted to participate in this program.
first two years at PrattMWP in Utica and
This program has been designed as an
finish the remaining two years at Brooklyn.
opportunity for students to broaden their
PrattMWP offers fine arts, photography, art
Nonmatriculated/
Special Students
college experience and is intended as a
education (teacher certification) and com-
supplement to the undergraduate program
munications design.
Nonmatriculated or special students are not
to Pratt Institute are not ordinarily permitted
Delaware College of Art and Design
to apply for transfer admission. Visiting
The Delaware College of Art and Design
students may be accepted for fall or spring
(DCAD) in Wilmington, Delaware, is a
but not for summer. If you are planning to
creative partnership of Pratt Institute and
take only one or two courses, please see the
the Corcoran College of Art and Design.
section on non-degree students.
Established in 1998 through the generosity
candidates for a degree from Pratt Institute.
They may take no more than six credits per
semester and may register only if space
is available in a class after matriculated
students have registered. Acceptance as a
nonmatriculated or special student is based
on the applicant’s background and ability
to successfully complete the work of the
course. No more than 18 credits may be
accumulated as a nonmatriculated student.
International students holding a student
visa must meet with the International
Student Advisor before submitting an
at their home institution. Visiting Students
As a Visiting Undergraduate Student, you
of the Wilmington business community,
may take any undergraduate course at Pratt
DCAD offers a two-year A.A.S. degree in fine
Institute that is approved by the appropriate
arts, graphic design, illustration, interior
chair and academic adviser based on
design, photography, and animation, giving
your prerequisites and your portfolio and
students who complete the degree with a
transcript. Visiting Students may not enroll
cumulative GPA of 2.7 the option of transfer-
in graduate-level courses.
ring directly into the third year at Pratt (or
the Corcoran) or moving directly into the
art and design workforce. To apply, visit
The Arthur O. Eve HEOP
Applicants who feel that they may be
eligible for The Arthur O. Eve Higher Educa-
the www.dcad.edu for an application and a
director
tion Opportunity Program should contact
description of requirements.
Warren White
the Office of Admissions for further informa-
If you have checked off either of these
schools’ boxes on the Pratt application, a copy
of your application will be sent to the school.
You must submit the required supporting
documents directly to the chosen school.
[email protected]
Pratt Institute is committed to providing
access to higher education for all capable
students. Pratt tries to ensure that no student
is prevented from completing his or her
degree due to a lack of funds. The Arthur
Intellectual Property
Pratt is committed to fostering the artistic and
intellectual creativity of our community. The
products of our creativity are both the physical
property we create—paintings, designs, and
manuscripts—as well as the intellectual ideas
these works represent. The latter is called
intellectual property. Pratt’s Intellectual
Property Policy applies to all our community’s
members and is intended to respect the value
of the creator, whether students, faculty, or
staff. It also provides for sharing our creative
products to further the knowledge and academic growth of our collective community.
Knowledge of intellectual property rights is
an important responsibility of all members
of our community and an important part of
the intellectual life of every creative professional. Pratt’s complete Intellectual Property
Policy can be found on the Web at
www.pratt.edu/provost.
O. Eve Higher Education Opportunity
Program (HEOP) provides an opportunity
for admission and support to talented New
York students who have not reached their full
academic potential due to barriers in their
educational, economic, or personal background. Applicants must be New York State
residents who meet New York State’s Arthur
O. Eve HEOP income guidelines.
The Arthur O. Eve HEOP students are
Pratt students. They attend the same 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.
The ultimate goal of the program is to
make higher education possible for students
who are inadmissible under regular admissions guidelines, but who have the potential
and motivation for academic success.
tion and check off The Arthur O. Eve HEOP
on the admissions application. The Arthur O.
Eve Higher Education Opportunity Program
Office is located on the first floor of the Information Science Center (ISC), room 104,
and is open Monday through Friday 9 am to
5 pm. Summer hours are 9 am to 4 pm. The
telephone number is 718.636.3524.
289
Financial Aid
Choosing a college should be based on the
families in meeting the increasing cost of a
office of financial aid
quality and reputation of the program rather
college education. Through the collabora-
Myrtle Hall, 6th Floor
than on finances. We understand, however,
tive benefits of alumni gifts, endowments by
that many families face concerns when
private industries, other endowments, and
choosing a highly regarded college such
government agency programs, we are able to
as Pratt. We are committed to providing
support our student body.
sufficient financial assistance to make the
cost more affordable for each family. Our
commitment is directly reflected by the large
amount of gift money awarded each year.
In fact, over 86 percent of our student body
receive some type of financial assistance.
The family is also responsible for a
contribution, which is determined in part
by the family’s income, assets, benefits, and
size. In addition, the student is expected to
pursue scholarships, grants, and/or loans
from private sources to help defray the cost
of education.
Pratt offers various kinds of assistance,
ranging from academic merit–based scholarships to need-based financial aid. Included in
that list are tuition scholarships, grants, work
study employment, and loans. By combining federal, state, and institutional funds, we
make every effort to assist students and their
Freshmen and Other
Entering Students
To be considered for financial assistance,
freshmen and transfer students must submit
the Free Application for Federal Student Aid
(FAFSA) to the Department of Education Federal Student Aid Programs (www.fafsa.ed.gov
or call 800-433-3243). The FAFSA application may be accessed through Pratt’s website
(www.pratt.edu/financing) or from secondary
school guidance counselors. Do not submit
more than one application!
The FAFSA should be submitted no later
than March 1. A FAFSA filed after March 1
will delay the awarding of financial aid and
may jeopardize the student’s eligibility for
Pratt grants or scholarships.
Tel: 718.636.3599 | Fax: 718.636.3739
[email protected]
www.pratt.edu/financing
290 financial aid
Students are automatically considered for
all types of financial aid after an admissions
decision has been made and their FAFSA
information has been received by Pratt. If
requested, and required by the federal government, other documents, such as federal
tax returns, are due at the Office of Financial
Aid by May 15.
After financial need has been
established and adequate funds are
available, an aid “package” will be granted.
It might consist of a combination of grants,
scholarships, loans, and employment.
Outside awards that might be forthcoming
are taken into consideration when Institute
aid is offered. It is the responsibility of the
Pratt Institutional Programs
2014–2015
Presidential Merit-Based
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.
student and/or family to notify the Office of
How much do I have to pay back?
Financial Aid of any outside awards. These
No repayment is required.
outside awards may reduce or change the
student’s original award package from the
When do I need to apply?
Institute. Students do not need to write
No application is needed. Freshmen and
and request specific types of financial aid,
transfer applicants who submit completed
since they will automatically be considered
admissions applications by the deadline are
for any source of Pratt financial aid for
automatically considered for these awards.
which they qualify. A student’s financial aid
package may also include a Direct Stafford
How do I apply for a scholarship?
Loan and/or Parent Loan. New York
There is no application. All incoming
State residents can apply for the Tuition
students will be considered for a merit-based
Assistance Program (TAP) by completing
scholarship. We encourage all students to
the FAFSA and returning the Express TAP
submit a financial aid application to ensure
Application to the New York State Higher
that they receive all the need-based aid
Education Services Corporation.
(both outside and institutional) to which
they are entitled. Students who qualify for
a Presidential Merit-Based Scholarship and
also file a FAFSA and demonstrate need
may receive institutional funds in addition
to the merit-based scholarship awards.
The awards are continued for four years
(five for architecture) as long as the student
remains enrolled full time and maintains
a cumulative GPA of 2.0 for any students
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.
st udents 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
of 2.50 during the remainder of their
studies at the Institute.
Students failing to meet these requirements
will have their Presidential Merit-Based
Scholarship automatically withdrawn for the
remainder of their studies at Pratt.
Entering international students are
eligible for our international merit-based
scholarships. International students do
not qualify for need-based aid. There is no
application for the merit-based scholarships
awarded to incoming students, and
all accepted applicants are considered
automatically. To qualify for merit-based
scholarships, you are not required to submit
a FAFSA. These scholarships are based on
your portfolio (if required by your major),
your high school or college GPA, and test
scores (SAT, ACT, TOEFL, or IELTS) to some
financial aid 291
extent. The scholarships range from $9,000
to $21,000 each year for four years (five for
architecture). The criteria for renewal are
Pratt Restricted and Endowed
Awards and Scholarships
Pratt Student Employment Program
Student employment is funded entirely by
Pratt Institute and offers an opportunity
identical to the criteria for the Presidential
Merit-Based Scholarships.
To provide funds derived from Institute
on campus to help pay for educational
endowments and restricted gifts granted
expenses. Applicants for student employ-
to students according to the wishes of
ment assistance must complete registration
the donor and on the recommendation
online and submit all required documents
To provide funds from institutional sources to
of the appropriate dean or departmental
in order to qualify. These funds are paid
chairperson. These awards are made for one
directly to students for campus job assign-
year only.
ments and are not deducted from the
student tuition bill. Students are responsible
The awards vary based on need for the
The awards start at $1,000 for the academic
our online system to the Office of Student
Pratt Grant Programs
help meet a student’s tuition costs.
academic year.
year and are based on the availability of
When do I need to apply?
funds in any given year.
Before March 1.
Who can receive this money?
Who can receive this money?
Full-time students meeting donor
Students who have applied for aid in a
timely fashion and have demonstrated
financial need and are making satisfactory
academic progress.
specifications who have applied for aid,
for qualified students to work part time
for submitting signed time sheets using
Employment in Myrtle Hall, 6th floor.
Employment forms such as the W4 and the
I-9 must be completed prior to working.
More information may be found at www.
pratt.edu/financing.
have demonstrated financial need, and are
making satisfactory academic progress.
Some awards are based on academic merit
Federal Programs 2014–2015
only, and all are based on departmental
recommendations.
Federal Pell Grants
How do I apply?
How do I apply?
Application materials are available at
All students must submit the FAFSA. Other
How do I apply?
the Financial Aid Information Center at
All students applying for financial aid with the
Federal Pell Grant program by filing the
documents may be required based on a
student’s particular situation. Please read
the instructions in the introductory section
on financial assistance.
FAFSA are considered. There are no special
application forms for restricted and endowed
scholarships. Recipients are selected by deans
or department chairpersons based on criteria
established by the donors. These awards are
made for one year only and are based on the
availability of funds in any given year.
Pratt Institute. Students may apply for the
FAFSA. Completed applications should
be submitted for processing according to
the application instructions. Based on the
Institutional Student Information 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
292 financial aid
credited to a new student’s institutional
account according to federal regulations.
sel ection of recipients
Who is eligible?
The applicant must be enrolled as an
undergraduate student working on a
first degree and must show eligibility as
determined by FAFSA. Financial need
is determined by a formula applied to all
applicants. The family contribution is
calculated using this formula, which was
developed by Congress and is reviewed
periodically. Federal Pell Grant awards are
available only until completion of the 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
Federal Supplemental
Educational Opportunity
Grants (Seog)
What is a Federal SEOG?
A Supplemental Educational Opportunity
Grant is a federal grant administered and
awarded by the Office of Financial Aid at
Pratt. It is a grant requiring no repayment,
initiated to help undergraduate students
Federal Perkins Loan
What is the Federal Perkins Loan?
The Federal Perkins Loan is a low-interest
(5 percent) federal loan program to assist both
undergraduate and graduate students having
exceptional financial need.
appl ication pro cedures
All students must submit the FAFSA
with the greatest financial need.
before a determination of eligibility will be
introductory sections on financial assistance
All undergraduate students must submit the
for information on the FAFSA.
FAFSA before a determination on eligibility
will be made. Please read the instructions
in the introductory sections on financial
assistance for information on the FAFSA.
made. Please read the instructions in the
sel ection of recipients and
al lo cation of awards
Perkins Loans are available to students
enrolled full time or part time (six credits)
with financial need at Pratt.
from 18 semesters to 12 semesters. Semesters
are counted based on full-time semester
The applicant must (1) demonstrate
award schedul e
enrollment and half-time enrollment is
counted as half of a semester toward the
12-semester limit. This change in the duration
maximum need; (2) NOT hold a previous
baccalaureate degree; (3) NOT be in default
Maximum cumulative amounts that may
be borrowed are $20,000 by students who
of a student loan.
are working on an undergraduate program
limited only to students who received their
award schedul e
and $40,000 for graduate study. An award
first Federal Pell grant on or after July 1, 2008
The award at Pratt usually ranges from
amount is determined by Pratt and usually
of students Federal Pell Grant eligibility is not
as previously provided when the duration of
eligibility was 18 semesters.
approximately $500 to $900 annually for
completion of the first baccalaureate degree.
rights and resp onsibil ities
of recipients
The student must be making satisfactory
academic progress (see chart on page
354) and must not owe any refunds on
Federal Pell Grants or other awards paid,
or not be in default on repayment of any
student loan.
of study leading to a bachelor’s degree,
ranges between $500 and $2,000.
of recipients
The current interest rate, payable during the
repayment period, is 5 percent of the unpaid
principal. Repayment begins nine months
after graduation or leaving school and may
extend up to 10 years. The student must be
making satisfactory academic progress (see
chart on page 354) and must not owe any
financial aid 293
refunds on Federal Pell Grants or any other
award schedul e
awards paid, or be in default of any student
Pratt arranges jobs on or off campus, up to
loan. All first-time borrowers must complete
20 hours per week. Factors considered by
an entrance interview. An exit interview is
the Office of Financial Aid in determining
required prior to graduation or leaving school.
eligibility under this program are financial
Federal College Work-Study
Program (fcws)
What is FCWS?
Federal College Work-Study is a federally
assisted employment program that offers
need, class schedule, academic progress,
and specific skills. Level of salary must be at
least the minimum wage; maximum wage is
dependent on the nature of the job and the
applicant’s qualifications.
qualified students a chance to earn money
to help pay for educational expenses. These
Satisfactory academic progress must be
funds are paid directly to students for job
maintained. Students must not owe any
assignments and are not deductible from the
refunds on Federal Pell Grants or any other
Institute’s bill.
awards paid, or not be in default on any
student loan. Students are responsible for
submitting signed time sheets electronically
All students must submit the FAFSA before
to the Office of Student Employment.
a determination of eligibility will be made.
Employment forms such as the W4 and the
Please read the introductory sections on
I-9 Employment Authorization form must be
financial assistance. Eligible candidates
completed prior to working.
will be notified by the Office of Financial
initiating employment.
Federal Direct Loan Programs
Federal Subsidized Loan Program
in need of financial aid. In the event that
more students are eligible for FCWS than
there are funds available, preference is
given to students who have greater financial
need and who must earn a part of their
educational expenses.
Loan, a student must:
1. Be a U.S. citizen or a permanent
resident;
2. Be enrolled in or admitted as at least a
half-time undergraduate matriculated
student at Pratt Institute;
or any other awards paid, or not be in
default on any student loan.
Federal Unsubsidized Loans
The same terms and conditions apply to
this loan as to the Stafford Loan, except that
the borrower is responsible for interest that
accrues during deferment periods (including
in school) and during the six-month grace
period. This program is open to students who
may not qualify for subsidized Federal Direct
Loans. (Combined total cannot exceed Stafford limits.)
Aid about the required forms before
available to all eligible students who are
To be eligible for a Federal Direct Subsidized
3. Not owe refunds on Federal Pell Grants
of recipients
Pratt makes employment reasonably
origination/insur ance fee
Borrowers pay a combined origination fee of
.05 percent.
interest r ate
Students may obtain a loan application from
Interest rates as of 7/1/11: 6.8 fixed.
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 received by Pratt before
eligibility for the loan can be determined.
294 financial aid
loan schedul e
Annual Loan Limits–after July 1, 2007
of recipients
exceed 15 years, excluding authorized
Promissory Note (MPN) to apply for a
deferments of payments.
Unsubsidized
$3,500
$2,000 first year
$4,500
$2,000 second year
unsubsidized). The MPN is an application for
$5,500
$2,000 other
the Stafford Loan Programs and is valid for
$20,500—graduate and
professional students
date of the original note may not
All borrowers are required to submit a Master
Subsidized
undergraduates
3. The maximum period of a loan from
Federal Direct Stafford Loan (subsidized or
10 years from the time that the student
4.Repayment in whole or part may be
made at any time without penalty.
also submit a Loan Confirmation Form. The
Parent Loan for Undergraduate
Student (Plus)
originally signs and submits. Students must
student will still have to submit the FAFSA
The Federal PLUS Loan may be used to offset
The annual loan limits for students enrolled
each year by March 1. The Office of Financial
expected family contribution and any unmet
in a program of study less than one academic
Aid will notify the student of loan eligibility
need remaining in the aid package, but in
year in length are prorated.
via the electronic financial aid award letter.
no case can the amount of the loan exceed
Students should keep all of the letters
the student’s cost of attendance minus the
received from the Office of Financial Aid in
student’s other financial aid. Applicants may
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
Note: All student loans will be disbursed in
two installments (including one semester).
order to keep track of loan amounts. If there
obtain an application from our website: www.
are any changes made to the student’s
financial aid, a new electronic 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
service to begin repayment. The following
regulations apply:
1. The minimum monthly payment will
be $50 plus interest.
2. The maximum repayment period is
10 years.
*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.
Annual Loan Limits
Cost of attendance minus other aid.
Aggregate Loan Limits
No aggregate limit
Interest Rate
Currently 6.8 percent fixed
Origination Fees
4.288 percent
Credit Check
Only parents who have no adverse credit
history are eligible for PLUS loans.
financial aid 295
Disbursements
All loans will be disbursed in two
installments and repayment begins after the
second disbursement.
State Grant Programs
2014–2015
Tuition Assistance
Program (Tap)
application and an Express TAP Application.
The Tuition Assistance Program (TAP) is an
applicant indicating the amount of the grant.
The applicant may present the institutional
copy of the certificate at the time of payment
award al lo cation
college and a U.S. citizen or a
The TAP award is based on the applicant’s
permanent resident alien;
and his or her family’s New York State net tax-
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;
• Make satisfactory academic progress.
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
2014, and not:
parents for more than six weeks in
calendar years 2011, 2012, 2013;
for 2008, 2009, 2011, 2012;
$750 from parents in calendar years
2010, 2011, 2012; or
• under 22 years of age on June 30, 2011,
and meeting all other requirements
ship/Fellowship, Child of Veteran Award, or
of above, and in addition able to
Child of Deceased Police Officer/Firefighter
meet at least one of the following
Award) cannot exceed the amount of tuition.
requirements:
The schedule used to calculate the award is
• Marital status and tax filing status;
• The number of previous TAP
in New York State law. This definition
applies only to TAP and differs from other
aid programs, such as Federal Pell Grant.
(b) both parents deceased, disabled,
or incompetent;
(c) receiving public assistance other
than Aid to Dependent Children
payments received by the applicant.
Financial independence for TAP is defined
(a) married on or before December 1,
2012;
independent of his or her parents;
tap financial independence
(c) a recipient of gifts, loans, or other
financial assistance in excess of
TAP (combined with any Regents Scholar-
• Whether the student is financially
(b) claimed as a dependent by parents
on their federal or state income tax
the tuition charge at Pratt during 2013–2014.
determined by
(a) a resident in any house, apartment,
or building owned or leased by
able income during the 2012 tax year and on
states should check with the appropriate
agency in their state for further information.
• 22 years of age or older on June 30,
of tuition to the Office of the Bursar.
least 12 months prior to attending
• Be enrolled full-time (minimum
2014; or
A student can apply by completing the FAFSA
and mails an award certificate directly to the
• Be a New York State resident for at
• 35 years of age or older on June 30,
General Requirements
as in the case of a loan. The applicant must:
is as follows:
518.474.6475
HESC determines the applicant’s eligibility
entitlement program. There is no repayment
The current definition of independent status
(ADC) or food stamps;
(d) a ward of the court;
(e) unable to ascertain parents’
whereabouts.
296 financial aid
award schedul e
Who is eligible for APTS?
Currently awards range from $75 to $5,000.
To be considered for an award a student must:
The amount of the award will be affected by
costs of attendance and full- or part-time
• Be working toward an undergraduate
• 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
enrollment status.
degree or enrolled in a registered
yourself and/or your spouse, income
certificate program as a part-time
(i.e., net taxable income of student and
of recipients
student enrolled for at least 3 but less
spouse) cannot exceed $50,550.
The student must continue to make
satisfactory academic progress in the
program in which he or she is enrolled. The
student must not owe any refunds on Federal
Pell Grants or other awards paid, and not be
in default of any student loan.
dur ation 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 maximum total of 60 points. No
student may receive more than eight years of
undergraduate study assistance.
Aid for Part-Time Study (Apts)
What is APTS?
Aid for Part-Time Study is a grant program
financed by New York State in conjunction
with participating educational institutions
throughout the state. The program provides
up to $2,000 per year to help part-time
undergraduate students meet their
educational expenses.
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.
What are the income limits?
Income means the net taxable income
taken from the 2012 New York State income
tax return.
• If you were claimed as a tax
APTS applications are available from the TAP
certification officer in the Registrar’s Office.
APTS recipients should be aware that the
award will be revoked if they do not receive
a term GPA of at least 2.0. Students will be
responsible for any amount owed to the
Student Accounts Office.
financial a s sistance standards
Pratt applies New York State minimum
academic standards to all students
receiving Pratt aid, state and federal aid,
and loans insured or guaranteed by the
federal government. See the chart on p. 237
for details.
re vie w p ol icies
The Office of Financial Aid will periodically
dependent by your parents in 2012,
review the GPA and number of credits earned
family income (i.e., New York net
by each financial aid recipient using his or
taxable income of student and
her academic transcript. Credits earned
parents) cannot exceed $50,500.
includes only those for courses with grades of
• 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.
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
financial aid 297
student still fails to meet the standards, all
rhode isl and
707 A Street, Suite 206
of his or her financial aid will be revoked
Rhode Island State Scholarship
Anchorage, AK 99567
beginning with the semester following
560 Jefferson Boulevard
907.269.7973
the probation semester. Once the student
Warwick, RI 02886
meets the minimum standards, he or
800.922.9855
she may reapply for financial aid. It is the
ark ansa s
Student Loan Guarantee
student’s responsibility to advise the Office
vermont
Foundation of Arkansas
of Financial Aid if he or she has had grade
Vermont Student Assistance Corp.
10 Turtle Creek Lane
changes that bring the cumulative GPA back
P.O. Box 2000
Little Rock, AR 72202
up to the minimum standard.
Winooski, VT 05404
800.622.3446
A student who does not meet the
800.645.3177
requirements for TAP may apply for a
cal ifornia
waiver. A waiver may be granted only
virgin isl ands
California Student Aid Commission
once on the undergraduate level and once
Board of Education
3300 Vinsandel Drive
on the graduate level. A waiver may be
P.O. Box 11900
Rancho Cordova, CA 95670
granted only after the student has met with
St. Thomas, VI 00801
888.224.7268
the Financial Aid Director and the TAP
340.774.4546
Certification Officer.
To receive a waiver, the student must be
c onnec ticu t
wa shington, d c
State Scholarship Program
able to provide documentation of unusual
Washington, DC, Grant Program
Commission for Higher Education
circumstances that have affected his or her
Educational Assistance Office
P.O. Box 1329
academic progress. Further information
100 Martin Luther King Jr., Ave.
Hartford, CT 06115
regarding the certification for New York
Suite 401
860.713.6543
State aid can be obtained by contacting a
Washington, DC 20020
Pratt financial aid counselor.
202.698.2400
del aware
Delaware Post-Secondary
Out-of-State Programs
Other state scholarship programs and where
to apply:
maryl and
Higher Education Commission State
These state and district programs are
Education Commission
available only to residents. Pratt knows of no
Carvel State Office Building
other states that make awards to students at a
820 North French Street, 5th Floor
New York college.
Wilmington, DE 19801
800.292.7935
State Education Agencies
florida
Bureau of Student Financial Assistance
Scholarship Administration
Jeffrey Building, 16 Francis Street, 219
al a sk a
Annapolis, MD 21401-1700
Alaska Commission
410.260.4500
on Post-Secondary Education
325 W. Gaines Street
Tallahassee, FL 32399-0400
850.245.0414
298 financial aid
il l inois
1200 North 7th Street
Illinois Student Assistance Commission
Harrisburg, PA 17102
500 West Monroe, 3rd Floor
800.692.7392
Springfield, IL 62704
800.899.4722
te xa s
Texas Higher Education
ma s sachuse t ts
Coordinating Board
American Student Assistance Corporation
1200 E. Anderson Lane
100 Cambridge Street
Austin, TX 78752
Boston, MA 02114
800.242.3062
800.999.9080
ne w hampshire
New Hampshire Higher Education
Assistance Foundation
4 Barrell Court
Concord, NH 03302
603.255.6612
ne w jerse y
New Jersey Higher Education
Assistance Authority
P.O. Box 545
Trenton, NJ 08625
800.792.8670
Federal regulations require the Office of
Financial Aid to monitor the progress of
each student (receiving Financial Aid)
toward degree completion on two measures
1) Qualitative (Cumulative Grade Point
Average) and 2) Quantitative (completion
of credits required). Students who fall
behind in their coursework or fail to achieve
minimum standards for Qualitative and
Quantitative measures (as stated in the
chart above), may lose their eligibility
for all types of federal and state aid and
institutional aid administered.
qual itative mea sure:
ne w york
Each student receiving financial aid is
New York State Higher Education
expected to successfully complete all of his/
Services Corporation
her classes with good grades to continue
99 Washington Avenue
receiving financial aid payments. A student
Albany, NY 12255
must maintain at least the minimum
888.697.4372
Cumulative GPA listed above for his/her
pennsylvania
Pennsylvania Higher Education
Assistance Agency State Grant
and Special Programs Division
particular Degree of Study to be consistent
with the requirements for graduation.
qual itative mea sure:
In order to maintain financial aid eligibility,
the maximum number of attempted credits
for completion of a degree is 150 percent
of the required credits for that particular
degree. Pratt will review each student’s
eligibility at the end of each year. If the
student has exceeded the maximum number
of attempted credits for his/her degree
program, he/she will no longer be eligible
for financial aid (grants or loans) during any
future semesters.
• The maximum number of“attempted
credits” for completion of a four-year
Undergraduate Degree (excluding
writing degree) is 201 credits.
credits” for completion of a Writing
four-year Undergraduate Degree
ONLY is 195 credits.
credits” for completion of a five-year
Undergraduate Degree is 263 credits.
credits” for completion of a two-year
Undergraduate Degree is 104 credits.
credits” for completion of a Masters/
Post Masters Degree is 113 credits.
financial aid 299
What is Satisfactory Academic
Progress (SAP)?
Federal regulations require that Pratt Institute
monitor the Qualitative or Quantitative standards of academic progress for students who
apply for and/or receive federal financial aid.
To remain eligible for financial aid at Pratt,
recipients are required to show Satisfactory
Academic Progress (SAP) toward a degree
according to the guidelines listed in the Satisfactory Academic Progress Chart.
what are qual itative 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 and length of
time for completion of a particular degree is
what are the stat uses if a st udent
fails to mee t the sap requirements
for financial aid?
Probation–A student will receive this flag the
first time he/she fails to meet the minimum
requirements for Satisfactory Academic
Progress, and will remain eligible for
financial aid with this status during the next
semester of enrollment. At the end of the
Probationary semester, he/she is expected
to meet the SAP requirements to remain
eligible for financial aid in future semesters.
Unsatisfactory–A student will receive this
flag if the SAP requirements are not met after
one semester of Probation, making him/her
ineligible for financial aid. Please note that
a student must meet all SAP criteria (GPA,
completed credits, and maximum time
frame) to regain eligibility for aid once he/
she is flagged as Unsatisfactory.
how can a st udent regain financial
aid eligibilit y af ter failing to mee t
sap requirements?
150 percent.
Students who fail to meet the qualitative
how d oes sap work?
Satisfactory Academic Chart can:
The Financial Aid Office determines this
and/or quantitative standards outlined in the
• Enroll in a Summer Session, in order to
eligibility after the submission of spring
complete the necessary credits and/or
semester grades (once a year). Undergraduate
improve the GPA needed to meet the
and graduate students who do not meet the
SAP requirements.
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.
United States Bureau of
Indian Affairs Aid to Native
Americans Higher Education
Assistance Program
Application forms may be obtained from
the Bureau of Indian Affairs. An application
is necessary for each year of study (an
official needs analysis from Pratt’s Office
of Financial Aid also is required each year).
Each first-time applicant must obtain tribal
enrollment certification from the bureau
agency or tribe which records enrollment for
the student’s tribe.
To be eligible, the applicant must
• Be at least one-fourth American
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.
300 financial aid
of recipients
For grants to be awarded in successive
years the student must make satisfactory
progress toward a degree and show
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.
• Signatures of the parents of minor
applicants, approving
education plans;
• Official tribal certification form.
sel ections of recipients
and al lo cation of awards
The applicant must:
• Be a member of one of the Native
American tribes located on
reservations within New York State;
• Have graduated from an approved
General Equivalency Diploma, or be
enrolled in a program in an approved
postsecondary institution leading to
degree-credit status and the General
Application forms may be obtained from
Equivalency Diploma;
the Native American Education Unit, New
York State Education 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:
a qualifying examination nor a limited
number of awards.
and in detail, educational plans and
desires;
Application forms are available at all
Veterans Administration offices, active
duty stations, and American embassies.
Completed forms are submitted to the
nearest VA office. (See Veterans Assistance
under Registration.)
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
The award is $1,000 per year for a maximum
• Personal letter, setting forth clearly
Veterans Administration (VA)
Educational Benefits
All application materials are available at
entitlement program. There is neither
Diploma;
and character;
Albany, NY 12230
State Aid to Native Americans is an
award schedul e
attesting to the applicant’s personality
New York State
ondary institution in New York State.
or Photocopy of General Equivalency
one or more leaders in the community
Native American Education Unit
Financial Aid Instructions
and Schedules
• Be enrolled in an approved postsec-
• Official transcript of high school record
• Letter(s) of recommendation from
or institutional enrollment. Source:
Education Department
high school, or have earned a
State Aid to Native Americans
of any change in student status or program
of four years of full-time study, a minimum of
12 credit hours per semester.
of recipients
Students are responsible for notifying the
Native American Education Unit in writing
Institute aid (including federal loans) for the
next academic year:
1. Financial Aid Forms for 2014–2015
Free Application for Federal Student
Aid (FAFSA). Student must file this
form in order to become eligible for
any type of federal or state aid.
2. If requested only, IRS tax transcript
2014 (parents and students).
financial aid 301
Mail to:
for additional information when the
Office of Financial Aid
student’s application is reviewed. It
is important to respond quickly. Aid
Pratt Institute
cannot be finalized until we receive the
requested information.
Brooklyn, NY 11205
Deadline: May 15, 2014, for tax
transcripts, if required.
3. Federal Direct Loans (Subsidized and
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
Unsubsidized)
jeopardize eligibility for Pratt scholarships
Loan applications are available to
and grants.
the student and parent at www.
an award letter. Notifying the student
of his or her loan eligibility levels in
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.
4.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 2013. 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 Service Corporation.
5. Other Information We Request
A financial aid counselor may ask
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
studentloans.gov. We can notify
students of their loan eligibility only in
Restricted Grants
and Scholarships
Other Documents That
May Be Required, Depending
on Student’s Situation
• Application for a Federal Stafford or
Federal PLUS Loan. Recommended
submission date: May 20. Late
submissions may not be processed in
time for September payment of bills.
• 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 2014–15
academic year, please refer to the
financial aid section of the Pratt
website: www.pratt.edu/financing.
each year.
col l abor ative end owment for
architect ure/pe ter schre ter
end owed schol arship
The purpose of this scholarship endowment
shall be to provide recognition and financial
assistance to undergraduate students
enrolled at Pratt Institute in the School of
Architecture.
patrick f. corvo ’88
memorial schol arship
A scholarship established by the family and
friends of Patrick Corvo, class of 1988, in
his memory. An award 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.
302 financial aid
Dream big schol arship
endowed schol arship
Charles Macchi Schol arship
lee and norman rosenfeld award
The Dream Big Scholarship will award one
This scholarship will provide one or more full
To provide monetary awards to profession-
or partial scholarships to academically quali-
ally motivated, academically qualified, and/
fied students in the School of Archecture,.
or deserving undergraduate students in the
annual partial scholarship to an undergraduate in the School of Architecture, based on
School of Architecture who have completed
need and merit, with financial need as
david mandl memorial schol arship
primary consideration.
one year of study. Preference will be given to
A scholarship established in memory of
students who are honest and honorable, as
David Mandl to support deserving and/or
established by academic leadership and
academically qualified students in the School
character, who will use the funds to perpetu-
of Architecture.
ate their educational, creative, and
goodstein development
corporation schol arship 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.
professional goals.
patrons pro gr am schol arship
A scholarship established by Pratt family
member Edmund S. Twining III to provide
support to outstanding architecture students.
benjamin gol dberger memorial
schol arship
pl anning schol arship
A scholarship established by Beatrice
A scholarship fund established for students
Goldberger, class of 1934, in honor of her
in the graduate program in City and Regional
father, Benjamin Goldberger, class of 1909.
Planning.
wil l iam r and ol ph hearst
schol arship
pr at t pl anning alumni schol arship
A fund established by the William Randolph
for students in the Graduate Planning
Hearst Foundation for students in architec-
Program in the School of Architecture.
A fund established by Pratt Planning Alumni
ture. Financial need and academic merit
being equal, preference will be given to
fr ank o. price schol arship
minority students.
A fund established by friends of Professor
Price, longtime teacher of architecture,
amy c. koe end owed schol arship
awarded to a worthy student.
A scholarship for needy and deserving
clyde l inc ol n rounse vil l e
schol arship f und
Awarded to deserving students in the School
of Architecture.
vincent a. stabil e end owed
schol arship
A scholarship fund established by Vincent
A. Stabile, class of 1940, for students in the
School of Architecture.
gihei & sato takeuchi memorial
end owed schol arship f und
A scholarship established by John M.
Takeuchi to honor his parents. It is awarded
to a full-time student in her or his second
year studying Architecture who shows
promise through academic achievement.
students in the School of Architecture with
edward re jr. schol arship
lucinda veikos end owed
schol arship
demonstrated financial need.
A scholarship established by Professor
A fund established by William and Elizabeth
Edward D. Re Jr. to aid students studying Architecture and Construction Management.
Pedersen in memory of Lucinda Veikos, class
of 1992, for a deserving student in the School
of Architecture.
financial aid 303
veikos tr avel schol arship for
architect ur al st udy and tr avel
mary pr at t barringer schol arship
f und
al ma h. borgfel dt schol arship
A scholarship established by Kohn Pederson
A scholarship established by Mary Pratt
Fox Associates in memory of Lucinda
Barringer, awarded annually to five Delaware
scholarships for worthy female students to
Veikos, class of 1992, for travel abroad
College of Art and Design students coming
for a deserving student in the School of
to Pratt, selected by a joint committee of
Architecture.
representatives from both schools.
winnemore end owed schol arship
the reggie behl dr awing award
Established by Augustine E. Winnemore,
The Reggie Behl Drawing Award will provide
this scholarship is awarded to outstanding
a financial award annually to a student in
Architecture students.
the School of Art and Design who exhibits
mary buckl e y and joseph parriot
excellence in drawing.
Established by Mary Buckley, a former
School of Art and Design
d on arie v memorial term award
A term award for Pratt graduate students
enrolled in their second year in Graduate
Communications Design, in memory of Pratt
Professor Don Ariev, class of 1960. Award
will be based strictly on merit.
r al ph appel baum end owed
schol arship f und
A fund established by Ralph Appelbaum,
awarded to Industrial Design students on the
basis of need and merit.
art st udents’ a s so ciation
schol arship
A fund raised by the Art Students’ Association
over a period of years, awarded by competition.
A bequest by Alma H. Borgfeldt for
be selected by the dean of the School of Art
and Design. The scholarships are awarded
to applicants who have majored in the study
of art in a public high school located in
Kings County (Brooklyn) and who reside in
Kings County (Brooklyn).
professor at Pratt Institute who taught
bernice bienensto ck schol arship
in the Foundation Art Department, this
A scholarship awarded to students pursuing
scholarship is awarded to Foundation
home furnishings-related studies.
students who exhibit excellence in color
work and is intended to encourage work in
sandr a k. benjamin-hannibal
schol arship
that discipline.
A scholarship established in honor of
Sandra K. Benjamin-Hannibal, awarded
robert f. cal row memorial
schol arship
to two first-year students who are in the
A scholarship fund established by Trudi
process of completing their Foundation Year
Calrow in memory of her husband, Robert
studies and are candidates or finalists in the
F. Calrow, a well-known painter and
Foundation Art Competition.
inspirational teacher. A scholarship will be
awarded annually to a Fine Arts major on
ru th campbell bigelow and david e.
bigelow schol arship f und
the basis of merit and need.
Awarded to a student in Interior Design on
federico ca stel lon end owed
schol arship
the basis of need and academic promise.
A scholarship established by Hilda Castellon
r aymond and mabel bolton art and
de sign schol arship
in memory of her husband, Federico
A scholarship fund established in honor of
to a promising student in Graphic Arts.
Raymond and Mabel Bolton for deserving
students in the School of Art and Design.
Castellon, to be awarded on a yearly basis
304 financial aid
andrea m. cel l a and gr ace hansen
cel l a memorial schol arship
wil l iam fo gl er end owed
schol arship f und
richard and anne l. boe t zel gunn
schol arship f und
A scholarship established by Robert and
A scholarship established in memory of
A scholarship awarded annually to a stu-
Warren Cella to aid students in the School of
Professor William A. Fogler, class of 1955, for
dent majoring in Communications Design
Art and Design who actively promote the arts
promising students in Industrial Design.
on the basis of scholarly achievement, with
in their community.
coyne family foundation
schol arship f und
preference given to students majoring in
jacques and nata sha gel man
Advertising Design or Illustration. Named
A scholarship established by Jacques and
class of 1937.
for and established by alumni from the
A fund established from the Richard and
Natasha Gelman, awarded to undergraduate
Jean Coyne Family Foundation for students
students in studio arts who demonstrate
ha skel l tr avel schol arship
in Communications Design.
exceptional talent in drawing or painting.
A scholarship established for students in the
With the level of creative merit being equal,
tomie depaol a schol arship f und
preference will be given to those of Mexican
An endowed scholarship to support students
or Latino descent.
majoring in Illustration, established by
alumnus Tomie dePaola, class of 1956.
anthony gennarel l i memorial
scul p t ure award
john a. dre ves art and design
schol arship
Awarded to students enrolled at Pratt
A scholarship established from the Estate
award will be based on artistic and academic
of John A. Dreves, class of 1935, to provide
merit, as well as quality of student work.
Institute who are studying sculpture. The
support for students in the School of Art and
Design who demonstrate financial need.
Rick Go odwin Memorial
Schol arship
faith el l is art financial aid
schol arship
This scholarship fund is established with
A fund established by Faith Ellis, class
former faculty member in the Department
of 1939, in memory of her son Rolan R.
of Industrial Design. It will support an
Ellis, to enable students to access special
Industrial Design student based on financial
training as determined by the Art Education
need and academic merit.
gifts made in memory of Rick Goodwin, a
Department.
charl es l. gosl in end owed
memorial schol arship
To provide recognition and financial
assistance, based on need and merit,
to students enrolled in Pratt Institute’s
Communications Design program in the
School of Art and Design.
School of Art and Design for travel abroad
within two years from graduation.
john and joan herl it z memorial
The purpose of this scholarship endowment
shall be to provide recognition and financial assistance, based on need and merit,
to undergraduate students enrolled in the
Industrial Design program in the School of
Art and Design. Established in memory of
John Herlitz, class of 1964, and Joan Herlitz.
the hilson family f und
A fund established by the Hilson Family
to enhance and strengthen the graduate
Communications Design program. Part of the
fund will be used for scholarships for students
in graduate Communications Design.
ste ve horn art & design award
A scholarship established by Steve Horn
awarded annually to one outstanding
student studying Photography, Film, or
other media arts.
financial aid 305
industrial design schol arship
or junior year majoring in Advertising,
A number of scholarships from a fund
Graphic Design, and Illustration.
established by business contributions,
Phyl l is and Conr ad Milster
End owed Schol arship
Established by Conrad Milster, Pratt
ted and be tsy l e win end owed
schol arship
Institute’s Chief Engineer, the scholarship
A fund established by Pratt alumni Ted
scholarships to undergraduate or
melvin k. jung memorial
schol arship f und
Lewin, class of 1956, and Betsy Lewin, class
graduate students in the Industrial Design
of 1959, to provide support for Illustration
Department.
Awarded to a worthy graduate student in
students.
awarded to students in Industrial Design for
experimental projects in the laboratory.
will provide one or more annual partial
wil l iam l. longyear schol arship
Gino and Cl arice Nahum
Memorial Schol arship
A fund established by students, alumni,
The Gino and Clarice Nahum Memorial
hel en of kluchark a end owed
schol arship
and friends from the business world as a
Scholarship provides scholarships to
tribute to William L. Longyear, associate
professionally motivated and academically
A scholarship established by Pearl K.
dean emeritus and former chair of the
qualified students in undergraduate
Schwartz in honor of her mother, awarded to
Department of Advertising Design,
Communications Design, who have already
students studying Fashion Design.
awarded annually to Communications
completed one year of study at Pratt.
Industrial Design, named in memory of an
alumnus from the class of 1975.
Design students and to graduate Package
Preference will be given to undergraduate
l eeds schol arship in interior
design
Design students on the basis of need and
students who show great potential, and the
A scholarship for Interior Design students,
scholarship. The recipients are nominated
scholarship will be awarded based on merit.
by the department chairs and two faculty
established through a gift from the estate of
Harold Leeds.
members for approval by the dean of the
p oint of p urcha se schol arship
The Point of Purchase Scholarship is funded
by grants from numerous companies with
naomi l eff e xcel l ence in interior
design schol arship
the john s. marquardt award in
significant interest in the design of displays
Established with a generous bequest from
An endowed scholarship fund established
annual award to either undergraduate or
Naomi Leff, class of 1973, this full scholarship
is awarded annually to one student who
exhibits excellence in Interior Design, who
is in good academic standing, and who
demonstrates financial need.
herschel le vit schol arship f und
Founded in 1986 by a group of donors to
honor Professor Herschel Levit’s 31 years of
service to Pratt, this scholarship is given to
talented Pratt students in their sophomore
by George Klauber, class of 1952, in memory
of John S. Marquardt, class of 1989. A
scholarship will be awarded annually to
outstanding undergraduates majoring in
Illustration, Advertising/Art Direction, or
Graphic Design, solely on the basis of merit.
used at the Point of Purchase (POP). An
graduate Industrial Design students who
have demonstrated design leadership
potential in the field of POP design.
el aine gluckman p op owit z
memorial schol arship f und
Established in memory of Elaine
Gluckman, class of 1981, a faculty member
of the graduate Art Therapy Department.
Scholarship to be awarded annually to a
second-year student in the graduate Creative
306 financial aid
Arts Therapy Department who has exhibited
outstanding scholarship, integrity, and
concern for others.
Charles Prat t, Jr. Award for
Excellence in Photography
barbar a hauben ros s interior
de sign award
d orothy g. schmidt
schol arship f und
A fund established to annually honor two
outstanding Interior Design juniors.
Dorothy G. Schmidt, to be used for
elementary and junior high school teachers
anna w. rust endowed schol arship
for st udents in art and design
seeking courses at Pratt for professional
Mike C. Pratt in honor of his father, the
A scholarship for students in the School of
Art and Design established by Leo Lewis
and related subjects in the public schools of
Charles Pratt, Jr. Award for Excellence in
Photography will be distributed annually to
Rust in memory of his wife, Anna Klenke
a student in the Photography Department
Rust, class of 1938.
Established by Pratt Institute Trustee
at Pratt Institute, based on a combination of
enhancement in their work of teaching art
Brooklyn, to be awarded on the basis of need.
Other factors being equal, females shall be
given preference.
academic merit and need.
david saylor schol arship
for design
frederick j . schuback
lillian prat t fashion schol arship
A scholarship established to benefit under-
To be awarded to one Fine Arts under-
A scholarship to benefit outstanding juniors
and seniors in Fashion Design, established
by Pratt family member Lillian Pratt.
walter rogalski schol arship
A scholarship awarded annually to a graduate
Fine Arts student on the basis of merit and
need, as selected by a faculty committee
that reviews candidates who exemplify the
creative ability that characterized the work of
former Pratt professor Walter Rogalski.
marc rosen schol arship
Funded by friends and associates of Marc
Rosen, class of 1970, in his honor, this
award is made to an outstanding graduate
Communications/Package Design student.
The winner is selected by the chair and
members of the faculty of the Department of
Graduate Communications/Package Design.
graduate and graduate students in the School
of Art and Design who are studying either
Industrial Design or Interior Design. Preference will be given to students who combine
the fields of industrial design and interior
graduate each year who is in good academic
standing and who demonstrates financial
need, established in memory of Frederick J.
Schuback, class of 1975.
design in their studies, or who plan to do so in
james seeman end owed schol arship
their careers.
Established by the family and friends of
charl es and marie schade end owed
schol arship
A scholarship established by Charles and
Marie Schade to aid students in either the
School of Art and Design or Architecture who
demonstrate good academic standing as well
as financial need.
interior design leader and muralist James
Seeman, this scholarship provides resources
for dedicated Painting students, with
preference given to those who recently
moved to the United States.
seeman-burse f und
A scholarship for students in the School of
Art and Design, specifically Fashion Design.
financial aid 307
sel ma seigel memorial schol arship
virginia pr at t thayer schol arship
in fine arts
henry wol f schol arship
end owment
A fund created by Robert Thayer in mem-
An endowed scholarship fund, the income
ory of his mother Virginia Pratt Thayer to
of which will be used to award one or more
students in the School of Art and Design.
provide scholarship aid to an outstanding
scholarships to support economically
student entering his or her junior year in
disadvantaged students pursuing B.F.A.s or
Monica Shay Schol arship
the Fine Arts program.
M.F.A.s in Photography or Communications
A fund created by Morton Flaum, class of
1971, in memory of Selma Seigel, which will
provide scholarship aid to Interior Design
Established with gifts made in memory of
Professor Monica Shay, this scholarship
will be awarded to a deserving student who
meets the following criteria: a graduate
student in the Department of Design
Management and Arts and Cultural
Management with demonstrated financial
need, or dedicated and exemplary service
and commitment to the Department of
Design Management and Arts and Cultural
Design.
d orothy to ol e schol arship
Created through a bequest in the will of Mrs.
Dorothy Rodgers Toole, class of 1931, this
scholarship is for students who demonstrate
unusual interest and talent in the field of
fashion illustration.
ma x weber schol arship f und
A gift given by Mrs. Max Weber and Miss
irma hol l and wolstein end owed
schol arship
A scholarship fund established by Dr. Benjamin Wolstein to aid gifted students with
financial aid in the Arts Education program.
School of Information and
Library Science
Management.
Frances Weber in memory of the wellknown artist who was a member of the class
be ta phi mu schol arship
s tarr foundation schol arship
of 1900, to be used annually to provide
A scholarship fund established by Beta Phi
A scholarship fund established by the Starr
scholarship aid for students in the School
Mu, an honor society for elite graduates in the
of Art and Design.
School of Information and Library Science.
stephan weis s end owed
schol arship
mabel bo g ardus schol arship f und
Awarded to Fine Arts students in good
Information and Library Science, named for
academic standing, this scholarship, funded
an alumna from the class of 1913.
Foundation for students in the Department
of Communications Design. Awards will be
made annually to three students majoring
in Illustration, Graphic Design, and
Advertising. Academic merit being equal,
preference will be given to Asian students.
ru th p. taylor schol arship
A fund established by the estate of Ruth
P. Taylor, class of 1921, for students in the
A fund established for graduate students in
by Donna Karan’s Karan-Weiss Foundation,
honors Stephan Weiss.
d orothy m. co oper end owed
fel lowship
wil l ard schol arship
Established from the Dorothy M. Cooper
This scholarship was established to aid
Trust to provide support for students in the
students in the School of Art and Design
library school, named for an alumna from
who are graduates of Washington Irving
the class of 1931.
High School.
308 financial aid
morton d. fl aum memorial
schol arship
george simor schol arship
Pratt student Michael Mahoney. Recipients
will be chosen by the dean of the School of
Established by Morton D. Flaum, class of 1971,
A fund established in memory of George
Simor, a former faculty member in the School
Liberal Arts and Sciences.
through his estate, to benefit students in the
School of Information and Library Science.
of Information and Library Science.
h.w. wilson schol arship
the edmund s. t wining iii and diana
t wining scho ol of information
and l ibr ary science fel lowships
in florence
A fund established by the H.W. Wilson Founda-
in Information and Library Science.
The fund is intended to provide two graduate
All Schools
l ibr ary science f und
studying in the School of Information and
A scholarship fund for graduate students
Library Science’s Florence Summer Program.
l ibr ary scho ol gr aduates’
a s so ciation
A fund established for graduate students
in Information and Library Science.
fellowships each summer for students
h.w. wilson schol arship
tion for graduate students in Information and
Library Science or Liberal Arts and Sciences.
alumni schol arship
A fund established in 1957 by various alumni,
the income from which is to be used for
scholarship assistance to worthy students.
s. m. mat ta end owed schol arship
in information technolo gy
A fund established by the H.W. Wilson
A fund established in honor of Seoud
Information and Library Science or Liberal
james w. atkinson memorial
schol arship
M. Matta, former dean of the School of
Arts and Sciences.
Created from the trust of Yvonne Atkinson, in
Foundation for graduate students in
Information and Library Science.
sylvia g. mechanic merit award
in busines s l ibr arianship
A scholarship for graduate students in
Information and Library Science.
pr at t-se vern st udent research
award in information science
An annual award funded by a bequest from
alumnus David Severn, class of 1968, is
presented to a master’s degree student
selected by the American Society for
Information Science (ASIS).
memory of her husband James W. Atkinson,
School of Liberal Arts and Sciences
class of 1938, a generous and active alumnus
and graphic designer who headed Pratt’s
alumni branch in Detroit, this fund provides
izchak friedman end owed
schol arship
resources for general scholarship purposes.
An endowed fund established by Pratt
alumna Estelle Friedman, class of 1969,
d orothy p. barre t t end owed
schol arship
and her children in memory of her husband,
A fund established by the estate of Dorothy
Pratt alumnus, professor, and dean of the
P. Barrett for general charitable and
School of Liberal Arts and Sciences, Izchak
educational uses.
Friedman, class of 1962, for students with an
interest in combining science and the arts,
wil l iam bingham ii schol arship
based on merit and financial need.
A trust for charitable purposes established
by the late William Bingham II for students
marvin scil ken end owed
schol arship
michael m. mahoney writers’ fund
from Bethel, Maine, other towns in Oxford
A fund established in memory of Marvin
Awarded to undergraduate students
County, Maine, or elsewhere in the state of
Scilken, class of 1960, a former faculty
majoring in writing, specifically those
Maine (in that order).
member in the School of Information and
interested in writing for publication and
Library Science.
performance media, in memory of former
financial aid 309
bl ack alumni of prat t endowed
schol arship
gener al schol arship
A fund established to provide scholarships
industries made as matching scholarships or
to students who have completed a year at
Pratt, are in good academic standing, and
demonstrate a need for financial assistance.
Academic standing and financial need being
A fund established in 1956 through gifts from
tuition grants, the income from which is to be
used for general scholarship purposes.
jacob and gwend olyn l awrence
A fund established for general scholarship
support.
macD onal d Schol arship
This scholarship, named in honor of Helen
equal, preference will be given to students of
k athl een l. gerl a end owment
schol arship
African and Latino descent.
A fund established by the Kathleen L. Gerla
resources to an undergraduate student at
Charitable Trust.
Pratt Institute. The award will be granted
elsa k. bro oks schol arship
Created through a charitable gift annuity
from Elsa K. Brooks, class of 1939, this
scholarship is intended for incoming
Babbott MacDonald, will provide financial
based on financial need and academic merit.
wilson y. hanco ck end owed
schol arship
marg are t a. middl editch f und
A scholarship to provide general support
A fund established anonymously to finance
freshmen students.
for students in good academic standing,
hel en r. fecke end owed
schol arship
of Elizabeth Marie Hancock in memory of
Awarded to students in good academic
of 1933.
created through a bequest from the Estate
her late husband, Wilson Y. Hancock, class
standing who demonstrate financial need,
scholarship or maintenance abroad, or the
travel itself.
l eo j. panta s residence center
schol arship
A scholarship established by Leo J. Pantas,
coby hoffman schol arship
class of 1937, trustee emeritus, with a
A scholarship established to support students
matching grant from Eaton Corporation.
esther brigham fisher schol arship
f und
in the School of Art and Design.
Awarded to a full-time student with financial
A scholarship fund established by Edward M.
Fisher, in memory of his wife, to assist Pratt
ferdinand m. junge memorial
schol arship
Institute students.
A fund established from the estate of Ferdin-
pr at t art supply product
schol arship
and M. Junge for talented and deserving under-
A fund established by the Pratt Art Supply
graduates who demonstrate financial need.
Shop to provide supply scholarships for
named for an alumna of the class of 1926.
l e wis h. flynn schol arship
need living in Pantas Residence Hall.
qualifying students. Scholarships will be
A fund established under the will of Lewis H.
Flynn, class of 1916, for scholarship aid.
herman y. krinsk y schol arship f und
for disabl ed st udents
ford-eeo c schol arship
A fund established for disabled students in
An endowment fund established by the Ford
honor of former Pratt professor Herman
Motor Company to provide scholarships for
students with demonstrated financial need.
Financial need being equal, preference
will be given to minorities, women, Ford
employees, their spouses, and their children.
Y. Krinsky.
awarded annually during a scholarship and
fall trade show.
al an p ot ta sch memorial
schol arship
A scholarship established by Lisa Pottasch,
honoring Alan Pottasch, that supports
undergraduate Communications Design
students, with a preference given to those
310 financial aid
who have declared a concentration in
paige rense schol arship
and financial need being equal, preference
Advertising Art Direction and display
will be given to students from Korea or of
financial need.
Paige Rense.
Korean descent.
charl es pr at t ii memorial
schol arship
r aoul se t tl e schol arship f und
This endowed scholarship was established
by Edmund Twining III in memory of his
grandfather, Charles Pratt II, to support
A fund established in memory of Raoul
Settle, class of 1952.
International Student
Scholarships
The International Student Scholarship for
any full-time student at Pratt Institute who
irene c. shea end owed schol arship
f und
best demonstrates the ideals of the founder
A fund established by Irene C. Shea, class of
of Pratt Institute. These are defined as
1934, for students who demonstrate financial
leadership, community service, and self-
need and are in good academic standing.
strate unforeseen economic need. A Financial
be made to a student who demonstrates
k atherine pr at t t witchel l f und
of the applicant. The scholarship funds are
artistic achievement at the college level.
A fund established in memory of Katherine
very limited. Since the award is based only on
motivation. Additionally, the award should
the academic year 2014–15 will be available
to those students who have encountered
financial hardship. Students must demonAid Committee will determine the eligibility
Pratt Twitchell.
unforeseen economic need, there is no appli-
A scholarship fund established by Vera H. A.
U trecht schol arships
is to be used for tuition and fees only.
Pratt in memory of her husband, George D.
The Utrecht Scholarships will provide
Pratt, for worthy students.
four merit-based scholarships to support
george d. pr at t schol arship
richardson (jerry) pr at t end owed
schol arship
undergraduate students at Pratt Institute.
Funded by gifts from the Pratt family and
j. sherwo od weber memorial
schol arship
established in honor of Richardson Pratt Jr.,
A fund established in memory of J. Sherwood
former president of Pratt, this scholarship
Weber, former provost and faculty member,
is awarded to outstanding students with
to be awarded annually to an outstanding
financial need.
student in any school.
richardson and mary o. pr at t
schol arship
The Jae K wan Wo o Schol arship
This scholarship, made possible by the gifts
of various donors, honors the legacies of
Richardson Pratt Jr., former president of
Pratt, and his wife, Mary O. Pratt.
cation deadline. The scholarship, if awarded,
you must fol low these guidel ines:
1. You must in be in good academic
standing and must submit the latest
copy of your transcript.
2. You must have been enrolled at Pratt
for at least one academic year.
3. You must have clearance from the
Office of the Bursar. Those who have
any outstanding debts with the Bursar
Established by former Pratt Trustee and
alumnus Young S. Woo (Architecture ’80),
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
will not be considered.
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.
financial aid 311
5. If you are sponsored, you must
2. IRS tax transcript for 2013, if requested.
submit proof of your sponsor’s
If you did not file a tax return, you must
your file is complete! Call us with questions
inability to continue with the financial
submit a notarized letter stating your
at 718.636.3599 or email at [email protected].
commitment.
source of income.
6.You must submit a statement outlining
your academic goals at Pratt, as well as
what contributions you have made as
an international student to the campus
life and why you need the scholarship.
7.You must submit a letter of
recommendation.
8.If you are receiving Pratt’s financial
assistance, your travels will be
restricted.
Office of Financial Aid
Pratt Institute
The Student Employment Office is located
Deadline: May 15, 2014, for tax
located in Myrtle Hall, 6th floor. The Student
transcript, if required
Employment Office should be your primary
3. Federal direct, subsidized, and
Continuing students who wish to
the Office of International Affairs, attention:
apply for a loan should file the FAFSA
Jane Bush.
by March 1. If you filed the Master
Promissory Note (MPN) last year, you
don’t have to submit another MPN
the following to be considered for federal,
state, and Pratt Institute aid (including bank
loans) for the next academic year:
1. Financial aid forms for 2014–15
loan application. We can only notify
students of their loan eligibility levels
in the electronic award letter, which
is sent to your Pratt email address.
Each year a Loan Confirmation Form
is required for federal subsidized,
unsubsidized PLUS loans.
4.Other information we request
A financial aid counselor may ask
Free Application for Federal Student
for additional information and or
Aid (FAFSA). You send the FAFSA to
documentation after your application
the federal processor. We strongly
is reviewed. Respond quickly—we
suggest it be completed and be
can’t finalize your aid until we receive
submitted electronically, online at
the requested information.
www.fafsa.ed.gov or at the financial
aid section of Pratt’s website.
Student Employment
Brooklyn, NY 11205
ted as proof of unforeseen economic need to
www.pratt.edu/financing. You must submit
website: www.pratt.edu/financing.
unsubsidized loans
All application materials are available at
For the 2014–2015 academic year, please
refer to the financial aid section of the Pratt
Mail to:
The above-listed documents must be submit-
Financial Aid Instructions
and Schedule
Mail early. We award financial aid only when
within the Financial Aid Office, which is
contact for any questions regarding your
employment at Pratt.
The Student Employment Office is
a resource for job-seeking students. It
maintains an online jobs database, JobX,
accessible to all enrolled Pratt graduate and
undergraduate students. All students have
access and can search and apply for jobs,
subscribe to JobMail, and post a résumé
through the site. Timesheets are managed
online by students and supervisors. More
information can be found online at www.
The Student Employment Office works
with faculty and all Pratt departments
to create employment opportunities for
students. The Federal Work-Study Program
(FWSP), a federally funded program giving
employment opportunities to financially
needy students, is administered through
this office.
312 financial aid
Undergraduate students may apply
for employment through Pratt’s online
employment software. The Student
Employment Office located in Myrtle Hall,
6th floor, manages Web services to help
employers and students in the job posting
and hiring process. With this tool, students
will be able to:
• Search for jobs using any number of
different criteria.
• Receive automated email when
preferred jobs become available.
• Review a history of job hiring to
get a better understanding of your
University’s student employment
needs.
• Apply for jobs online.
• Complete hiring paperwork.
• Contact the Student Employment
Office. Please do not hesitate to email
any questions to Gloria Harrell,
Coordinator of Student Employment,
at [email protected] or call at
718.636.8717.
313
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.
$3,000 per year, depending on the program.
Other Expenses
[email protected]
campus housing), an estimated $600 per
month (for a nine-month period) should
time of registration.
students (students living at home), an
estimated $250 per month should be allowed
for personal expenses and transportation.
Credits 12–18
$42,866 annually
Credits 19+
$42,866 plus $1,383 per
credit in excess of 18
credits
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
Fees
must purchase their books upfront and
Fees vary according to program. For a
provide the voucher with eligible copies of
complete listing of fees, see the next page.
Please refer to the graduate bulletin for
graduate tuition and fees.
associate bursar
Loretta Edwards
and other personal needs. For commuter
$1,383 per credit
[email protected]
from home in either on-campus or off-
Tuition and fees are payable in full at the
Credits 1–11
Yvette Mack
For resident students (students living away
be allowed for food, housing, clothing,
undergr aduate
bursar
the receipt in order to be reimbursed.
office
Tel: 718.636.3539 | Fax: 718.636.3740
[email protected]
associate bursar manhat tan
Madeline Vega-Mourad
[email protected]
314 tuition and fees
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.
Deferred Payment Plan
(Fall and Spring)
The Tuition Installment Plan, managed
by Tuition Management Systems (TMS)
of Warwick, Rhode Island, provides a
way to pay educational expenses through
manageable monthly installments instead
of paying one lump sum. TMS is not a
loan; therefore, no interest is charged. The
fee is $105 for the year. This plan enables
Terms of Payment
the student to pay both fall and spring
tuition over eight, nine, or ten months,
Bills are payable by personal or certified
beginning with July 15 for the ten-month
check, money order, VISA, MasterCard,
plan for continuing students. The start date
American Express, Discover, debit cards
of August 15 for the nine-month plan or
featuring the NYCE symbol, or wire transfer
September 15 for the eight-month plan is
in advance of each term. Checks should be
available for new students. There is also
made payable to Pratt Institute. Payment is
a semester-based plan for $97.
also accepted online. There is a 2.5 percent
The monthly installments can be
convenience fee charged with each credit card
automatically drafted from the student’s
transaction. Library fines, lost ID cards, and
bank checking account, eliminating the
fees not charged to your student account do
need to write a check each month. TMS will
not incur the fee. Pratt Card transactions also
provide the student with an easy-to-use
do not incur the fee. E-checks are free.
worksheet to assist in budgeting 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
Please notify the Bursar’s Office at the
following address or phone number if you
are using TMS.
Pratt Institute
Office of the Bursar/Student Financial
Services
Brooklyn, NY 11205
718.636.3539
[email protected]
gener al fees
$50
Application fee
$90
Application fee/international
students
$300
Acceptance deposit
$300
Residence deposit
activities fee each term
$139
Undergraduate activities fee
each fall and spring term: fulltime students
$82
Undergraduate activities fee
each fall and spring term:
part-time students (11 or fewer
credits)
Student activities funds are used for student
publications and the expenses of student
organizations.
tuition and fees 315
academic facil ities fee
$350
Each fall and spring term:
full-time students
$190
part-time students
$190
Each summer term for all
students
$TBD
Mandatory health insurance
fee per semester. May
be waived with proof of
personal health insurance.
$75
International student fee per
semester
technolo gy fees
$300
full-time students
$150
part-time students
$150
Each summer term for all
students
miscel l aneous fees
$35
Fee for issuance of duplicate
diploma
$55
Readmission fee
$20
Leave of absence fee
$100
Portfolio/work experience
deposit
$415
Architecture shop fee. Each fall,
spring, summer term: full-time
and part-time students
health services fees
$180
Each fall and spring term: fulltime students
$92
part-time students
A. A late fee of $80 will be charged for
any unpaid balance after the initial
disbursement of financial aid has been
applied for each semester.
B. A late registration fee of $55 will be
charged after the first 15 days of each
Portfolio/work experience
semester/session for students who
fee per undergraduate credit
did not complete their registration
evaluated. Fee: 30 percent of
during their designated registration
undergraduate per-credit rate.
period.
auditing courses
A. Students and community pay 50
percent of the published “per credit”
tuition rate for each course.
B. Pratt Alumni pay 40 percent of the
published “per credit” rate for each
course.
C. All persons auditing courses are
charged 100 percent of all fees.
architect ure fees
$40
l ate payment fees
zero credit internship s
A. Zero credit internships may have
billing credits which are charged at 30
percent of the “per credit” rate.
B. All zero credit internships are
charged 100 percent of all fees.
international st udent
tr ansfer fees
$100
Shop Safety Certification Class
re t urned check fees
$25
For returned checks
tr anscrip t request fees
$7.50
By Internet, www.pratt.edu/
Fine Arts Studio
Refundable Deposits
By Internet, www.pratt.edu/
registrar for express service
(transcript leaves Pratt within
one working day of receipt on
campus)
$15
In-person requests
$18.50
UPS Service
digital arts l ab fees
$40 per course
$50 per course
$60 per course
b.f.a. senior painting
and dr awing ref undabl e
st udio dep osit
$10
Deposit for the entire year
and refunded by check.
$45
All 200–600 level courses
in Ceramics
$45
in Jewelry
$45
in Printmaking
b.f.a. scul p t ure ref undabl e
ke y dep osit
$10
For combined junior and
senior year
DDA Courses
Deposits are paid to the Bursar’s Office
All 400/500
All 600 Level Courses
in Sculpture
All 100/200/300 Level
Level Courses
Fal l and Spring
$50
registrar
$10
Fine arts Shop fee (per course)
b.f.a. printmaking senior
ref undabl e st udio dep osit
$20
Studio deposit for
the entire year
fil m/ video st udent fees
$50
Basic lab fee for a single
100–400 level course
$10
Fee per each additional
100–400 level course
photo gr aphy st udent fees
$50
Basic Lab Fee for 100-500
level courses
b.f.a. senior je wel ry
$25
Deposit for the entire year
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
b.i.d. industrial design
$50
program
and PHOT-350
Fee provides students access to one
$25
digital classroom/lab and unlimited
printing on the small-format inkjet
$25
Key deposit for entire year—for
Fee provides students access to all digital
$50
Non-Silver Photo Lab Fee for
PHOT-315
Course Withdrawal Refunds
Procedures for official withdrawals are as
follows: students who want to withdraw must
fill out the official withdrawal form (available
in the student’s academic department), have
chemistry materials for the non-silver lab.
the form signed by the Office of the Bursar,
$100
and submit it immediately to the Office of
PHOT-316
Fee provides students access and
platinum/palladium materials for the
non-silver lab.
70 Percent Tuition Refund: Withdrawal
from the 9th through 15th day of the term
No Refund: Withdrawal after the 22nd day
of the term
feder al ref und p ol icy
Fee provides students access and
Platinum Printing Fee for
from the 2nd through 8th day of the term
from the 16th through 22nd day of the term
PHOT-450
printers.
Locker deposit for the entire
printers including the large format inkjet
including the opening day of term
Digital Mural Printing Fee for
labs and unlimited printing on inkjet
Full Refund: Withdrawal prior to and
studios with key access
program
printers.
$200
Studio deposit for the entire
pr at t instit u te ref und p ol icy
the Registrar. Refunds are determined by the
date the Drop/Add or complete withdrawal
form is signed by the Office of the Registrar.
For all students, the following course
withdrawal penalty schedules apply:
For students receiving Title IV funds who
withdraw officially or unofficially from all
classes, the federal refund calculation will
be based on the amount of Title IV earned,
based on the amount of time 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
3. Federal Direct Plus Loan
4.Federal Perkins Loan
5. Federal Pell Grant
6.FSEOG
of the following dates: (1) the date the credit
7.Other Title IV aid
balance occurs; (2) the first day of classes of a
8.Other federal sources
9.State, private, institutional aid
10.Student
payment period of enrollment; or (3) the date
the student rescinds his or her authorization
to apply Title IV funds to other charges or
for the institution to hold excess funds.
request is received, processing takes
For those students who have registered, fall
semester bills are mailed during the second
week of July, and spring semester bills are
mailed during the first week of December.
All other bills including summer are available
online. Due dates cannot be extended because
Individual fees are not refundable after the
first day of the term. Once the student’s
Billing Schedule
Banking Facilities
bills are not received.
If a student does not receive a bill, he or
approximately 10 working days. Liability
Arrangements have been made with a bank
she may contact the Office of the Bursar prior
is computed from the date the form is
on campus for students to open accounts,
to the due date to ascertain the amount due.
signed by the registrar staff. Withdrawals
making it possible to cash personal checks
Consult the Costs section and the student’s
may not be made by telephone. Check
with the Pratt ID (providing the student’s
housing license if an earlier estimate is
registration schedules and the Institute’s
available bank account balance covers the
needed. Consult the annual Academic
calendar for exact liability deadline dates
amount of the check to be cashed) and a
Calendar and Academic Guide for exact
each semester. Withdrawal from courses
primary ID (state issued or passport). An
payment deadlines.
does not automatically cancel housing or
ATM is also available on campus.
meal plans. Penalties for housing and meal
plans are calculated based on the date the
student submits a completed Adjustment
Form to the Office of Residential Life.
Refunds for withdrawn courses are not
automatic and must be requested from the
Office of the Bursar.
Refunds on Credit Balances
A credit balance on a student’s account after
applying Title IV funds (Federal Student
Aid Funds) will be automatically refunded,
and a refund will be mailed or applied to the
debit card within 14 days of the later of any
Billing
Interest
Any cash amounts paid totaling $10,000 or
Bills are mailed to one address. One copy
more made within a 12-month period, the
of each bill will be mailed to the address the
IRS form 8300 will be completed and sent
student lists as his or her“billing” address
to the IRS. Please be sure to have Photo ID.
on registration records. A “billing” address
An interest fee of 1.25 percent per month
may be established, changed, or deleted at
is assessed on all delinquent accounts one
any time by writing to or visiting the Office of
month or older.
the Registrar. Due dates cannot be extended
because bills have not been received.
If no billing address is specified, bills are
mailed to the permanent address.
Registration
(First Day of Class)
Stafford, Plus Direct Loans
and ID number. Checks and money orders
We reserve the right to restrict registration
government electronically (EFT). Funds
should be made payable to Pratt Institute
eligibility for students with high balances.
will be disbursed in accordance with federal
Payments
Payments must include the student’s name
in U.S. dollars and drawn on a U.S. bank.
Loan funds are sent to Pratt by the federal
regulations, and a signature may be required.
Checks drawn on an international bank may
delay credit to the student’s account and
may be subject to a collection fee imposed
by Pratt’s bank. Loan checks payable to
the student or parent must be endorsed.
Students may pay in person and receive
a receipt by presenting the invoice and
Collection Accounts
The student will be responsible for all
collection costs associated with delinquent
In some instances, lenders disburse
accounts forwarded to an outside collection
Alternative Loans in paper check form which
agency because of nonpayment.
may require a signature. Loan checks are
made payable jointly to Pratt Institute and
payment to the Bursar’s Office, Myrtle Hall
6th floor, between 10 am and 4 pm, Monday,
the student. Payees must endorse the checks
Tuesday, and Wednesday. Evening hours are
Adjustments
scheduled on Thursdays. Payment online or
We strongly recommend that you view your
by mail avoids waiting in line. Please allow
five working days for mail delivery and a
minimum of three weeks for processing.
bill online periodically. In addition, we
recommend giving parents or any third party
payer access to the Parent Module so they
can view/pay your bill online. If a student
Returned Checks
The Institute charges a processing fee of $25
when a check is returned by the student’s
bank for any reason. Any check in payment
of an Institute charge that is returned by the
bank may result in a late payment charge as
well as a returned check charge.
Alternative Loan Checks
contests a portion of the bill, he or she should
pay the uncontested portion by the due date
and immediately contact the appropriate
office to request an adjustment. Adjustments
should be pursued and resolved immediately
to avoid a hold on registration or grades.
before they can be applied to the student’s
account. The student will be held responsible
for the loan portion of the balance on his or
her account whether or not he or she receives
the loan. It is the student’s responsibility
to contact the federal government when
delays occur. A student whose Institute bills
are overdue will not be allowed to register
in the Institute, receive grades, transcripts,
or diploma, or have enrollment or degrees
confirmed until financial obligations are paid
in full.
Plus Loan checks are sent to the parent
directly unless a parent gives written consent
to have any Plus loan excess returned to
the student.
Pratt Prepaid Discover
Debit Card
peerTransfer for International
Students
The Pratt Prepaid Discover Debit card is a
Pratt Institute is always looking for ways to
new faster way for you to receive your tuition
accommodate the busy lives of our students.
refunds. Partnering with www.acceluraid.
With you in mind, Pratt Institute has recently
com, students have the flexibility of receiving
partnered with peerTransfer Corporation to
their tuition refunds in a variety of ways.
offer an innovative way to streamline your
You can now manage and receive your funds
international tuition payments. Developed by
faster than ever, plus have the convenience
an international student, peerTransfer offers
of carrying a Discover branded debit card.
a simple, secure, and cost-effective method
This card will serve as your student refund
for transferring and processing education
card for the duration of your studies at Pratt
payments in foreign currencies.
Institute. All future student refunds will be
By offering favorable conversion rates
disbursed through it so you must be careful
unmatched by larger financial institutions,
not to misplace the card.
peerTransfer enables Pratt’s international
The Accelluraid ATM located in the
students to pay from any country and any
Design Center is the FREE ATM where no
bank while saving a significant amount of
charges are assessed for withdrawing funds.
money.
You may use the Sovereign Bank ATM
located by the guard booth; however, fees
will apply.
You can also transfer the available funds
to your personal checking/savings account
or request a paper check be mailed to you,
at no cost.
Included with your card are instructions
on how to activate and use it. The Acceluraid
Company administers the card. All
questions regarding your card can be
answered through the Acceluraid website,
www.acceluraid.com/pratt or for more
information regarding the debit card please
see 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].
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.
321
Registration and Academic Policies
In order to attend any course at Pratt
by that advisor on Academic Tools—
registrar
Institute, a student must:
the portion of www.pratt.edu/mypratt
Lisle Henderson
1. Be formally approved for admission.
• Matriculated students will receive
that allows students to register for
classes, add or drop sections, view
their grades, and review their degree
[email protected]
associate registrar
John Matheus
an acceptance letter/email that
audit. Your academic advisor and your
includes a OneKey (username)
appointment dates for advisement and
and ID number (initial password).
registration are listed on your degree
assistant registrars
It may also include additional
audit. Students should contact their
Marcia Approo
requisites required for admission to
advisor for assistance.
a program.
• All final and official college and
3. Register for the approved courses online
during the designated registration
[email protected]
[email protected]
Cynthia Smith
[email protected]
high school transcripts (indicating
period. A student’s registration date
date of graduation) must be
is displayed under the student’s name
tap certification officer/
ve terans adviser
submitted to the Institute prior to
when he or she logs in to www.pratt.edu/
Charlotte Outlaw-Yorker
enrollment.
mypratt. Online registration is done on
[email protected]
• Non-matriculated students will
be provided this information once
Academic Tools.
4.Pay prescribed tuition and fees to
they submit a non-matriculated
the Bursar. Students—and persons
student application in the
approved by that student via the Parent
Registrar’s Office and pay the fee.
Module—can view the bill on www.
They do not have to follow steps
pratt.edu/mypratt. See the Tuition and
2 and 3.
Fees section of this Bulletin for more
2. Meet with an academic advisor and
have a program of courses approved
information.
office
Tel: 718.636.3663 | Fax: 718.636.3548
[email protected]
322 registration and academic policies
Students are fully responsible for
dashboard). The PrattCard Office is located
tuition and fees after they complete Steps 1
in the Activities and Resource Center (ARC),
through 3 above. If students do not complete
Lower Level, Room A-109.
Step 4 before the first day of class, their
Responsibility for a correct registration and
a correct academic record rests entirely with
the student. Students are responsible for
knowing regulations regarding withdrawals,
refund deadlines, program changes, and
academic policies.
Instructors will not admit students
to classes in which they are not officially
registered. Proof of official registration may
be obtained in the Office of the Registrar or
through the Academic Tools. Any student
who attends a class without valid registration
(i.e., he or she is not on the official class
roster) will not have credits or a grade
recorded for that course.
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.
Pratt online accounts must be used for
Identification Cards
and Services
all official Institute communication through
As part of orientation, new students are
authenticity of the requester. No official
issued identification cards. Students must
requests will be fulfilled from any email
present their PrattCard to receive services
address that does not end with a pratt.
and privileges, to gain entry into campus
edu suffix. Likewise, all official Institute
buildings, and to identify themselves to
communications sent electronically are
Institute officers as necessary. People
emailed to this address. Some notices
who cannot or will not produce a student
are only sent electronically. Students are
identification card are not recognized as
responsible for the information sent to their
students and are not entitled to student
Pratt email.
services. To find out more about the
PrattCard, log in at www.pratt.edu/mypratt
(the PrattCard is on the left side of the
New Student Initial Registration
Entering new students will be required to
unpaid registrations may be canceled
according to the payment schedule.
Student Registration
the Internet as an individual’s Pratt email
address is the only way to validate the
go online and choose courses during the
new student registration 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.
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 will also severely
jeopardize a student’s chances of obtaining his
or her preferred academic course schedule.
registration and academic policies 323
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 advisorapproved 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.
• Chapter 1606 Montgomery GI Bill
(MGIB-SR)
• Chapter 31 Veterans Vocational
Rehabilitation
Because the New York Regional Veterans
Administration (VA) will not accept
certification of enrollment before the first
class day of any session, students planning
to enroll under any of the VA programs
should initiate the certification procedure by
making an appointment to see the veterans’
advisor in the Office of the Registrar after
registration is completed. Depending on the
Chapter, students receive monthly checks
from the VA or the VA will send the check
directly to Pratt six to eight weeks after
certification. Failure to request certification
upon completion of registration may result
in a four- to six-week delay in the receipt
of the first benefit check. As of January
1976, those students receiving survivor’s
benefits (children of deceased veterans)
are no longer required to be certified by the
school. Appropriate forms may be obtained
at the student’s VA Regional Office. New
transfer students who have already received
educational benefits should bring their VA
Veterans Affairs
claim number to the veterans' advisor.
New students, who have been in active
Pratt Institute participates in the following
military service, must submit a certified copy
Veterans Administration Benefits:
of their DD 214 (discharge papers). Students
• Chapter 33 Post 9/11 GI Bill
• Chapter 30 Montgomery GI Bill
(MGIB)
in Active Reserve should be certified by
their commanding officer, and the signature
of the Pratt veterans’ advisor should be
obtained from the Registrar’s Office. Students
who support spouses, children, or parents
should submit birth certificates or marriage
certificates as appropriate. Students in the
Reserve (Chapter 1606) seeking to obtain
educational benefits should see their
commanding officer for eligibility counseling
and forms and, if eligible, should then see the
Pratt veterans’ advisor for certification. All
students receiving benefits under Veterans’
Vocational Rehabilitation (Chapter 31) should
contact their counselors at the VA, who will
forward an “authorization form” to Pratt’s
veterans’ advisor. These veterans should then
go to the Registrar’s Office after having been
programmed by their respective departments
in order to present a signed copy of the
authorization to the Office of the Bursar.
Only after receiving this signed authorization
will the Office of the Bursar validate tuition
payment. Veterans receiving an allocation for
books should note that Pratt Institute does
not maintain the campus bookstore. The VA
should be notified accordingly. Final and
official authorization cannot be forwarded
to the VA until the student has completed
registration. Pratt Institute serves only as a
source of certification and information to the
VA Regional Office. The student must carry
out all financial transactions with the VA
directly. All transactions are carried out with
the Buffalo Office:
P.O. Box 4616
Buffalo, NY 14240
The New York Regional Office is at :
245 W. Houston Street (at Varick Street)
New York, NY 10014
residency requirement
must submit official copies of score reports to
Students must complete at least 48
transferable. Grades of transfer credit are not
the Admissions Office prior to enrollment.
semester credits at Pratt. The last 32 credits
must be taken in final sequence to earn
included in the GPA.
A maximum of six credits in foreign
Prior to registration, the transfer student
receives an estimate by the Office of Admis-
language will be accepted. Students seeking
sions of the credit that can be expected for
transfer credits for studio courses in art, de-
work done at previous college(s). Additional
sign, or architecture are required to submit a
documents may be requested by the Office of
portfolio reflective of their studio coursework
Admissions (bulletin, course hours, syllabi,
degree at Pratt.
completed in a prior institution as part of the
etc.) in order to complete the estimated evalu-
admission application.
ation. Deposited students should mail all edu-
Transfer Credits
submit additional class hour documentation
After all final transcripts have been received,
to determine a U.S. semester hour equiva-
a complete evaluation of transfer credit will be
lency or have their credentials of international
sent to the student.
any undergraduate degree. To be cons1dered
for graduation honors, a student must
have completed a minimum of 50 percent
of the credits required to complete the
International students may be required to
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 regionally accredited institution 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
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
cation records to the Office of the Registrar.
credit hours evaluated by an official interna-
Transfer Credit After
international credit evaluation performed any Matriculation
tional credit evaluations service. Pratt accepts
member of the National Association of Credit
Every student, once matriculated at
Evaluation Services (NACES).
Pratt, whether as a freshman or a transfer
Pratt accepts up to nine credits for
student, is expected to complete his or her
Advanced Placement (AP) with a score of four
degree requirements at Pratt, both in major
or five and the International Baccalaureate
areas and in liberal arts and sciences. In
(I B) Higher Level with a score of five or
exceptional circumstances, a student who
greater (Details are presented in the Admis-
is in good academic standing may request
sions Section). Credit may also be awarded
to take a course at another college. These
for 1 College Level Equivalency Program
students must get permission in advance to
(CLEP) tests with acceptable scores. Only
take courses at other colleges for transfer to
tests taken prior to matriculation at Pratt will
their Pratt record. Credit for courses taken
be considered.
at another institution while matriculated
Credit evaluations will be completed
at Pratt is limited to a maximum of three
only after acceptance. Students petition-
credits for associate degree students and
ing for transfer credit(s) must submit to the
six credits for baccalaureate students, only
Admissions Office an official transcript from
three credits of which can be transferred as
each college attended prior to enrollment.
studio and three as liberal arts and sciences.
Additional transcripts will not be accepted for
Transfer credit is given only for the credit-
transfer credit evaluation after the beginning
bearing course at the other institution and
of the student's first semester at Pratt. Accept-
must be passed with a grade of C or higher.
ed students who seek AP, 18, or CLEP credit
A grade of C- is not acceptable for transfer
purposes. 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 School of Liberal Arts and Sciences. The
approved permission must be signed for clear-
How to Petition
• 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
Intent to the Registrar’s Office with
Student Status
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
ance and filed in the Office of the Registrar
a $100 deposit. The Office of the
before the course is taken. Upon completion,
Registrar will give you an application
Undergraduate students are classified as
an official transcript must be sent to the Regis-
form, which should be returned to
part-time if they schedule or drop to fewer
trar's Office for the credit to be transferred
that office after completion. When
than 12 credits (or equivalent, see above)
the entire process is complete, the
of registered coursework.
Registrar’s Office will apply the deposit
Portfolio/Work
Experience Credit
Based on previous work experience and/
or portfolio, credit may be granted for
undergraduate professional courses in
the School of Architecture, School of Art,
and School of Design. When applying for
to a fee schedule of 30 percent of the
Attendance Policy
regular per-credit tuition rate per
Faculty members are encouraged to take
credit evaluated.
attendance. There are no excused absences
• Submit documentation as described
above to appropriate departmental chair.
Please allow one week for evaluation.
• Return the application with the proper
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.
admission the student should indicate
authorization to the Office of the Reg-
his or her intention to seek credits for
istrar to complete the process. You will
work experience. Students must submit
be billed accordingly. Payment is due
the following documentation for credit
upon billing. A maximum of 32 credits
consideration:
can be evaluated for those programs
Students can generate a watermarked
requiring fewer than 150 credits for
PDF record of their periods of enrollment
graduation and up to 42 credits for
and current status at Pratt Institute online
those programs requiring more than
through the National Student Clearinghouse.
150 credits for graduation. Credits
This service can be accessed at any time
earned through this procedure are
through www.pratt.edu/mypratt:
• 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.
not included in the GPA. They will not
count toward the Institute’s minimum
residence requirement.
Enrollment Verification
Letters
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
Clearinghouse. (Enrollment
• 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 that the student is not the direct
recipient, that 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.
information is provided to the National
Student Clearinghouse by many postsecondary institutions. Enrollment in
those schools is included.)
• View the student loan deferment
notifications that the Clearinghouse
has provided to your loan holders
(lenders and guarantors).
• View the proof(s) of enrollment that
the Clearinghouse has provided to
your health insurers and other providers of student services or products.
• Order or track a transcript.
• View specific information about your
student loans.
A student may request an enrollment
verification letter on Pratt Institute
letterhead several ways:
• Through the Academic Tools student
menu (under My Courses).
• A written request including ID number
and mailing/fax destination from a
student’s Pratt email account.
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 Registrar’s
Office.
Changes and Withdrawals
Program/Major Changes
Each student must follow the program and
major for which she or he has been admitted
to Pratt. The Institute will not recognize a
change of major as official unless the change
is processed with the appropriate approvals
and recorded in the student information
system. A student who wants to change
a major must first speak with his or her
academic advisor. Course requirements for
the new major reflect the current catalog
year. Hence, a change in major may result
in more credits being required to graduate.
It may also have an effect on the number of
transfer credits allowed.
applying for a change
of ma jor (same scho ol)
If the departments are in the same school,
a Change of Major form (available in the
Registrar’s Office) needs to be completed
and signed by the student and the chairs of
both the current and new department.
applying for a change
of ma jor (different scho ols)
If the departments are in different schools,
students must apply for this change in the
Admissions Office (for example, School of
Architecture to School of Art or School
of Design).
Course/Section Changes
The Institute recognizes no change of
course(s) or section(s) as official unless
the change is processed online through
Academic Tools or with a Drop/Add form
submitted with the appropriate approvals to
the Registrar’s Office. Courses and course
sections may be changed online during the
first two weeks of each semester. Once this
add period is over no courses may be added
to the student’s schedule. Students paying
by the credit who drop a course on or after
the first day of the term will be charged a
percentage of the course fee. (See 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
Fall
Spring Summer
Last day to add a
class or change
sections
Sep. 8
Feb. 2
Last day to drop
a class with 100%
refund
Aug. 25
Last day to drop
a class with 85%
refund
Sep. 1
Jan. 27
N/A
Last day to drop
a class with 70%
refund
Sep. 8
Feb. 3
N/A
Last day to drop
a class with 55%
refund
Sep. 15
Feb. 10
May 25
Jan. 20
May 24
(tentative)
May 18
refund period will not be eligible for a
retroactive refund.
Students who are leaving Pratt without
Students may withdraw from a course
graduating are required to fill out a Complete
during the first 11 weeks of the fall or spring
Withdrawal form in the Registrar’s Office.
semesters. A class that is dropped from a
This form permits the Registrar to drop
student’s schedule after the second week of
or withdraw a student from all registered
the semester will remain on the student’s
classes (a student cannot do this online). The
academic record with the non-credited
form also serves to advise relevant offices
designation of WD (withdrawal).
that a student is no longer enrolled. Students
No course withdrawal will be accepted
who withdraw need to be advised about
after the published deadline. WD grades
any financial obligations and any academic
earned via the official withdrawal procedure
repercussions of their actions. They also will
cannot be changed.
be required to complete and Exit Interview.
The date that the Complete Withdrawal
form is turned into the Registrar’s Office
is the official date used for withdrawal.
This date determines eligibility for WD
grades and a student’s charges for the term
of withdrawal. Only the submission of a
Complete Withdrawal form will deactivate
your status as a currently enrolled student.
Until that time, registration and billing stay
in effect and grades of F will be issued for
class absences.
liability for a semester:
• Notifying a faculty member,
department chair, or academic
Complete Withdrawal
from the Institute
dropped the course during the published
None of the following actions causes
an official withdrawal or reduces financial
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 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.
Leave of Absence
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 day to
withdraw from classes for any given
semester.
• 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.
• International students must obtain
authorization from the Office of
International Affairs.
• Students applying for a leave of
absence must pay a $20 processing fee.
• A student who wishes to register after
an undocumented leave must apply for
readmission.
• Students requesting leave for medical
reasons must obtain authorization
from Health and Counseling.
Readmission
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 to
reflect the current catalog when a student is
readmitted to a program (rather than the one
used in the initial acceptance).
The readmission application deadlines
for each semester are below.
Application
Deadline
Personal Data Changes
All personal data changes must be made
in written form only by the student.
Students are responsible for reporting
the following personal data changes to the
Office of the Registrar:
• Change of name (requires legal
documentation)
Spring
Summer
Aug. 15
Dec. 15
May 1
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
• Change of address
information, a request to update his or
• Change of major
her account can be made through the
Note: Consult the Office of the Registrar for
same process.
procedural details on reporting these changes.
Transcripts
Parent Module
Unofficial Transcripts are available for
Students can authorize parents, guardians,
Academic Tools at www.pratt.edu/mypratt.
or sponsors to view current schedules,
grades, degree progress and/or access the
tuition bill to see the current balance and
make payments. Students manage (grant
or rescind) these permissions through their
Academic Tools. Parents and Sponsors can
then 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";
Fall
information they allow each account
3. After the system logs you in, click on
the "Students" menu on the sidebar;
4.Through “Grant Parent/Sponsor
Rights” (listed under My Personal
Information), students decide which
viewing and printing through the online
2. Click on "Academic Tools" on the left
side of the page, and click "log in";
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 www.
getmytranscript.com. Official transcripts
may also be ordered in person or by mail
at the Office of the Registrar. Records
containing financial holds will not be
processed until the hold is cleared. More
information can be found at www.pratt.
There is a $2.25 transaction fee per
edu/registrar. Your request must have the
destination. Regular service (mailed first
following information to be processed:
class from Pratt in three to five business days)
• Name while attending Pratt Institute.
• Nine-digit Social Security or sevendigit student ID number.
• Date of birth.
• Telephone number.
• Dates of attendance and/or
graduation.
• Destination information where
transcript is to be mailed.
Online Orders
is $5 per copy. Rush service (mailed first
class from Pratt in one business day) is $10
per copy. Express service with UPS 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
Official transcripts may be ordered online
by regular service (mailed first class from
through the National Student Clearinghouse
Pratt in three to five business days) are $10
with a valid major credit card at www.
per copy.
getmytranscript.com. You will receive a
confirmation sheet that must be signed and
U.S. Mail Orders
returned by one of the following methods:
To order an official transcript by mail, please
• 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: National Student
send a written request and check or money
order (no cash) to:
Pratt Institute
Office of The Resistrar
Myrtle Hall, Sixth Floor
Clearinghouse, 2300 Dulles Station
Payment is by check or money order only.
Boulevard, Suite 300 Herndon, VA
Only regular service (mailed first class from
20171. Payment is by credit card only.
Pratt in three to five business days) is available
using the mail service. The charge is $15 per
copy. Records containing financial holds will
not be processed until the hold is cleared.
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.
• Copies of transcripts from other
schools that you may have attended
must be requested directly from those
schools. We cannot release or copy
transcripts in our file.
Organization of
Course Offerings
Semester Hour Credit
Courses Numbered 100 through 499
credit/semester hour is the amount of work
are primarily reserved for undergraduates.
represented in intended learning outcomes
Graduate students will not receive credit
and verified by evidence of student
toward graduation for taking these courses.
achievement. Pratt Institute operates on a
a, a– e xcel l ent
Courses Numbered 500 through 599
semester calendar and awards credit on a
The student has consistently demonstrated
may be open to both undergraduates
semester basis. Each semester is a minimum
outstanding ability in the comprehension
with junior or senior class standing and
of 15 weeks. One credit is awarded for at
and interpretation of the content of the
graduate students. Courses in this range
least three hours of student work per week,
course. (Numerical Value: A = 4.0; A– = 3.7)
are considered either 1) Technical Elective;
or the equivalent amount of work over a
2) Qualifying; or 3) Graduate courses
different amount of time. Student work
b+, b, b – aver age
whose content complements advanced
may take the form of classroom time, other
The student has acquired a comprehensive
undergraduate studies. Credit earned
direct faculty instruction, or out-of-class
knowledge of the content of the course.
within the 500-numbered courses by
homework, assignments, or other student
(Numerical Value: B+ = 3.3; B = 3.0; B– = 2.7)
undergraduate students may not be applied
work. A minimum of one clock hour per
toward a graduate degree. Graduate students
week, or equivalent time in variable-length
c+, c accep tabl e
enrolled in 500-level courses are expected
courses, represents classroom or direct
The student has shown satisfactory
to perform with greater productivity and
instruction time.
understanding of the content of the course. C
capacity for research and analysis than their
In accordance with Federal regulations, a
To determine the appropriate amount
Grading System
Letter Grades That Affect
the Academic Index
is the lowest passing grade for undergraduate
undergraduate colleagues enrolled in the
of classroom time required for each course,
students. (Numerical Value: C+ = 2.3;
same courses. Significantly more is expected
Pratt follows the standards established by
C = 2.0 )
of graduate students in course projects,
its accrediting agencies. Typically, for each
papers, and conferences.
credit hour awarded to lecture or seminar
d+, d l es s than accep tabl e
Courses Numbered 600 and above
courses, the students receive 15 clock hours
The student lacks satisfactory understanding
are generally for graduate students only. A
of direct instruction and are required to per-
of course content in some important
graduate course embraces highly developed
form an additional 30 hours of out-of-class
respects. (Numerical Value: D+ = 1.3; D = 1)
content that demands advanced qualitative
work. For each credit awarded to a studio
and quantitative performance and
course, undergraduate students typically re-
f failure
specialization not normally appropriate to
ceive 22.5 clock hours, and graduate students
The student has failed to meet the minimum
undergraduate courses.
receive 15 hours of direct instruction and are
standards for the course. (Numerical Value:
required to complete a minimum of 30 ad-
0.0)
Courses Numbered 9000 and above are
elective internship courses.
ditional hours of out-of-class work.
Note: The highest grade acceptable for
recording is A (4.0) and not A+; D (1.0), not
D–, is the only grade preceding F (0.0). The
+/– grading system went into effect as of the
fall 1989 semester and is not acceptable for
ip (in pro gres s )
nr (no record)
recording purposes for prior semesters.
Designation used only for graduate student
Grade given for no record of attendance in an
thesis, thesis project for which satisfactory
enrolled course. (All NR designations must be
completion is pending, or Intensive English
resolved by the end of the following term or
course for which satisfactory competence
the grade is changed to a letter grade of F with
level is pending.
a numerical value of 0.)
inc (incompl e te)
wd (withdr awal from
a registered cl a s s)
Grades That Do Not Affect
the Academic Index
aud (audit, no credit)
Students must register for courses they
plan to audit by contacting the Registrar’s
Office in person or by way of their Pratt email
Designation given by the instructor at the
written request of the student and available
account.
only if the student has been in regular atten-
cr (credit)
but the final requirements of the course, and
Grade indicates that the student’s achieve-
has furnished satisfactory proof that the work
ment was satisfactory to assure proficiency
in subsequent courses in the same or related
areas. The CR grade does not affect the
student’s academic index. The CR grade is to
be assigned to all appropriately documented
transfer credits.
The CR grade is applied to credit earned
at Pratt only if:
• The student is enrolled in any course
offered by a school other than the one
dance, to indicate the student has satisfied all
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 following semester, the grade is changed to
failure with a numerical grade value of 0.
Indicates that the student was permitted to
withdraw from a course in which he or she
was officially enrolled during the drop period
for that semester.
wf (withdr awal Fail ing)
Grade given to a student with a failing grade
due to lack of attendance.
Grade Reports
Grade reports are not mailed to students.
Grades may be obtained via www.pratt.
edu/mypratt (see instructions below).
Professors submit final grades online and
students are able to view their grades as
soon as the instructor enters them. If there
in which the student is matriculated,
ncr (no credit)
are any questions about the grade received,
and had requested from the professor
Indicates that the student has not demon-
a student should contact the instructor
at the start of the term a CR/NCR
strated proficiency. (See CR for conditions
option as a final grade for that term.
of use.)
a grade by properly completing, signing,
ng (no gr ade rep orted)
directly to the Office of the Registrar. Time
Indicates that the student was properly regis-
limits have been allotted for resolving grade
tered for the course but the faculty member
problems. Spring and summer grades may
issued no grade. The student should contact
not be changed after the last day of the
the professor. Students cannot graduate with
following fall semester. Fall grades cannot
an NG on their record.
be changed after the last day of the following
• The instructor has received approval
to award CR grades from the Office
of the Provost. (This does not apply to
liberal arts courses within the School
of Liberal Arts and Sciences.)
immediately. Only the instructor can change
and submitting a Change of Grade form
spring semester. Once this time limit has
passed, all INC and NR grades will convert
one in which the grade was given. Other
In courses that are passed, a credit is earned
to Fs. To view grades online:
than resolution of an initially assigned
for each period (50 minutes) of lecture or
incomplete grade or of a final grade reported
recitation, and for approximately one and
in error, no letter grade may be changed
one-half periods of laboratory or studio
following graduation.
work, each week throughout one term or
1. Log in with your OneKey at www.pratt.
edu/mypratt;
the equivalent.
left side of the page, and click "log in";
the "Students" menu on the sidebar;
4.Choose from the options offered under
"My Grades and Transcripts."
Repeated Courses
A repeated course must be the same course
A = 4.00
C = 2.00
as the one for which the previous final grade
A– = 3.70
C– = 1.70
was awarded. Undergraduate students must
B+ = 3.30
D+ = 1.30
B = 3.00
D = 1.00
be repeated if a grade of C is not earned.) No
B– = 2.70
F = 0.00
undergraduate student may choose to repeat
C+ = .30
repeat all required courses in which F is the
Final Grades, Grade Disputes,
and Grade Appeal Policies
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 department
final grade. (HMS 101 and 103 courses must
a course that was passed with a grade of D or
higher without specific 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
is unsuccessful, a further and final appeal
can be made to the dean of the school in
which the course was taken. It is important
to note that the faculty member who issued
the grade holds the authority to change the
grade except in cases of appealed grades.
If a grade is to be changed, the student
must be sure that the change is submitted
within the following semester. Petitions of
change of any grade will be accepted only up
to the last day of the semester following the
(If unresolved at the end of the
following semester, INC = F = 0.00
and NR = F = 0.00)
in the fol lowing e xampl e
the gpa is 3.33:
in the cumulative index from the point of
repeat onward.
in which the course was taken to arrange a
meeting and appeal the grade. If this appeal
qual it y p oints
gr ade = qual it y p oints ×
credits earned =
gr ade p oints
Grade Point Average
A
A student’s Grade Point Average is calculated
B+ = 3.30 × 3 = 9.90
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.
= 4.00 × 3 =12.00
B– = 2.70 × 3 = 8.10
=30.00
total gr ade p oints ÷
total credits at temp ted = gr ade
p oints
30 ÷ 9 = 3.33
30 (total grade points) divided by 9 (total
standings are based on the published
one decimal point in evaluating eligibility
credits) makes a GPA of 3.33.
academic policies, regulations, and standards
for President’s List and Dean’s List honors
of the Institute. Students subject to academic
and eligibility for restricted and/or endowed
no numerical value for one semester after the
discipline are encouraged to take advantage of
scholarships. Rounding is not utilized if a
grade is given. Thereafter, if unresolved, the
support services available to them, including
student’s cumulative average is below 2.0.
INC and NR grades convert to an F and carry
academic advisement, in an effort to help
a numerical value of 0.
them meet Institute academic standards.
INC (incomplete) and NR (no record) carry
The following grades do not carry
All students’ records are reviewed at the
numerical values and are never calculated
end of each semester to determine whether
in the GPA:
any student who has failed to remain in Good
P
Pass
CR Credit
U
Unsatisfactory
WD Withdrawal
WF
Withdrawal Failing
AUD Audit
NCR No Credit
IP In Progress
Standing may continue in the program.
Good Standing
not computed in the GPA.
Academic Standing
Pratt Institute’s policies on academic
standing intend to ensure that all students
receive timely notification when they are
subject to academic discipline or achieve
academic honors.
Each student is responsible at all times
for knowing his or her own standing. These
• President’s List Honors recipients
• Dean’s List Honors recipients
• Academic probation standing
• Candidates for academic dismissal
All undergraduate students must maintain a
Semester-based distinctions are only
cumulative GPA of at least a 2.0 (equivalent
available to undergraduate students carrying
of a C) to remain in Good Standing. An
a full-time program. Semester-based
undergraduate student whose GPA falls
distinctions are only available to students
below a 2.0 at any time may be subject to
without any incomplete grades.
academic discipline. The specific conditions
President’s List Honors recipients
under which this policy will be invoked are as
are defined as students whose term GPA
set forth by the dean of each school. Written
is 3.6 or higher, and who have completed 12
notification will be furnished to the student
or more credits in that term with no
by the dean.
incomplete grades.
Dean’s List Honors recipients are
Final grades for credit transferred from other
institutions to the student’s Pratt record are
Standard notification letters are mailed
to students in the following categories:
Qualitative Standards of
Academic Standing
defined as students whose term GPA is
The staff of each school’s advisement office
12 or more credits in that term with no
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
between 3.0 and 3.5, and who have completed
incomplete grades.
Academic Probation
No indication of academic probation will
Students are, without exception, placed on
appear on a student’s transcript, but a record
academic probation in the first semester
of probation will be maintained in the
that their cumulative GPA falls in the ranges
student’s academic file.
Credits
Cumulative
Completed
GPA
1–23
< 1.500
24–58
< 1.500
59–97
< 1.700
Academic Dismissal
98–134
< 2.00
Students are limited to two nonconsecutive
135 or more
< 2.00
Academic advisement staff schedules
shown below:
progress meetings as necessary with each
a s so ciate degree
student during his or her probation semester.
Credits
Cumulative
Completed
GPA
1–23
1.500–1.999
probation semesters. Students who complete
24–58
1.500–1.999
their first probation semester without
59 or more
< 2.00
4-year degree
achieving the required 2.0 cumulative
5-year degree
average are subject to dismissal as described
Credits
Cumulative
in item 1. If a student has been granted two
Completed
GPA
1–23
< 1.500
24–58
< 1.500
Students who are dismissed can apply for
59–97
< 1.700
readmission to Pratt and can seek advice on
98–134
< 2.00
135 or more
< 2.00
prior probationary semesters, and his or her
cumulative average falls below 2.0 for a third
Credits
Cumulative
Completed
GPA
1–23
1.500–1.999
24–58
1.500–1.999
readmittance from the academic advisement
59–97
1.700–1.999
staff of their school.
98–134
< 2.00
135 or more
< 2.00
time, that student is subject to dismissal.
Students are subject to academic
dismissal if their cumulative GPA is 2.0 or
less at the end of an academic probation
semester. Students are also subject to
dismissal without prior probation if they do
5-year degree
4-year degree
not meet minimum cumulative averages for
Extenuating circumstances such as serious
medical or personal disorders can lead to
waiver of the academic dismissal. Probation
may be offered to students who complete
an Appeal of Academic Dismissal form and
obtain written approval from the dean of the
Credits
Cumulative
Completed
GPA
1–23
1.500–1.999
24–58
1.500–1.999
Credits
Cumulative
59–97
1.700–1.999
Completed
GPA
Standards of Degree Progress
and Pursuit
98–134
1.700–1.999
1–23
< 1.500
Students must make reasonable progress
135 or more
< 2.00
24–58
< 1.500
in terms of credits completed each term in
59 or more
< 2.00
their grade classification:
school in which he or she is enrolled.
a s so ciate degree
addition to meeting the standard for
cumulative GPA. These standards ensure
Transfer students are evaluated for
In addition, any account with the Bursar’s
that students are making steady progress
quantitative standards based on the number
Office and all other obligations to the
toward graduation and can help students
of transfer credits accepted. For example, a
Institute must be cleared.
avoid excessive student loans. The total
student entering a four-year degree program
number of semesters a full-time student may
who has 42 transfer credits accepted would
be awarded financial aid is indicated in the
need 59 credits completed at the end of his or
table on page 314. In order to be considered
her first semester to start the next semester
in good academic standing and to remain
in good academic standing. Transfer
eligible for financial aid, full-time students
students must comply with Institute
must meet the following completed credit
qualitative standards from the time of
requirements to start the term shown.
enrollment.
Summer sessions do not count as terms in
the table. Students do not have to meet credit
requirements to enter those terms and, if
needed, can use those periods to“catch up”
to meet the credits required for the next fall
or spring term.
In order to maintain financial aid
eligibility, the maximum number of
attempted credits for completion of a degree
is 150 percent of the required credits for that
particular degree. Pratt will review each
student’s eligibility at the end of each year.
If the student has exceeded the maximum
number of attempted credits for their
degree program, the student will no longer
be eligible for financial aid (grants or loans)
during any future semesters.
frames shown on page 344 to complete their
studies. Credit requirements for students
who combine full- and part-time studies will
be evaluated on an individual basis.
Students who are recipients under the New
York State Tuition Assistance Program must
also meet academic standards mandated by
the State of New York.
• Be a U.S citizen or elgible noncitizen.
• Be a legal resifent of New York State a
year prior to matriculation.
• Be a graduate of high school with the
U.S., earned a GED or passesd a federally approved "Ability to Benefit" test.
Maximum
Number of
Attempted
Credits
4-Year Bachelor’s Degree
Part-time students have double the time
201
4-Year Writing Bachelor’s Degree 195
5-Year Bachelor’s Degree
263
2-Year Associate’s Degree
104
• Be registered fo 12 credits or more in
publishd required courses.
• Complete minimum 12 credits from
previous semester in published
required courses.
• Be in good avacemic standing with a
cumlative grade point average of 2.00
or better.
Degree Audits
Degree audits are computerized checklists
of graduation requirements. These reports
are similar to transcripts because they list all
academic activity. They are different from
transcripts, however, because they organize
the coursework attempted into logical blocks
that represent what is required. They also
clearly flag what has been taken and what has
yet to be taken.
This area lists the total credits required
There are four parts to an audit:
1. Student Information
The top of the first page lists the
student’s name, the academic program
Courses that usually do not count
be taken at Pratt (residency), and the
towards a program’s requirements
GPA required for graduation.
are listed in this bottom section.
Sometimes a course will not count
3. Required Course Information
being evaluated, the catalog year that
This section is usually the longest. It
the requirements are being checked
lists the entire range of requirements
against, and the student’s anticipated
and electives specific to the academic
graduation date (based on the date
program being evaluated. Fulfilled
of admission). This section may also
requirements will be listed with the
contain one or many text messages
grade earned (or CR for transfer
specific to the student, depending on
credit). Missing requirements are also
his or her status at Pratt.
noted with credits needed.
toward graduation because it was
dropped, or carries a grade that makes
it ineligible for consideration 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.
How to Get a Copy
of a Degree Audit
2. Credit and GPA Information
standards of degree progress and pursuit
Students may view or print an audit at any
time using their Academic Tools.
Cumulative
GPA
Credits
Completed
Cumulative
GPA
Credits
Completed
Cumulative
GPA
Credits
Completed
Cumulative
GPA
Credits
Completed
1. Log in with your OneKey at www.pratt.
Credits
Completed
Associate’s Degree Master’s and
2 Year****
Post Master’s*****
Cumulative
GPA
(Writing Major Only)
Bachelor’s Degree Bachelor’s Degree
4 Year**
5 Year***
Term
Bachelor’s Degree
4 Year*
4.Other Courses
for graduation, the number required to
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
the “Students” menu on the sidebar;
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
9
2.0
100
2.0
97
2.0
101
2.0
75
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
Students may go online and receive a
15
2.0
170
degree audit at any time. If you do not have a
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
current academic program (major),
click "OK." In order to see what the
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.
computer or access to a computer lab, come
to the Office of the Registrar. Students that
have questions about how to read the audit
9
Total credits (depending on
progr am)
should visit their academic adviser’s office
68–72
At Senior Cl ass Standing
Credits
Students are expected to have completed
the above courses plus:
Satisfactory Academic
Progress Policy
Undergraduate students in the School
done without the assistance of any person
CH–300
3
work has not previously been submitted
CH–400
3
for academic credit in any area. Students
9
are free to study and work together on
104–107
homework assignments unless specifically
asked not to by the instructor. In addition,
students, especially international students,
of Architecture are expected to make
appropriate academic progress in their
are encouraged to seek the editorial
major, as well as in Liberal Arts and Sciences
and in History of Art and Design or History
At Junior Cl ass Standing
Credits
Students are expected to have completed:
and Theory of Architecture. To ensure a
smooth progression and timely graduation,
by the time they attain junior and senior
class standing, students are expected to
have completed the number of credits in
Liberal Arts and Sciences and in History
of Art and Design or History and Theory
may be prevented from registering for
Introduction to Literary/
Critical Studies I
3
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
further courses in their major until these
progr am)
requirements have been met.
At Senior Cl ass Standing
school of art and School of design
Credit s
Students are expected to have completed:
HMS–101
Critical Studies I
3
HMS–103A
Critical Studies II
3
HA–115
Survey of Art I
3
HA–116
Survey of Art II
3
102
Credits
Students are expected to have completed
the above courses plus:
assignments, term papers, and theses. The
to clarify issues of academic standards and
to provide writing and tutorial help for all
Pratt students. In the case of examinations
(tests, quizzes, etc.), the student also
implicitly claims that he or she has obtained
no prior unauthorized 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 are
not limited to the following:
CH–300
3
CH–400
3
9
progr am)
assistance they may need for writing
Writing and Tutorial Center staff is available
HMS–101B
of Architecture specified below. Students
At J u nior Cl a s s S ta nding
claim that the work is wholly his or her own,
or source not explicitly noted, and that the
progr am)
of Art, School of Design, and School
When a student submits any work for
academic credit, he or she makes an implicit
or stop by the Office of the Registrar during
office hours for an explanation.
Academic Integrity Code
136
1. The supplying or receiving of
completed papers, outlines, or
research for submission by any person
other than the author.
2. The submission of the same, or
essentially the same, paper or report
for credit on two different occasions.
3. The supplying or receiving of
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.
Plagiarism*
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
4.The supplying or receiving of partial or
thought for which he or she deserves no credit.
complete answers, or suggestions for
Plagiarism occurs when one uses the
answers, of assistance in interpretation
exact language of someone else without
of questions on any examination from
putting the quoted material in quotation
any source not explicitly authorized.
marks and giving its source. (Exceptions are
(This includes copying or reading of
very well known quotations, from the Bible
another student’s work or consultation
or Shakespeare, for example.) In formal
of notes or other sources during
papers, the source is acknowledged in a
examinations.)
footnote; in informal papers, it may be put
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
in parentheses, or made a part of the text:
“Robert Sherwood says...”
This first type of plagiarism, using
without acknowledging the language of
someone, is easy to understand and to
avoid. When a writer uses the exact words
of another writer, or speaker, he or she must
“hoarding” of study or research
put those words in quotation marks and give
materials or equipment intended
their source.
for common use in assigned work,
A second type of plagiarism is more
including the sequestering of library
complex. It occurs when the writer presents,
materials.
as his or her own, the sequence of ideas, the
8.Alteration of any materials or
apparatus that would interfere with
another student’s work.
9.Forging a signature to certify
completion of a course assignment or a
recommendation and the like.
arrangement of material, or the pattern of
thought of someone else, even though he or
she expresses it in his or her own words. The
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 semester.
Students who successfully complete their
studies in October or February are invited to
attend the ceremony that is held following
their graduation. Students who anticipate a
Summer/October completion date should
attend the ceremony that is held the May
following their graduation. Students who will
graduate in Summer/October and cannot
attend Commencement the following
spring may apply for Permission to Walk
in May Commencement in the Registrar’s
Office. Their names will not appear in the
commencement program, nor will they
receive their diplomas early. Attendance
at commencement does not guarantee
graduation from the Institute.
Graduation with Honors
language may be his or hers, but he or she
Undergraduate
is presenting as his or her work, and taking
For all associate and baccalaureate degrees
credit for, the work of another. He or she is,
to be graduated with honors, a student
therefore, guilty of plagiarism if he or she
must have earned a final cumulative GPA
fails to give credit to the original author of the
no lower than 3.5 in all work. A minimum
pattern of ideas.
final cumulative GPA of 3.75 is required
*Reprinted with permission of Macmillan Publishing
Company from Understanding and Using English by
Newman P. Birk. 1972.
for graduation with highest honors. To be
considered for honors, a student must have
completed a minimum of 50 percent of
degree credits at Pratt. These credits must be
earned in semesters evaluated with a GPA.
Graduation Procedures
To be eligible for a degree, the student must
satisfy all Institute, school, and department
requirements as stated in undergraduate
announcements. Where applicable,
students must also meet specific academic
requirements concerning prerequisites,
course sequences, or program options as
posted by academic departments.
Application for Graduation
Students wishing to be considered
for graduation must file a Graduation
Application. The application is available
on the student’s online Academic Tools
available through www.pratt.edu/mypratt.
Applications must be filed on or before the
following deadlines:
used to mail diplomas.
Information can be updated before the
application deadline by simply filling out
File on or Before
Summer Term/
March 25
October
Fall Term/February
August 25
Spring Term/May
December 15
Using the application, candidates indicate:
1. Their anticipated graduation term.
2. The exact spelling and punctuation
of their name as it is to appear on the
diploma.
3. Their hometown and state/country as
it is to appear in the commencement
Graduation Requirements
Final graduation requirements include the
following:
1. Grade Requirements
and submitting the graduation application
Undergraduate students must be in
again. If the candidate is not cleared for the
good standing, with a cumulative GPA
announced graduation, a new application
of at least 2.0. In courses constituting
must be filed for each subsequently
the student’s major as formally
requested graduation. Only after the
specified in advance by his or her
application has been submitted to the Office
departmental chair, the student must
of the Registrar will the candidate’s name be
have received a grade of C or better in
placed on a tentative graduation list. At that
each or have a cumulative GPA in these
time, the graduation review is scheduled.
courses of at least 2.0. Any outstanding
Graduation Clearance
INC, NG, or NR grades from any
previous semester(s) that are pending
Within the schedules mentioned earlier, the
resolution must be resolved by the
candidate must check for clearance at the
following deadlines:
following offices:
office of the bursar:
Outstanding Balance on Tuition Account
l ibr ary:
Graduation
program.
4.The Diploma Mailing Address to be
Outstanding Materials or Account
All financial indebtedness to the Institute
must be cleared prior to graduation. Students
who have completed their academic
requirements but who have outstanding
financial obligations to the Institute will be
graduated; however, the diploma will be held
and no transcript will be released until their
financial account is cleared in full.
Graduation
File on or Before
Summer Term/
September 15
October
Fall Term/February
January 15
Spring Term/May
May 2
Failure to do so will result in removal
from the graduation list. When final
grades are reported for the last term
of active registration, any reported
INC or NR grade for a graduation
candidate will automatically remove
the candidate from the graduation
list. Students who have been removed
from consideration must complete
a new application for graduation in
order to be considered for another
graduation date.
2. Curriculum Requirements
Each student must fulfill all
requirements for graduation. No
credits required for graduation will be
waived. All requests for an exception to
this rule must be referred to the 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 enrolled; however,
another course in the same subject
area must be taken.
3. Residence Requirements
To earn a baccalaureate degree,
studentsare 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
Changes to this Bulletin
Candidates for a second baccalaureate
the material presented in this Bulletin timely
degree must first be accepted by the Office
and accurate, the Institute reserves the right
of Admissions for degree matriculation in an
to periodically update and otherwise change
area essentially different in content from that
any material, including faculty listings,
of the first degree. The following conditions
course offerings, policies, and procedures,
are applicable when the first baccalaureate
without reprinting or amending this Bulletin.
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 these, a minimum of 32 additional credits
in residence for a four-year program of study,
or a minimum of 48 additional credits of
residence in a five-year program of study
must be taken within the new program.
An Accredited Institution
Other Than Pratt Institute
Persons holding a baccalaureate degree
from an accredited institution other than
Pratt Institute will be evaluated 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.
While every effort has been made to make
341
Student Affairs
Life at Pratt can be intense. Often students
The Office of Student Affairs is located
need assistance to cope with challenges
on the ground floor of Main Hall and can be
encountered at Pratt and in the city of New
found on the Web at www.pratt.edu/student-
York. The staff members of the Office of
life/student-affairs/. Student Affairs also has
Student Affairs are able and willing to help
an office in Room 207A on the Pratt Man-
each student in as many ways as necessary
hattan campus. Specific hours and services
and possible to make meeting these
provided are posted there and on the Student
challenges a positive experience. In addition,
Affairs website.
vice president
Helen Matusow-Ayres
assistant to the vice president
Grace Kendall
Nadine Shuler
the Office of Student Affairs performs many
office
ombudsperson services.
Tel: 718.636.3639 | Fax: 718.399.4239
[email protected]
342 student affairs
Student Involvement
director
Emma Legge
associate director
Meredith Crain
The Department of Student Involvement
coordinates and assists students to
plan social, cultural, educational, and
Detailed information will be sent to new
students beginning in June.
The orientation program is staffed by an
recreational programs. Student activities
exemplary group of student leaders who assist
at Pratt are planned to contribute to each
new students in any and many ways.
student’s total education, as well as to meet
social and recreational needs. Students
Parent and Family Programs
are responsible for managing their own
The mission of Parent and Family Pro-
assistant director
group activities, thus gaining experience in
grams at Pratt is to provide parents with
Alex Ullman
community and social affairs and playing a
the resources to support and encourage the
role in shaping Institute policy. Students are
success of their Pratt student. Pratt Institute
represented on Institute decision-making
recognizes that parents are valuable mem-
bodies such as the Board of Trustees, trustee
bers of the Pratt community and have much
committees, and the Student Judiciary.
to contribute to Pratt. We encourage parent
office manager
Karen Smith
office
Tel: 718.636.3422
[email protected]
www.pratt.edu/involvement
The main functions of the Department
of Student Involvement are:
• Allocation and administration of
funds collected through the student
activity fee.
• Overseeing the Student Union
complex.
• Programming of student activities.
• Promoting leadership and
involvement in the Pratt community. We
offer programs for parents including Parent
Orientation, our Annual Family Weekend,
and our quarterly parents’ newsletter, The
Institute Insider. For further information,
please contact our office at 718.636.3422 or
email at [email protected].
Student Organizations
professional development.
Student Government
Association (sga)
New student orientation is an exciting time
The Student Government’s primary
at Pratt. In order to acclimate to campus,
students have a four-day orientation during the
week before classes begin. Brooklyn campus
students attend orientation on that campus,
while students attending Pratt Manhattan will
attend orientation at 14th Street.
responsibility is to represent the student
body’s interests and to encourage students’
involvement in the life of the Institute.
The Student Government has an Executive Committee in which undergraduate or
graduate students are encouraged to become
involved. The SGA can be reached by calling
718.399.4468 or by emailing [email protected].
student affairs 343
Active Organizations
Cultural
Bako Tribe
Chinese Student Scholars Association
Korean Student Association
Latin American Student Association
Pratt International Students Association
Queer Pratt
Special Interest
Anime Club
Ceramics Club
Comic Club
Dance Club
Drawing Club
Envirolutions
Games Club
Ubiquitous – Arts and Literary Magazine
Pratt Interiors
WPIR Pratt Radio
Pressure Printmaking
Zine Club
School of Information and Library
Professional and Academic
American Institute of Architecture
Students
Art and Design Educators
Association for Information Science &
Technology
ComD Agency
Construction Management Association
of America
Creative Arts Therapy Organization
Sciences Student Association
Sculpture Club
Special Archivists Association
Special Libraries Association
Type Directors Club
User Experience/Information
Architecture
Greek Letter Organizations
Inter-Greek Council (Fraternity/Sorority
Governing Body)
DIGIT
Kappa Sigma Fraternity
Fashion Society
Pi Sigma Chi Fraternity
Graduate ComD
Sigma Sigma Sigma Sorority
History of Art and Design Student
Theta Phi Alpha Sorority
Association
Religious and Spiritual
Hot Sauce and Salsa Club
Industrial Design Club
Magic: The Gathering Pratt
Jewelry Club
Art/Faith Collective
Music Club
Keyframe Animation Club
Gospel Christian Fellowship
Pratt Feminists
Leadership in Environmental Advocacy
Jewish Student Union
Pratt Film Cult
and Policy
Reef Club
Painting Club
Vehicle Design Club
Photo League
Student Media
The Prattler – Student Newspaper
Prattonia – Yearbook
Static Fish – Comic Book
Pratt Artists League
Pratt Historical Preservation
Organization
Pratt Institute Planning Student
Association
Newman Club
Remnant Christian Fellowship
Community Engagement Board
Also known as C-Board, these students are
dedicated to giving back to their community,
both local and global.
344 student affairs
Program Board
Residential Life and Housing
The Program Board is a group of students
who plan many on- and off-campus events.
director
Christopher Kasik
Campus Ministry
The chapel, one of the central spaces on
associate director for residential
life and housing
Katherine Hale
campus, is the setting for meditation and for
interdenominational and denominational
rites to celebrate important events of the
campus community. Currently, Jewish,
Catholic, and Protestant (in English and
Korean) services are offered on a regular basis.
Any group wishing to use the chapel may
contact the director of Student Involvement,
whose only requirement is respect for the
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
associate director for housing
administration
Residential Life and Housing holds the belief
Tuan Vu
that student development and learning goes
on outside the classroom, as well as inside
assistant director north campus
Christopher Ruggieri
assistant director south campus
Benjamin Fabian
space and its purpose.
assistant director housing
Jason LeConey
the classroom. The policies, procedures,
and programs that are established and
encouraged by the Residential Life and
Housing are those that enhance student
learning and involvement outside the
classroom.
The department takes very seriously
its role as guarantor of a residence hall
atmosphere conducive to work and study.
Lillian Jennas
We also strive to provide an atmosphere
in which students are encouraged to make
recep tionist
Steven Spavento
office
Tel: 718.399.4550
informed decisions on their own, take
responsibility for their actions, and learn
from their experiences.
Leadership development opportunities
[email protected]
are offered to students in the residence
www.pratt.edu/reslife
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
student affairs 345
the success of this experience lies within all
of us. Through participation, cooperation,
understanding, and communication, all can
enjoy the time spent in the residence halls at
Pratt Institute.
Residential Life and Housing at Pratt
Institute is based on a specific set of values.
These values guide the expectations the
department has for itself and the students
who reside on campus and extend to the
residence halls in many direct ways. They are:
• Personal rights and responsibilities
• Integrity
• Respect
• Fairness and justice
• Open communication
• Involvement
The Residence Halls
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 to become integral members of
the campus community. This is fostered 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 offers
campus meal plans for students who like the
convenience of eating on campus. Those
students who live on campus in rooms
without kitchens are automatically enrolled
in a mandatory meal plan.
The educational mission of Pratt Institute
is actively pursued in the residence halls.
Cannoneer Court
An expected outcome of the on-campus
Cannoneer Court accommodates 175
experience is to have students learn to cope
and deal with problems that arise. Though
this is not always an easy task, if a student is
able to learn from an adverse situation, the
goal has been achieved. Along with this is the
ability for students to take responsibility for
their choices and behaviors. If students make
an inappropriate choice, they should expect
to be held accountable, the hope being that
a different choice will be made the next
time, more in keeping with the community
expectations set forth.
students. This traditional corridor-style
residence houses students in double rooms.
Rooms are single sex, but floors are co-ed.
Bathrooms are communal. The traditional
nature and small size of this residence
hall promote strong 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.
Esther Lloyd-Jones Hall
Esther Lloyd-Jones Hall (ELJ) is named for
a trendsetter in modern American higher
education. ELJ accommodates a total of 82
students in suite-style accommodations
of single and double occupancy rooms.
Suites are single sex, but floors are co-ed.
Rooms vary in size from 11’ x 16’ to 12’ x 18’.
Students are responsible for the healthy
upkeep of their rooms, including shared suite
bathrooms. The building has a TV lounge
and laundry facilities.
Leo J. Pantas Hall
Leo J. Pantas Hall is a suite-style
undergraduate hall that accommodates 212
freshman 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 air-conditioned. Pantas Hall is not open
during the summer months except to house
special conference groups.
346 student affairs
The Townhouses
Willoughby Residence Hall
space occupies the former living room space
Pratt Institute’s newest and most exciting
Willoughby Residence Hall is a former
of the apartment, is occupied by only one
housing option, the Townhouses are
17-story apartment coop and is the largest
remodeled historic row houses located near
residence hall. It accommodates over
the center of campus. Six students reside in
800 undergraduate and graduate men
each house in single rooms on three floors.
and women. The building houses offices
Each house is co-ed and offers full kitchen,
(Residential Life and Housing, Health and
living room, parlor, backyard area, and
Counseling, and the Disability Services
basement. Each room is provided with the
Center) as well as a student work room, TV
standard campus furniture (bed, armoire,
lounge, convenience store, laundry facilities,
dressers, desk, chair, and bookshelf ).
and other common student lounge areas.
Amenities include CATV, washer and dryer,
Suites are single sex, but floors are co-ed.
and Internet access. Preference for this
Rooms vary in size from 9’ x 12’ to 15’ x
housing option is given to junior- and senior-
18’. In addition to the standard furniture,
level students.
all suites have a kitchen table, stove, and
Vincent A. Stabile Hall
refrigerator. Each resident is provided with
a bookcase. All students assigned to double,
Vincent A. Stabile Hall opened in fall 1999.
triple, and single spaces will share kitchen
Named for the donor and graduate of
and bathroom facilities with other residents
the Engineering School, Stabile Hall was
of the suite. The converted apartments
designed for new freshman students. It
consist of at least one double or triple that
houses 212 first-year students in four-person
occupies the former living room space of
suites. Each suite consists of two double
the apartment and at least one private single
rooms and its own bath. Suites are single sex,
room that occupies the former bedroom
but floors are co-ed. With few exceptions,
space of the apartment. The number of
the room dimensions, not including the
students residing in a given suite ranges
small entry foyer, are 12’ x 12’. Each suite
from two to six students (depending upon
is responsible for the healthy upkeep of
the size of the converted apartment— one
the common bathroom area. There are
bedroom, two bedroom, or three bedroom).
kitchenettes located on each floor. The
Willoughby Residence Hall remains open
award-winning design of the building boasts
all year. However, residents on certain
a large common lounge. Smaller work and
floors might have to relocate to different
lounge spaces on each floor contribute to a
floors during the summer months for the
vital living and working environment. All
purpose of maintenance and upkeep. To
rooms are air-conditioned. Stabile Hall is
accommodate additional graduate students,
not open during the summer months except
select double rooms are converted to a
to house special conference groups.
semi-private single space. The semi-private
student, and shares kitchen and bathroom
facilities with other private single rooms in
the apartment. The semi-private option is
only available to graduate students and on an
as-needed basis.
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 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 selfregulatory agents. Similar to the courtesyhours 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.
Gender Blind Communit y has been
operating since 2003 and continues to be an
option for upper-class and transfer students
in Willoughby Hall. It provides an alternative
to single-sex housing. This opportunity
student affairs 347
allows students to live with others of
students, is a diverse group willing to learn
art murals, park beautification, animal shelter
differing genders in a community supporting
from others and share their experiences.
work, card making, and food and clothing
cross-gender understanding. Students are
Programs focus on social interactions
drives. Residents of the floor determine
placed in apartments with roommates and/
promoting cultural exchange, exploration of
service projects and topics of interest. On
or apartmentmates who may not be of the
diverse resources in the city, and connecting
the freshman Community Service Floor,
same gender.
culture to the students’ work. Students in the
residents have a unique experience that
community agree to be active participants
pairs their Freshman English class with the
an environment conducive to living and
through attending programs and getting to
special interest housing theme. The English
study while promoting healthy life choices.
know others. Students are also encouraged
class incorporates social justice issues and
The floors are substance free. This means
to plan events and programs. A central
receives special funding to attend a course-
there is no smoking; consumption, serving
goal of this housing option is to enhance
related performance off-campus and other
or possession of alcohol is not permitted
understanding of the global community and
exceptional activities. Learning communities
regardless of age; and as in all residence halls,
various cultures and nations. Global Learning
allow students to interact more with their
illegal drugs are prohibited. The guidelines for
Communities are offered in both freshman
English faculty and make it easier to seek out
the Healthy Choices floors indicate that while
and upper-class halls. In the freshman Global
study partners, ask homework questions,
on the floor residents will be substance-free.
Learning Community, residents have a
and share insights and information with
However, it is expected that respect be shown
unique experience that pairs their Freshman
classmates who are also neighbors.
to those who choose to lead a substance-
English class with the special interest housing
free lifestyle on and off the floor. Therefore,
theme. The English class incorporates global
are available for first-year students in
residents must acknowledge that choices
issues and receives special funding to attend
Cannoneer Court, Pantas Hall, and Stabile
they make off campus have an effect on the
a course-related performance off-campus
Hall. Students from one residence hall make
floor community and make these choices with
and other exceptional activities. Learning
up an entire Intro to Art History survey
respect for others on the floor.
communities allow students to interact more
section (required of all School of Art and
He althy Choices Floors provide
Art History Learning Communities
with their English faculty and make it easier
Design students). The learning community
participating as positive members of the
to seek out study partners, ask homework
emphasizes engagement and discussion
community. For example, this may take the
questions, and share insights and information
and receives special funding to attend
form of participating in or planning programs
with classmates who are also neighbors.
a course-related performance or tour.
All residents are responsible for
that center on making healthy life choices.
Community Service Floors are an
Learning communities allow students to
Floor activities will be planned based on the
option for upper-class, transfer, and freshman
interact more with their English faculty and
concept of making healthy lifestyle choices
students. The floors provide an opportunity
make it easier to seek out study partners,
and providing alternative social activities.
for students to work to improve their
ask homework questions, and share insights
Healthy Choices floors are offered in both
communities and learn from their service.
and information with classmates who are
freshman and upper-class halls.
The floors are great places for likeminded
also neighbors.
Global Learning Community is a living
individuals to meet and interact. The
environment that promotes cultural exchange
community’s mission is to explore service
among resident students. The community,
initiatives that improve the quality of life for
composed of both international and domestic
others around them. Previous projects include
348 student affairs
Room Assignment
Upon acceptance to the Institute, students
are sent an Accepted Student Guide, which
includes a housing request and brochure
describing each housing option. The process
is two part: (1) payment of deposit and (2)
online housing preferences. Students are
assigned rooms in the order their application
was received. Space is limited, and students
are advised to meet all deadlines. Assignment
notifications are made in early July.
The Townhouses
$9,528 (single room)
Vincent A. Stabile Hall
$7,136 (double room)
Willoughby Hall
if and when space becomes available. All
correspondence should be addressed to:
Residential Life and Housing
[email protected]
Room rates vary according to the type of
a meal plan can save the student almost 10
percent over paying cash. With all meal plans,
$9,192 (single with kitchen and
students have the option to add points at any
private bath)
time during the semester in $25 increments.
Additional details pertaining to the meal plans
are provided in the Enrollment Guide and are
Meal Plan
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
room, convenience store, or pizza shop. A
meal plan point equals $1.
All students living in rooms without
residence hall for an academic year are
assignment, are automatically enrolled in
as follows:
the minimum mandatory meal plan. This
Esther Lloyd-Jones Hall
$8,154 (shared single)
$6,106 (double)
Leo J. Pantas Hall
semester only. The semester meal plan rates
$8,790 (single with kitchen)
accommodation. Typical costs for each
variety of student needs. These plans are per
$6,470 (double with kitchen)
kitchens and all freshmen, regardless of their
Cannoneer Court
Two semester plans exist to accommodate a
for 2014–15 are $250 and $680. Purchasing
he or she purchases items in the main dining
Room Rates
may opt for any annual or semester-only plan.
$5,024 (triple with kitchen)
Students who have not applied by
May 1 can anticipate being assigned only
Students not living in mandatory meal plan
areas, upper class students, and commuters
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 2014–15 are $1,690, $2,008, and
$1,000 per semester.
available from Residential Life and Housing.
student affairs 349
Athletics and Recreation
director
Dave B. Adebanjo
associate director for
intercollegiate athle tics
Ryan McCarthy
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
associate director for
wellness and recreation
Shena Faith
assistant director for
athle tics facilities and
event management
Keisha Lynch
Linda Rouse
office
Tel: 718.636.3773 | Fax: 718.636.3772
director
Rhonda Schaller
associate director
Hera Marashian
other spectator sports events. This enclosed area
associate director
has a seating capacity for up to 1,000 people for
Brynna Tucker
special events. The four-lane, 200-meter indoor
track completely encircles the athletic court
assistant director
areas. There are full locker room facilities with
Deborah Yanagisawa
saunas for men and women. The second floor
houses a fully equipped and newly renovated
weight and fitness room, a dance studio, and
administrative secre tary
Career and Professional
Development
administrative offices.
Recreational and intramural activities
are scheduled throughout the year in
assistant director for experiential
education
Laura Keegan
communications manager
Robert Carabay
conjunction with PrattFit programming
and range from individual to team sports
and special events. Men’s intercollegiate
athletics teams include basketball, crosscountry, indoor and outdoor track and
field, tennis and volleyball. Women’s teams
include basketball, cross-country, indoor
and outdoor track and field, tennis and
volleyball. Pratt Institute is a member of
the Hudson Valley Intercollegiate Athletic
Conference and fields a total of 12 teams.
career development and customer
rel ations coordinator
Alex Fisher
office
Tel: 718.636.3506
[email protected]
www.pratt.edu/career
350 student affairs
The Center for Career and Professional
The CCPD provides resources designed
firm trips for students to learn about the
Development (CCPD) inspires, supports,
to foster meaningful connections between
latest industry trends. Pratt Institute
and educates students and alumni about
emerging artists and professionals through
hosts numerous portfolio reviews
emerging trends, the job market, and what
the following services:
and thesis exhibitions of current and
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
development resources, workshops, and
entrepreneurial education. We combine an
excellent academic creative experience with
a life-time job search support system.
CCPD staff members stay abreast of
changing trends and employer needs, and
guide Pratt students into an easy transition
from college into the work environment.
We maintain relationships with employers
and internship providers nationally and
internationally, and offer many ways for
employers to reach and recruit from the
talented Pratt community.
Counselors work with students on
professional learning goals for internship
placements and career goals for their
• Professional Development Programming:
Counselors welcome classroom
visits to the Center every semester
and offer presentations on résumé
building, networking, interviewing
skills, developing an online presence,
portfolio presentation, self-promotion,
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.
• Individual and Group Career Counseling:
Individual career counseling is
available to Pratt students and
alumni for life. All CCPD staff have
backgrounds as working creatives
in major-related industries. Group
counseling sessions and major-specific
career workshops are scheduled
throughout the year.
• Industry Outreach and Pratt Pro Job
job search and small business planning.
Board: CCPD manages the Pratt Pro job
Extended support is offered in the areas of
board—thousands of new positions are
exhibition submissions, grants, fellowships,
posted each year. We perform outreach
and residencies. We encourage peer learning
to employers around the world to
through our Pratt Success program to expand
develop a pipeline to help move Pratt
the leadership opportunities on campus.
students and alumni into their job
openings. We visit studios and organize
graduating student work, including the
end-of-year Pratt Show highlighting the
best work of the graduating class. Each
year, CCPD hosts opportunity fairs,
roundtable 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
CCPD career counselors can help
students develop their portfolio and
online presence. Pratt Institute and the
CCPD have partnered with Behance
to launch Pratt Institute Portfolios at
portfolios.pratt.edu. This is an exciting
opportunity for students to promote
their work under the Pratt brand. With
the Behance platform, Pratt Institute
Portfolios reaches a wide audience of
industry professionals on the lookout
for the best creative talent.
The staff of CCPD welcomes your questions.
To make an appointment with a career
counselor or to find out how the CCPD can
help you, contact us at [email protected] or
call 718.636.3506.
student affairs 351
Pratt Institute Internship Program
Each Pratt graduate 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 professional experience
interning at companies such as Condé Nast,
Unified Field, Knoll, and many, many more.
Graduate internships play a crucial
role in developing skills and offering
professional perspectives. An internship at
Pratt is an academic opportunity available
to full-time matriculated students every
semester, including summer semester.
For more information about internships
such as eligibility, the registration process,
and deadlines, log on to www.pratt.edu/
career and click on “Students & Alumni,”
then “Internships.” In most cases, graduate
students must complete one full semester to be
eligible for academic credit for an internship.
What is an internship?
Internships are learning experiences in the
workplace that relate to a student’s major
or professional pursuits. Interns are able to
take the skills and theories learned in the
classroom and apply them 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 also allow students to develop a
professional network of contacts and build
relationships in the field, which will serve
them well as emerging professionals.
There are some key components to a
Pratt Internship:
• 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.
• Internship credits vary from 0 to 3
credits based on student need, number
of hours worked, and individual
departmental policy.
• To obtain academic credit for an
internship, students must be enrolled
in an internship course at the same
time they are participating in the
Disability Resource Center
director
Mai McDonald Graves
[email protected]
learning specialist/counselor
Anna Riquier, L.M.H.C.
[email protected]
learning specialist
Maegan D’Amato, L.M.S.W.
[email protected]
consulting clinical
neuropsychologist
Beth Abrams, Ph.D.
[email protected]
internship.
Students are required to attend one of the
internship information sessions offered
throughout the year in the Center for Career
and Professional Development to learn
more about the internship program, how to
assistant to the director
Marie A. McLaughlin
[email protected]
office
Tel: 718.802.3123 | Fax: 718.399.4544
begin an internship search, and how to find
www.pratt.edu/disabilityresourcecenter
departmental eligibility information.
[email protected]
To make an appointment or to learn the
dates of the next internship information
session, contact us at [email protected] or
call 718.636.3506.
352 student affairs
The mission of the Disability Resource
time management coaching, and
Students with disabilities may utilize the
Center (DRC) is to ensure students with
counseling.
DRC to receive various support services,
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
• 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.
all members of the Pratt community so that
• Consults with faculty regarding the
students with disabilities are able to perform
instructional needs of students.
at a level limited only by their abilities, not
their disabilities.
Services to Students
The DRC provides the following services
directly to students:
• Offers full-service Center where
• Consults with campus department
administrators regarding specific needs
of students, such as special housing and
dietary accommodations, and access to
campus facilities.
• Collaborates with Health and
Counseling services in meeting the
students can meet with professional
needs of students with medical or
support staff and use computer, study,
psychological conditions.
and exam-taking areas.
• Maintains confidential records of
documentation of disability.
• Determines program eligibility for
services based upon documentation
of disability and staff assessment, and
determines appropriate, individualized
classroom accommodations and
support services.
• Responds to inquiries from prospective
students and parents.
• Coordinates support services for
students such as note taking, tutoring,
• 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
the effectiveness of services and
accommodations.
• Develops and administers appropriate
assessment tools to determine efficacy
of accommodations and services.
including attending time-management and
self-advocacy workshops and scheduling
weekly one-on-one sessions with staff
Learning Specialists. 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.
To be eligible to receive support services
through DRC disability services students
must provide documentation from a
medical or clinical professional that includes
a diagnosis and recommendations for
accommodations and/or services. Students
who are experiencing academic difficulty but
have never been diagnosed with a learning
disorder or a psychological condition, such
as AD/HD, may schedule an appointment to
discuss the process of being evaluated by a
clinical neuropsychologist.
For more information about the
Disability Resource Center visit our website
at www.pratt.edu/disabilityresourcecenter. You
may also contact the DRC at 718.802.3123
to schedule an appointment to discuss
classroom accommodations and services
you may need.
student affairs 353
Health and
Counseling Services
case manager and staff counselor
Health and Counseling Services operates
Hali Brindel, L.C.S.W.
both by appointment and as a walk-in clinic.
director
st udent health insurance specialist
Martha Cedarholm, A.R.N.P.-B.C., F.N.P.
Josefina Soto
[email protected]
[email protected]
associate director for counseling
nurses
Vincent Kiefner, Ph.D.
Christine Susca, RN
[email protected]
[email protected]
who is a family nurse practitioner, two nurse
Sheriezah Shiwprashad, LPN
practitioners, a physician attending the clinic
[email protected]
weekly during the academic year, and two
nurse practitioner/associate
director for health
Debbie Scott, A.R.N.P.-B.C., F.N.P.
[email protected]
nurse practitioner
Alison Altschuler, A.R.N.P.-B.C., F.N.P.
[email protected]
consulting physician
Kristen Harvey, M.D.
staff counselors
Sarika Seth Ph.D.
[email protected]
assistant director for counseling
and staff counselor
Lonette Belizaire, Ph.D.
[email protected]
clinical aod services coordinator
[email protected]
All care provided is strictly confidential and
remains separate from a student’s academic
and social conduct record. The office is open
on weekdays 9 am to 5 pm, with the last appointments made at 4 pm. Check the website
for updated hours and services.
The medical staff includes the director,
nurses. Services provided include treatment
administrative aides
of illnesses; first aid for injuries; physicals, in-
Giovanni Glaize
cluding sports and women’s health examina-
[email protected]
Sandra Davis
[email protected]
consulting psychiatrist
Jane Zirin, M.D.
tions; health education; and medical testing.
Pregnancy testing is performed in the
office for free; however, other tests are sent to
a laboratory service, which will bill the student
or the student’s insurance provider. Some
commonly used medications (over-the-coun-
psychiatric nurse practitioner
ter and prescription) are dispensed free or for
Lori Neushotz, DNP
a nominal fee. Students must purchase all
[email protected]
office
Tel: 718.399.4542 | Fax: 718.399.4544
[email protected]
www.pratt.edu/health
other medication at a pharmacy. Referrals are
made to local medical resources for care not
provided on campus.*
The counseling staff includes clinical
psychologists, clinical social workers, and a
consulting psychiatrist who are available by
appointment to meet with students. Students
Jernee Montoya, L.C.S.W.
may receive counseling on a short-term basis
[email protected]
for personal, emotional, family, interpersonal,
and situational problems. Consultation is
available on campus, and referrals for specialty services are made.
*Numerous and varied resources are available at the
Health and Counseling page of the Pratt website at
www.pratt.edu/health.
354 student affairs
Since the Health and Counseling Services
Center is not designed to meet the total health
care needs of students, referrals are some-
International Affairs
director
The Office of International Affairs (OIA)
welcomes about 400 new international
students each year. There are about 1,200
L. Jane Bush
international students from 70+ countries.
find the best source of health care at the low-
associate director
international students, the OIA takes
est cost. Hospital and medical care beyond
Saundra Hampton
care of J1 Exchange Visitors including
times made to outside clinics and agencies.
The staff is committed to helping students
that provided by the Health and Counseling
Services is the financial responsibility of the
student and his or her family. For this purpose,
Pratt Institute requires all students to carry
health and accident insurance.
assistant director
Mia Schleifer
sevis coordinator
waive this insurance fee, which will be deducted
from their bill, by providing insurance information in the online student insurance system,
Aetna Student Health prior to the waiver deadline, which is always the last day to drop or add
courses for the fall semester. All students who
inbound exchange students, professors,
and scholars. The OIA is the office in charge
of keeping Pratt in compliance with the
Department of Homeland Security and the
Silvana Grima
Department of State.
recep tionist
members are here to help students make a
Students are automatically enrolled in a
health and accident insurance plan. They may
In addition to providing services to the
The well-traveled and experienced staff
Zoila Dennigan
office
Tel: 718.636.3674
[email protected]
www.pratt.edu/oia
successful transition to the Pratt community
and help address some of the challenges
students might encounter during their
academic program. They create a friendly
environment, providing direct support with
immigration issues, employment authoriza-
were born after January 1, 1957, must provide
tion, financial issues, personal issues, and
proof of immunity against measles, mumps,
cross-cultural events.
and rubella. New York State law requires written
The OIA advises the Pratt International
documentation of two measles-mumps-rubella
Student Association (PISA), which is open for
vaccines or written documentation of immunity
all to join.
to these diseases proved by a blood test. Written
documentation is absolutely required in order to
attend classes.
Immunization against meningococcal
meningitis is strongly recommended for
students planning to live in on-campus
housing.* A complete medical history and a
comprehensive physical examination are also
required for all new students.
*New York State does not require this vaccine but
does require a signed acknowledgment of receipt
and review of vaccine information.
355
Libraries
The Libraries are dedicated to an active
has a collection of DVDs, VHS tapes, and 16
partnership in the academic process. The
mm films. The department also circulates
Libraries’ primary mission is to support the
cameras, projectors, light kits, audio
Institute’s academic programs by providing
recorders, and a half dozen laptops. The
materials and information services to
Visual Resources Center holds a collection of
students, faculty, staff, alumni, and visiting
35 mm slides and provides access to over 1.3
scholars. A state-of-the-art integrated
million images through ARTstor. Comfortable
library system interfaces with an up-to-date
reading and study spaces are available in
website providing broad access to electronic
this New York City landmark building on the
materials as well as information about the
Brooklyn campus.
Libraries. Connect to the Libraries’ website
and catalog at library.pratt.edu.
The collection at the Brooklyn Campus
The Pratt Manhattan Library holds more
than 17,024 monographs, subscribes to
over 170 current periodicals and maintains
Library provides broad-based coverage of
a small fiction collection. The book and
the history, theory, criticism, and practice
periodical collection provides support
of architecture, fine arts, and design, while
for the following programs: Graduate
also supporting the liberal arts and sciences.
Communications Design, Information and
The collection encompasses over 176,674
Library Science, Creative Arts Therapy,
monographs and bound periodicals and also
Facilities/Construction Management,
maintains 776 current periodical descriptions.
Historic Preservation, Arts and Cultural
The Libraries also provide students access to
Management, AOS/AAS Program, Design
38 online resources and electronic periodical
Management, and Continuing and
indexes. Through these resources over 11,474
Professional Studies.
full-text periodical titles are accessible. The
Librarians at both facilities offer
Brooklyn Campus Library houses microfilm,
instructional programs to help patrons use
multimedia, rare books, and the college
information resources more effectively.
archives. Visual and Multimedia Resources
Other services offered throughout the
Library
director
Russell S. Abell
head of public services
TBA
head of technical services
John A. Maier
library services coordinator,
manhat tan campus
Jean Hines
evening and weekend library
manager
Kate McDermott
Visual and Multimedia
Resources
director
Chris Arabadjis
visual resources curator
Johanna Bauman
library audiovisual
coordinator
Mike Nemire
356 libraries
year include orientation; individualized
instruction; information literacy instruction;
and research assistance and referrals to other
libraries in the metropolitan area.
All of the Library units are dedicated
not only to providing access to information,
but to assisting information seekers in
developing successful strategies to locate,
evaluate, and employ information to meet a
full range of needs.
357
Libraries Faculty
Steven J. Cohen
Bill McMillin
Paul Schlotthauer
A s so ciate Profes sor/
Catalo ger and L ibr arian
A s sistant Profes sor /
Emerging Technolo gie s L ibr arian
A s so ciate Profes sor /L ibr arian and
Archivis t
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.
B.F.A., Photography, Maryland Institute College of Art
and Design; M.L.S. with Digital Libraries Specialization,
Indiana University 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.
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.
Cheryl M. Costello
A s sistant Profe s sor/
Art and Architec t ure L ibr arian
B.A., University of Illinois, Urbana-Champaign;
M.S., Library and Information Science, University of
Illinois, 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.
Maggie Portis
A s sistant Profes sor /
Art and Architect ure L ibr arian
B.A., The University of Texas, Austin; M.S. LIS, The
Palmer School, Long Island University; professional
organization memberships include ARLIS/NA and
ARLIS/VRA.
Holly Wilson
A s so ciate Profes sor /
Research and Instruction L ibr arian
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.
359
Board of Trustees
Bruce J. Gitlin
Deborah J. Buck
Roelfien Kuijpers
Chair of the Board
Artist, Interior Designer, and Owner, Buck House
Managing Director, Global Head of DB Advisors
Deutsche Asset Management
President and CEO, Milgo Industrial Inc.
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
President, Pratt Institute
Dr. Joshua L. Smith
Secre tary
Professor Emeritus, New York University
Howard S. Stein
Trea surer
Retired, Managing Director, Operational Risk Global
Corporate and Investment Bank, Citigroup
Kurt Andersen
Writer
Maria Teresa Asare-Boadi
Recent Graduate Trustee
Jeffrey Bellantoni
Faculty Trustee
Amy Cappellazzo
Chairman, Post-War and Contemporary
Development, Christie’s International
Heather B. Lewis
Kathryn C. Chenault
David S. Mack
Attorney
Senior Partner, The Mack Company
Susan Hakkarainen
David G. Marquis
Vice President, Marketing and Communications,
Lutron Electronics, Inc. and Chief Creative Officer,
Ivalo Lighting, Inc.
Founder and Executive Director, Marquis Studios
Darryl Halickman
Graduate Student Trustee
Gary S. Hattem
Faculty Trustee
Katharine L. McKenna
Artist, Designer, and Owner, KLM Studios
John Morning
President, John Morning Design, Inc.
President, Deutsche Bank Americas Foundation
and Managing Director, Deutsche Bank Community
Development Finance Group
David O. Pratt
Cody Hughes
President, Ralph Pucci International
Recent Graduate Trustee
June Kelly
June Kelly Gallery
Michael Krisher
Undergraduate Student Trustee
James D. Kuhn
President, Newmark Grubb Knight Frank
Not-for-Profit Consultant
Ralph Pucci
Stan Richards
Principal, The Richards Group
Mark D. Stumer
Principal, Mojo-Stumer Associates, P.C.
Juliana C. Terian
Chairman of the Rallye Group
360 Board of Trustees
Anne H. Van Ingen
Former Director, Architecture, Planning and Design
Program and Capital Projects, NYSCA and Adjunct
Assistant Professor, Graduate School of Architecture,
Planning and Preservation, Columbia University
David C. Walentas
Founding Partner, Two Trees Management Co., LLC
Michael S. Zetlin
Zetlin and De Chiara LLP
Trustee Emeriti:
Richard W. Eiger
Charles J. Hamm
Young Ho Kim
Malcolm MacKay
Herbert M. Meyers
Leon Moed
Bruce M. Newman
Heidi Nitze
Marc A. Rosen
361
Administration
Dr. Thomas F. Schutte
Tula Giannini
Grace Kendall
President
Dean, School of Information and
Library Science
Director of Special Projects/Assistant to the
Vice President for Student Affairs
Peter L. Barna
Provost
Marianthi Zikopoulos
Associate Provost
Judith Aaron
Vice President for Enrollment
Helen Matusow-Ayres
Vice President for Student Affairs
Russell Abell
Acting Director of Libraries
Sylvia Acuesta
Comptroller
Dave Adebanjo
Director of Athletics and Recreation
Sinclaire Alkire
Adam Friedman
Director of Pratt Center for
Community Development
Anthony Gelber
Director of Administrative Sustainability
Glenn Gordon
Executive Director of Planning, Design,
Construction, and Physical Plant
Director of Academic Marketing
Mai McDonald-Graves
Nedzad Goga
Director of Disability Services
Director of Financial Aid
Thomas Greene
Todd Michael Galitz
Christopher Arabadjis
Director of Human Resources
Vice President for Institutional
Advancement
Director of Multi-Media Services
Imani Griszell
Nicholas Battis
Director of Events
Joseph M. Hemway
Vice President for Information
Technology and CIO
Edmund F. Rutkowski
Director of Exhibitions
Vice President for Finance
and Administration
Young Hah
Vladimir Briller
Director of Graduate Admissions
Thomas Hanrahan
Executive Director of Strategic Planning
and Institutional Research
Lisle Henderson
Dean, School of Architecture
Leighton Pierce
Acting Dean, School of Art and Design
Andrew Barnes
Dean, School of Liberal Arts and Sciences
L. Jane Bush
Director of International Affairs
Martha Cedarholm
Director of Health and Counseling Services
Randy Donowitz
Director of the Writing and Tutorial Center
Registrar
Debera Johnson
Academic Director of Sustainability
Berti Jones
Director of Enterprise Systems
362 administration
Gale Justin
Rhonda Schaller
Director of Educational Technology
Director of the Center for Career and
Professional Development
Christopher Kasik
Director of Residential Life and Housing
Richard Scherr
Emma Legge
Director of Facilities Planning
and Design
Director of Student Involvement and Parent
and Family Programs
William J. Schmitz
Ludovic Leroy
Director of Safety and Security
Director of Corporate Relations
Michael Sclafani
Yvette Mack
Director of Alumni Relations
and Annual Giving
Bursar
John Maier
Head of Technical Services
Emily Mack Marshall
Director of Foundation Relations
Ellery Matthews
Director of Academic Computing
Patti McCall
Head of Public Services
Mara McGinnis
Executive Director of Communications
Emily Moqtaderi
Executive Director, Campaign
and Major Gifts
Christopher Paisley
Director of Processing and Technology
Dmitriy Paskhaver
Director of Research
Lance Redford
Director of Government and Community Relations
Nancy Seidler
Director of Intensive English
Lorraine Smith
Curator, Visual Resource Center
Richard Soto
Director of Budget
William Swan
Director of Undergraduate Admissions
Vicki Weiner
Director of Planning
Warren White
Director of HEOP
Bryan Wizemann
Director of the Web Group
363
Academic Calendar
Important
Telephone Numbers
Fall 2014
Spring 2015
Summer 2015
Last day for 100% tuition
refund upon withdrawal (WD)
August 25
January 20
May 18
First day of classes
August 25
January 20
May 18
(See schedule of
classes)
Admissions (toll-free)
Admissions
718.636.3514
Last day to add or drop
without a WD grade
September 8
February 2
May 24
Bursar
718.636.3539
Last day to withdraw (WD)
from a course
November 14
April 17
June 8
Career Services
718.636.3506
Financial Aid
718.636.3599
Dates that classes
do not meet
September 1
(Labor Day)
January 19
(Martin Luther King Day)
May 25
(Memorial Day)
Health and Counseling Services
718.399.4542
International Affairs Office
718.636.3674
October 13–14
(Midterm Break)
March 16–22
(Spring Break)
July 3–4
(Independence Day)
November 26–30
(Thanksgiving)
Studio Days
December 9–12
May 5–8
Final critique and exams
December 13–19
May 9–15
Last day of classes
December 19
May 15
Grades due online
December 22
May 18
July 24
(See schedule of
classes)
July 27
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.
800.331.0834
Library (Circulation Desk)
718.636.3420
Registrar
718.636.3663
Residential Life
718.399.4550
Security
718.636.3540
Student Activities and Orientation
718.636.3422
academic advisors
Architecture
Art and Design
718.399.4333
718.636.3611
Information and
Library Science
212-647.7682
Intensive English Program
718.636.3450
Writing Programs
718.399.4497
364 academic calendar
Fall 2014
Registration
Academic
Monday, January 13
Tuesday, August 19–Sunday, August 24
Saturday, August 23
PMC SU/FA schedule due to Registrar’s Office.
New student orientation held; loan entrance
interviews.
Arts and Cultural Management classes begin.
Monday, January 13
Brooklyn SU/FA schedule due to Registrar’s Office.
Tuesday, February 18
Fall schedule goes live on the Web.
Tuesday, February 18
Academic advisement begins.
Monday, March 24
Online registration begins for continuing students.
Monday, May 12
Last day of preregistration for continuing students.
Monday, July 23–Friday, June 27
Tentative date for new student online registration.
Monday, September 8
Last day to add a class.
Last day to drop a class without a WD grade
recorded. No new registrations accepted after
this date.
Friday, November 14
Last day for course withdrawal.
Wednesday, August 27
Design Management classes begin.
Payment/Financial
Tuesday, July 1
Student loan application deadline.
Friday, August 1
Continuing students’ tuition payment deadline.
Friday, August 1
Monday, August 25
Classes begin.
Monday, September 1
Labor Day. No classes.
Monday, September 8
recorded.
New students’ tuition payment deadline.
Monday, October 13–Tuesday, October 14
Saturday, August 2
Midterm Break. No classes.
Late payment fee of $80 in effect for all students.
Friday, November 14
Monday, August 25
Last day for 100 percent tuition refund upon
withdrawal.
Wednesday, November 26–
Sunday, November 30
Thanksgiving. No classes. Offices open on 11/26 only.
Housing
Tuesday, August 19
Tuesday, December 9–
Friday December 12
Studio Days
Entering freshman, transfer, and graduate students
check in to residence halls, 9 am to 5 pm.
Saturday, December 13–
Friday, August 22–Saturday, August 23
Final critique and exam week. Fall semester ends.
Continuing students check in to residence halls,9 am
to 5 pm.
Saturday, December 20
Noon checkout deadline for graduating students and
those who cancelled spring residence hall license.
Note: Student’s residing on-campus spring 2015 do
not check-out of their fall rooms.
Friday, December 19
academic calendar 365
Monday, December 15
Last day for students to submit graduation
applications to the Registrar’s Office for May
graduation. Review for graduation begins January 5.
Monday, December 22
Last day to change grades from previous
spring/summer semesters.
Monday, December 22
All final grades due online by 3 pm.
International Students
Friday, August 15; Monday, August 18;
Tuesday, August 19
Mandatory compliance and check-in workshops with
OIA (choose one day on LMS).
Thursday, August 14; Friday, August 15;
Saturday August 16
Wednesday, December 24–
Mandatory English Proficiency exams given for
international students (choose one day on LMS).
Thursday, January 1
Saturday, August 16
Winter vacation. No classes. Institute offices closed.
New international students check in to residence
halls,
9 am to 5 pm.
Sunday, August 17
Welcome dinner for all new international students
and their families, 6 pm, Memorial Hall.
Tuesday, August 19–Sunday August 24
New student orientation.
Refund Schedule
Course Withdrawal Refund
Schedule Fall 2014
Prior to and including August 25
Full refund
August 26–September 1
85% refund
September 2–September 8
70% refund
September 9–September 15 55% refund
After September 15
No refund
The refunds above are calculated using the date
you dropped your course online 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 2014
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 contract to determine the
Late Payment Fees
• A late payment fee of $80 will be charged for any
unpaid balance after 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 complete their registration during their
designated registration period.
Spring 2015
Registration
Housing
Wednesday, August 20
Thursday, January 15–Friday January 16
Thursday, January 15
PMC spring schedule due to Registrar’s Office.
New international student orientation held.
Tuesday, September 9
Friday, January 16
New international students’ residence hall check-in,
9 am to 5 pm.
Brooklyn spring schedule due to Registrar’s Office.
New student orientation held.
Entering freshman, transfer, and graduate students’
check-in to residence hall, 9 am to 5 pm.
Monday, September 22
Spring schedule goes live on Web.
Monday, October 20
Payment/Financial
Academic advisement begins.
Monday, November 3
Continuing students’ online registration for spring
begins.
Monday, February 2
recorded.
No new registrations accepted after this date.
Friday, April 17
Saturday, November 1
Recommended date to file spring financial aid and
student loan applications for students who did not
file for fall term.
Friday, December 19
Continuing students’ tuition payment deadline for
spring.
Saturday, May 16
Noon check-out deadline for non-graduating
students and those students without a Summer Ses
sion residence hall license.
Day after Commencement, TBA
Noon check-out deadline for graduating students
the day after commencement.
Note: Students residing on-campus Summer 2015
Session do not check out of their spring room until
notified by their SU room is ready.
Friday, January 2
All continuing students should begin to file financial
aid forms for summer 2014/fall 2014/spring 2015
financial aid award packages.
Friday, January 16
New students' tuition payment deadline.
Tuesday, January 20
Last day for 100% tuition refund upon withdrawal.
Academic
Saturday, January 10
Graduate Design Management and Arts and Cultural
Management classes begin.
Sunday, February 1
English proficiency exam for international students.
Recommended filing deadline for financial aid
applications for the next academic year.
Saturday, January 17
Sunday, April 5
Recommended filing deadline for 2014/15 student
loan applications.
Saturday/Sunday classes begin.
Tuesday, January 20
Weekday classes begin.
Monday, January 19
Martin Luther King Day.
No classes.
Monday, February 2
Last day to add a class or drop without
a WD grade recorded.
Refund Schedule
President’s Day. Classes meet. Offices closed.
Schedule Spring 2015
Monday, March 16–Sunday, March 22
Prior to and including January 20 Full refund
Monday, February 16
Spring break.
January 21–January 27
85% refund
Wednesday, March 25
January 28–February 3
70% refund
Last day to submit a graduation application for
Summer and Fall graduation.
February 4–February 10
55% refund
After February 10
No refund
Saturday, April 4–Sunday, April 5
Spring Holiday. No classes. Institute closed.
Friday, April 17
Tuesday, May 5– Friday May 8
Studio Days
Saturday, May 9–Friday, May 15
Final critique and exam week. Classes end.
Monday, May 18
Last day to change grades from previous fall
semesters.
Monday, May 18
All final grades due online by 3 pm.
TBA
Graduation Awards Convocation.
TBA
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 withdrawals when a full-time credit
load (12–18 credits) is carried before and after the
drop/add date.
Housing Cancellation Refund
Schedule Spring 2015
Refund Schedule
Commencement.
Tuesday, May 19–Thursday, May 21
Pratt Show. (Tentative)
Late Payment Fees
Summer 2015
Registration
Payment/Financial
Academic
Monday, March 30
Friday, April 17
Saturday, May 9
Registration for all summer classes begins.
Summer Session tuition payment deadline for
continuing students; thereafter, an $80 late
payment fee charged to continuing students for
Summer Session.
Graduate Design Management and Arts and Cultural
Management classes begin.
Sunday, May 24
Monday, May 18
Sunday, May 24
Summer Session classes begin.
Last day to drop summer classes without a WD grade
recorded.
Sunday, May 24
No new Summer Session registrations accepted after
this date.
Monday, June 8
Last day for withdrawal (WD) from a summer class.
Housing
Students check in to their residence hall room the
Sunday prior to the start of their classes, 9 am to
5 pm. (Consult course schedule to determine the
weeks desired for on-campus housing.)
No new Summer Session registrations accepted
after this date.
Students check out of their residence hall room on
the Saturday following the conclusion of their classes
by noon. (Consult course schedule to determine the
weeks desired for on-campus housing.)
Note: Students residing on campus for the last week
of the Summer Session and residing on campus for the
fall 2015 semester do not check out of their summer
room until they are notified their fall room is ready.
Last day to drop without a WD grade recorded.
Monday, May 25
Memorial Day. No classes.
Monday, June 8
Last day for course withdrawal from Summer Session.
Friday, July 3– Saturday, July 4
Independence Day. No classes.
Friday, July 24
Summer Session classes end.
Monday, July 27
Summer Grades due online by 3 pm.
Refund Schedule
Schedule Summer 2015
Prior to and including May 18
Full refund
May 19 through May 25
55% refund
After May 25
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
Refund Schedule
Late Payment Fees
371
How to Get to Pratt
Brooklyn Campus
By Car
Brooklyn, NY 11205
from bqe, heading west/sou th
By Subway
from gr and centr al station
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.
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 ClintonWashington 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 bqe, heading ea st/north
from penn station and
p ort au thorit y bus terminals
Via M anhat tan Brid ge
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 the follow
directions above to campus.
By Bus
from d owntown manhat tan
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.
Exit 30, Flushing Avenue. Bear left onto Classon
Avenue, then turn left onto Flushing Avenue. Turn
left on to 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 manhat tan
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 ea st side of manhat tan
Via Bro oklyn Brid ge
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 ne wark-l ibert y airp ort
After the exit, continue toward US-1/US-9/NewarkElizabeth (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.
from l aguardia airp ort
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 airp ort
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
372 how to get to prat t
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).
Manhattan Campus
144 West 14th Street
New York, NY 10011
By Car
from queens
Via 59th Stree t Brid ge
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 bro oklyn
Via Bro oklyn Brid ge, 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 ne w jerse y
Take the Holland Tunnel to Manhattan. From tunnel,
bear right to Eighth Avenue. Travel east to Sixth
Avenue. Go south and 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.
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 manhat tan
Limited street parking is available on weekdays and
weekends. Parking is available for a fee in nearby
garages.
By Subway
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,
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,
By PATH Train
from ne w jerse y
Take the PATH train to 14th Street in Manhattan.
Exit at Sixth Avenue and 14th Street. Pratt is located
between Sixth and Seventh avenues on the south
side of the block, closest to Seventh Avenue.
Going from Pratt Brooklyn
to Pratt Manhattan
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.
373
Courses
ARCH/Architecture
Introduction to Architecture
ARCH-100S | 2–3 CR Create the architectural
structures we live and work in. Students develop solutions to architectural problems by producing sketches,
drafting plans and building models. This course aims to
provide students that are not focused on architecture
an introduction to the study of the discipline. Students
will develop basic skills to design projects through
hands-on work; and strengthen their ability to discuss
architecture through class discourse. Students will
produce four (4) complete works of architecture
appropriate for a portfolio. Supply list available.
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: ARCH-101.
Representation 1
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, 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 reviews
of student drawing projects take place in the studio
setting.
Representation 2
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 transformative applications in the context of
design and technical coursework. Faculty presentations and demonstrations on various techniques and
applications and reviews of student drawing projects
take place in the studio setting. Sections of this course
are reserved for Architecture majors. Prerequisite:
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 1
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.
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:
ARCH-151.
Intermediate Design I
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: ARCH-102.
Intermediate Design II
ARCH-202 | 5 CR This course expands upon ARCH201, emphasizing the design of site, program, material and technology as determinants of architectural
projects scaled to address issues related to public
buildings. Prerequisite: ARCH-201.
Representation 3
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: 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.
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:
ARCH-231.
374 COURSES
Comprehensive Design II
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 Eighteenth Century to the Modernist
movements of the first half of the Twentieth Century.
Instructors’ lectures will be complemented by presentations on theoretical issues and current works offered
by architects teaching in the school. Prerequisite:
ARCH-152.
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: ARCH-301.
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: 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. Prerequisites:
SCI-170 or 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 non-structural materials such
as glass, plastics, and other building components. This
course brings together issues of fire, water, movement,
sound and temperature control. The course format
consists of weekly lectures followed by discussion
seminars. Prerequisite: 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.
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. Prerequisite:
ARCH-232.
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: 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: ARCH-361.
Professional Practice
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. Prerequisites: ARCH-202
ARCH-262.
Construction Documents
ARCH-364 | 3 CR Course description pending.
Prerequisites: ARCH-211, ARCH-301, ARCH-312 and
ARCH-331.
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:
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.
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. Prerequisite:
ARCH-302.
Advanced Design II
ARCH-402 | 5 CR Arch 402 advanced design studioii 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 & resolution of various scales of
project development. Prerequisite: ARCH-401.
Advanced Design III
ARCH-403 | 5 CR This course completes the
sequence of advanced option studios and presents
the board range of issues & 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 & design
of an architectural proposal carried to the most
advanced pre-professional level of conceptual, programmatic & technical inquiry
& resolution at various scales if project development.
Urban Studies (Rome)
ARCH-451 | 2 CR This course gathers together the
ancillary visits and sitework that supplement the design
studio. Beginning with a survey of Rome (from its foundation through the thirteenth 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
COURSES 375
the work of Palladio (Villa Rotunda, Teatro Olimpico,
Villa Emo) and Carlo Scarpa (Castle Vecchio, Brion
Cemetary, Canova Museum). Florence Trip: Italian
Renaissance (four days). Southern Trip: Naples and
Puglia (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. Prerequisites: 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: ARCH-302.
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: ARCH-302.
Freehand Drawing Now
ARCH-461 | 3 CR This course is an introduction to
the historical, socio-cultural and economic forces
affecting the shape of 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 theoretical analysis and case
studies. Prerequisite: ARCH-252.
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.
Degree Project: Research
Color Workshop I
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 chairperson 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: ARCH-403.
ARCH-513A | 3 CR This introductory course teaches
the intimate relationship between color, light, and
vision, with spaces and products. Exercises from a
variety of color masters including Albers, Itten, and
Klee are used. They are re-interpreted to include
light and shadow as an essential component of color
perception. A combination of in-class work, studio
assignments, demonstrations, and lectures are
employed
Urban Planning: City/Regional
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, ARCH-484P. 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. Prerequisites: take ARCH-501.
Portfolio Development
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: ARCH-211.
Introduction to BIM
ARCH-521A | 3 CR This course introduces students
to Building Information Modeling (BIM), both as a revolution in architecture profession and design, as well
as covering 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. Prerequisites: 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. Prerequisites: ARCH-521A.
Digital 3-D Modeling/Visual
ARCH-522C | 3 CR In a combination of hands-on
exercises and lectures, students are introduced to a
combination of modeling and rendering software. In
conjunction with imaging-processing software, still
and animated visuals are produced. Modeling packages
of different complexity, including 3-D studio, Alias
upfront and Truespace are employed.
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 (ie. 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 Renderand VRAY
for Maya), and Basic Motion Graphics and Compositing Techniques in Adobe AfterEffects. Prerequisite:
ARCH-211.
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 mockups. Prerequisite: 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 an
376 COURSES
digital fabrication technology. The course will make
extensive use of the 3-Axis CNC router at the School of
Architecture. Prerequisite: ARCH-211.
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: ARCH-252.
Frank Lloyd Wright
ARCH-551B | 3 CR 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: 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 post-modernists 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: ARCH-252.
Scarpa + Piecnik
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.
Prerequisites: ARCH-252, ARCH-362.
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 modem 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
re-expression today. Prerequisites: 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 3rd year or
above and to graduate students.)
12 Dialogical & Poetic
ARCH-551D | 3 CR An in-depth course on the relationship among the works of two major figures of 20th
Century architecture: Carlo Scarpa, Italian, a unique
voice in modern architecture after WWI, 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: ARCH-252.
ARCH-557C | 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. Prerequisite: ARCH-252.
Legacy of Roman Form
Genealogies of Program
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: 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 re-emergence in the modern
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 catalogue of projects, each week will explore
a different thread of programmatic thought through
the lens of architectural production. Prerequisite:
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 processeach consecutively scaled model is a rehearsal for
the realities of one-to-one construction. Prerequisite:
ARCH-301.
Re-Definitions
ARCH-559A | 3 CR This research seminar is intended
to provide each student 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. Prerequisite: ARCH-252.
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 & 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.
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, chairperson, and dean. Prerequisite: ARCH-302.
COURSES 377
Independent Study - Undergraduate
Lighting Lab
Tall Building Research and Design
ARCH-561B | 2 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,
chairperson, and dean. Prerequisites: ARCH-302.
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 Prerequisite: ARCH-301.
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
Prerequisites: ARCH-302, ARCH-362.
Independent Study
ARCH-561C | 1 CR Students pursuing advanced projects not available in regular course offerings may apply
chairperson, and dean. Prerequisite: ARCH-302.
Internship
ARCH-561E | 5 CR Fourth- and fifth-year students
may participate in architectural office 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 or design credit depending upon the nature of
each work assignment and the length of the internship
period. Prerequisite: ARCH-302.
Internship
ARCH-561F | 3 CR Fourth- and fifth-year students
may participate in architectural office 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 or design credit depending upon the nature of
each work assignment and the length of the internship
period. Prerequisite: ARCH-302.
Research Topics
ARCH-563A(R) | 3 CR Research Apprenticeship 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 real-life
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
2 consecutive semesters.
Organic Approach to Design
ARCH-563C | 3 CR This course investigates the
evolution of architectural space vis a 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, tectonic
tendencies especially involving environmental concerns and the ecology. Prerequisite: 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- to-complex 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: 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 (Research)
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.
Form and Space: Digital(Research)
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.
Form and Force: Analog(Research)
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.
Form and Force: Digital(Research)
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.
Healthcare Facilities
Form and Time: Analog (Research)
ARCH-567A | 3 CR Introduction to Healthcare
Facilities will provide an overview of healthcare project
development, including terminology, project initiation,
programming, planning, design, and constructionrelated 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. Prerequisites:
ARCH-362.
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
378 COURSES
Form and Time:Digital (Research)
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. Prerequisite: ARCH-252.
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, which 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. Prerequisite: ARCH-302.
Sensation Tectonics
ARCH-575B | 3 CR Sensation Tectonics immerses
students into the sensual space of digital 3D 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 3D 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. Prerequisites: take
ARCH-211(2719).
Urban Planning
ARCH-593B | 3 CR This is an introduction to the field of
planning: how planning is both shaped by and shapes
the historical, socio-cultural, 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.
Internship
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
ARCH-9400 | 0CR 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 areal-world context, build their professional
network, and inform their career choices. Additional
faculty supervised activities provide 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.
Impact of Technology
Internship
Special Topics
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: ARCH-208.
ARCH-9401 1CR The internship is a learning
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.
Additional faculty supervised activities provide the
opportunity for an in-depth reflection on the internship experience Fourth and Fifth year Undergraduate
Internship
ARCH-9402 2CR. The internship is a learning
Internship
ARCH-9403 3 CR. The internship is a learning
COURSES 379
CM/Construction
Management
to private, corporate, institutional and governmental
construction, including some contract documents and
forms which may be used in the various relationships,
are reviewed. Prerequisites: ENGL-101, ENGL-103,
HMS-101A or HMS-103B.
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.
CM-231 | 3 CR 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: CM-132. Corequisite course: PHYS-131.
Construction: Wood & Masonry
CM-131 | 3 CR An introduction to construction
methods and materials: wood frame, plank and beam,
and plywood skins; mill and other fireproof and
non- fireproof wall bearing masonry construction;
interior materials and finishes; and environmental
factors affecting selection and application of various
materials.
CM-232 | 3 CR 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: CM-231.
Construction: Concrete & Steel
CM-132 | 3 CR Topics covered 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. Prerequisites:
take CM-131.
Safety Management
CM-140 | 3 CR An advanced, comprehensive
approach to Construction Safety Management. The
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 Tech
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.
Intro to Construction Management
CM-201 | 3 CR 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
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.
Prerequisites: CM-132 and 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. Prerequisite: CM-233.
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-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.
Prof. Bid Proposal Simulation
CM-291 | 1 CR The goal of this course is to provide
the Construction Management student 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, resumes, relevant experience, cost
estimate, schedule, logistics plan, safety plan, Quality
Assurance and Quality Control (QA/QC) process,
Equal Opportunity Employment (EOE) policy, union/
non-union 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 sub-contractor
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.
Project Controls I
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 Pre-Construction project controls, up to the point
of issuing bids for construction work.
380 COURSES
Computer Applications II
CM-322 | 2 CR A hands-on study of computer
applications that facilitate the construction management process and extend management capabilities.
Computerized control systems are investigated from
pre-design through construction with an emphasis on cost management and scheduling. CM- 322
concentrates on project schedule applications. An
introduction to web-based project management tools
is also investigated. Prerequisites: CM-321.
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: 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. Prerequisites: ENGL-101
and ENGL-103 or HMS-101B and 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. Prerequisites:
CM-232, CM-234.
CM-343 | 3 CR 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. Prerequisites: ENGL-101, ENGL-103,
HMS-101A orHMS-103B.
CM-343 | 3 CR Covers practical procedures for
building construction estimating of most major trades;
analysis of factors and methods affecting construc-
tion 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 Prerequisites: ENGL-101, ENGL-103,
HMS-101A or HMS-103B.
Value Management
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.
Estimating
CM-346 | 3 CR Understanding how to prepare a
detailed construction cost estimate including performing material quantity takeoffs, pricing labor and
equipment and evaluating overhead costs Prerequisites: CM-111, CM-232and 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: ParametersAffecting 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. Prerequisites: 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. Prerequisites: CM-231
and CM-232.
Assurance and Quality Control (QA/QC) process, Equal
Opportunity Employment (EOE) policy, union/
(USGBC LEED), BIM strategy, and value engineer-
ing recommendations. In addition the students will
CM-401 | 3 CR
Prerequisites: CM-232 CM-234.
CM-402 | 3 CR 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.
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: 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
procedures of actual construction. Emphasis is on contractor operations, project administration, job planning,
CPM scheduling and subcontract coordination
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
COURSES 381
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 are 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 (3.00 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 (B Arch) students work on
a small project that will be developed throughout the
semester. Architecture students will generate the BIM
model, produce whole building analysis, 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 4D
tools. Requisite courses: CM-420 CM-421
CM-461 | 2 CR This 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. Prerequisites: CM-132 CM-232.
Construction Law
Independent Study II
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 Students pursuing advanced projects not available in regular course offerings may apply
and the chairperson.
Assurance and Quality Control (QA/QC) process, Equal
Opportunity Employment (EOE) policy, union/
(USGBC LEED), BIM strategy, and value engineering recommendations. In addition the students will
Independent Study I
CM-491A | 1 CR Students pursuing advanced projects not available in regular course offerings may apply
Independent Study I
CM-491B | 2 CR Students pursuing advanced projects not available in regular course offerings may apply
CM-463 Real Estate Development
Independent Study I
CM-463 | 3 CR 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.
CM-491C | 3 CR Students pursuing advanced projects not available in regular course offerings may apply
CM-492B | 2 CR Students pursuing advanced projects not available in regular course offerings may apply
CM-492C | 3 CR Students pursuing advanced projects not available in regular course offerings may apply
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. Prerequisites: CM-342. Corequisite course: HMS-497A.
Internship I (0 CR)
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
advisor, the chairperson, and the employer.
382 COURSES
Internship I (1 CR)
Internship II (2 CR)
Management
MGMT-307 | 3 CR 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.
Internship I (2 CR)
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.
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. Prerequisites: take
66 credits.
Labor Relations
Internship I (3 CR)
Marketing
Fundamentals of Accounting
MGMT-315 | 3 CR 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 labor
market; and labor economics, labor law and evaluation
of the government’s role in labor relations. A research
project is required.
MGMT-201 | 3 CR This course covers basic accounting principles and practices.
Managerial Economics
MGMT/Management
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 productoriented. 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 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 A basic overview of the concepts
and techniques of advertising. Special topics are
assigned as projects.
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, the impact of regulation and
its role within the international economy will also be
addressed.
COURSES 383
School of Art and Design
AD/Art & Design
Independent Study
AD-499 | 1–4 CR In this undergraduate course,
work is assigned on an individual basis under advisement by a faculty member, and in consultation with
the department’s chairperson. This course provides
undergraduate students the opportunity to pursue a
project that goes beyond the curriculum or facilities.
ADE/Art and Design
Education
Fieldwork in Art/Design Education
ADE-215A | 1.–6 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 Education: Spec Pop
ADE-215B | 1–6 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.
Museum Education
ADE-418P 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.
Found in Art/Design Ed
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.
ART/Industrial Design
(Copenhagen)
Special Studies (Copenhagen)
ART-496 | 6–9 CR This study abroad program is a
seven- or nine-week summer program consisting of
a six- or nine-credit Digital Design Studio Workshop,
plus a three-credit lecture series on various aspects
of the history, theory and practice of Scandinavian
design and the philosophical, economic and political
factors that are affecting the practice of design in a
global context.
ART/Art Venice
Painting (Venice)
ART-590I | 2–10 CR This course involves studio work
(outdoors as well as in), lectures, special projects,
individual critiques and instruction, with particular emphasis on the interaction of light and color.
Sketchbooks and journals will be required. There will
be portfolio reviews in Venice, and work submitted for
the Pratt in Venice show will be reviewed. The course
will be supported by and integrated with courses in
drawing, printmaking, art history, special studies, and
materials and techniques.
Drawing/Non-Acid Printmaking (Venice)
ART-591I | 2–10 CR This course consists of studio
and site work, independent projects, group and
individual critiques, and field trips to use landscapes
as subjects. At least six sessions will be devoted to
expanding drawing concepts through printmaking,
and the use of dry-point, collagraph, monotype,
and relief print techniques. The world-class print
workshop of the Scuola Internazionale della Grafica
on the Grand Canal is the location for this work.
Individual development is stressed and a body of work
comprising drawings, prints, and notations, including
a journal, is required and is to be submitted for the
Pratt in Venice show.
ASCG/Associate-Computer
Graphics
Fundamentals of Digital Media
ASCG-100 | 3 CR The goal 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 concept of interactivity.
Students learn the basic concepts of flow-charting,
hierarchical organization and visual perception
with regards to interactivity. Students use a variety
of basic computer tools in order to implement
and demonstrate various concepts taught in class.
Readings are assigned to complement the studio/
384 COURSES
lab assignments. This course is a prerequisite for all
interactive media courses.
Digital Design Studio I
ASCG-102 | 3 CR This course covers computeraided design issues. Topics include color, computer
imaging, vector graphics and successful combinations
of a variety of design software. Design assignments are
geared towards a variety of output media, including
print and interactive/on-line applications.
Media Design I
ASCG-103 | 3 CR The moving image and computer
graphics are considered in these courses (ASCG-103,
206, 208). Level I emphasizes web design and hypertext applications of interactive media. Level II focuses
on graphics and interactive programming techniques.
Level III emphasizes advanced interactive media
applications.
Time-Based Media
ASCG-105 | 3 CR This course deals with the
fundamental structural issues included in creating
time- based media. Focus is on design for interactivity, video and animation. Topics include storyboard,
narration, scriptwriting and animation techniques.
Prerequisites: ASCG-100 or ASGR-151, ASCG-101.
Digital Design Studio II
ASCG-204 | 3 CR This course covers computeraided design issues. Topics include color, computer
imaging, vector graphics and successful combinations
of a variety of design software. Design assignments are
geared towards a variety of output media, including
print and interactive/on-line applications.
Media Design II
Level III emphasizes advanced interactive media applications. Prerequisites: ASCG-103(2310).
Media Design III
Level III emphasizes advanced interactive media
applications.
Digital Video I
ASCG-209 | 3 CR Designing animation, computer simulation and interactive environments require knowledge
of scripting, motion analysis and the art of storytelling.
Students explore points of view from the abstract to
the representational, creating projects ranging from
logo treatment, short-format and video pieces. Topics
include broadcast design, linear and non- linear editing,
special effects, compositing and sound.
ASDG/Associate-Design
3-D Modeling
Photography
ASCG-210 | 3 CR This course covers the principles of the three-dimensional environment using
the computer. It begins with an overview of what
three- dimensional space is and how it is transformed
geometrically and continues with different modeling
and rendering techniques. The focus of the course is
on the practical application of 3-D computer graphics
for interactivity and as design elements. Prerequisites:
take ASCG-103(2310) ASCG-105.
ASDG-101 | 2 CR Photography is a tool of the
designer and illustrator. This course is an introduction
to the aesthetics and techniques of black-and-white
photography, including darkroom procedures with an
emphasis on printing and enlarging.
Electronic Pre-Press
ASCG-212 | 3 CR This course covers the foundations
and principles of electronic color prepress. Digital
techniques, color separation, half-tone screening, and
transfer functions are explored through different print
media. Work for service bureaus and offset printing is
also reviewed.
Digital Video II
ASCG-213 | 3 CR Designing animation, computer
simulation and interactive environments requires
knowledge of scripting, motion analysis and the art
of storytelling. Students explore points of view from
the abstract to the representational, creating projects
ranging from logo treatment, short-format and video
pieces. Topics include broadcast design, linear and
non- linear editing, special effects, compositing and
sound. Prerequisites: take ASCG-209(788).
3-D Animation
ASCG-214 | 3 CR This is a complete course in animation using the computer, with a specific focus on digital
media as a final output medium. Topics
explored include lighting, camera movement, and basic
modeling. Prerequisites: ASCG-204 and ASCG-209.
Digital Design/Inter Portfolio
ASCG-240 | 3 CR This course summarizes Digital
Design and Interactive Media experience and concentrates on the professional production of a portfolio.
Group and personal assignments are given with the
intention of producing a professional quality portfolio
which will quickly exhibit the students’ design and
technical skills. Prerequisites: ASCG-204, ASCG-209
and ASCG-110.
Visualization
ASDG-104 | 2 CR Working art directors, designers and illustrators must be able to skillfully translate
verbal ideas into visual forms. This course focuses on
the development of sketches from thumbnails to final
comps, executed in both black and white and color
through the use of analog and digital media. Final
comps assignments range from people situations to a
wide variety of products.
Typographic Design I
ASDG-109 | 2 CR Students are trained to recognize
and analyze basic letterforms. Students study the
relationship between typography and lettering and
the delineation of the two, and are introduced to
the hand- skills necessary for utilizing type in logos,
brochures, etc.
Digital Photography
ASDG-202 | 2 CR This course provides a basic
overview of different aspects of digital photography.
Photography is addressed in fine art, commercial
illustration and design. Students learn to operate
a consumer level digital camera and use imaging
software. Prints are made using a color laser printer.
Assignments are geared toward understanding the
technical and aesthetic issues that contribute to a successful digital photograph.
Painting II
ASDG-206 | 2 CR Students paint in a variety of
media from still life to models.
Drawing III
ASDG-207 | 2 CR This advanced drawing course
encourages the development of personal styles and
individual points of view, as well as from one’s own
imagination.
Drawing IV
ASDG-208 | 2 CR The focus of this course is drawing
from the model, nature, and other sources. Students
develop drawing skills as the basis for representing all
visual forms. As proficiency is achieved in rendering,
drawing is explored as a mode of personal expression.
Prerequisites: ASDG-207.
COURSES 385
Typographic Design II
Drawing I - Figure
3-D Design II
ASDG-211 | 2 CR This course examines the use of
both letter form and type as important elements of
design. Students work traditionally and use the computer to solve typographic design problems.
ASFD-143A | 2 CR In figure drawing, the human body
is studied in all its aspects — what the human body is,
what it is made of, how it moves and how it exists in
space. The model’s poses at first are simple, becoming
more complex as skill and understanding develop. The
emphasis then shifts to the entire space of the page,
the model within that space and the relationship of
one figure to another. Drawing I (Figure) must be taken
with Drawing I (General).
ASFD-158 | 4 CR This course is a continuation of
ASFD 157. Prerequisites: ASFD-157.
Typographic Design III
ASDG-212 | 2 CR This advanced course teaches
students to develop effective typographic design
solutions for logos, letterheads, annual reports,
advertisements, books and magazines, and other
market-oriented projects using design techniques and
computer technology. Prerequisites: ASDG-211.
Typographic Design IV
ASDG-213 | 2 CR This advanced course teaches
students to develop effective typographic design
solutions for logos, letterheads, annual reports,
advertisements, books and magazines, and other
market-oriented projects using design techniques and
computer technology. Prerequisites: ASDG-212.
Painting III
ASDG-225 | 2 CR This advanced course is a continuation of Painting I & II and allows students to paint in a
variety of media, from still life to models. Prerequisites:
ASDG-206.
Painting IV
ASDG-226 | 2 CR This advanced course is a continuation of Painting I & II and allows students to paint in a
variety of media, from still life to models. Prerequisites:
ASDG-225.
Internship
ASDG-9202 | 2 CR Students receive on-the-job
training in a professional setting.
ASFA/ASFD AssociateFoundations
Fine Arts Seminar
ASFA-241 | 2 CR The Fine Arts Seminar explores
ideas and issues relevant to the Fine Arts curriculum.
This course addresses concerns of the studio arising
from the social, historical, and intellectual parameters
of the time. The concerns are formal and philosophical
as well as practical. Class discussions include topics
such as personalities, events, exhibitions, writing of
critics and artists, values and studio practice. Prerequisites: 30 credits of Associate courses.
Drawing I: General
ASFD-143B | 2 CR In general drawing, the course
moves from a simple description of the object (its texture, weight, volume) to the relationship of two or more
objects in space, and finally to the organization of the
entire rectangle. Students use line and tone to arrive
at an image and work with a variety of media, including
charcoal, inks and oil crayon. Drawing I (Figure) must be
taken with Drawing I (General).
Drawing II - Figure
ASFD-144A | 2 CR In figure drawing, the human body
is studied in all its aspects — what the human body is,
what it is made of, how it moves and how it exists in
space. The model’s poses at first are simple, becoming
more complex as skill and understanding develop. The
emphasis then shifts to the entire space of the page,
the model within that space and the relationship of
one figure to another. Drawing II (Figure) must be taken
with Drawing II (General).
Drawing II: General
ASFD-144B | 2 CR In general drawing, the course
moves from a simple description of the object (its texture, weight, volume) to the relationship of two or more
objects in space, and finally to the organization of the
entire rectangle. Students use line and tone to arrive
at an image and work with a variety of media, including
charcoal, inks and oil crayon. Drawing II (Figure) must
be taken with Drawing II (General).
3-D Design I
ASFD-157 | 3 CR 3-Dimensional Design introduces
students to the material, techniques and ideas that
comprise the three-dimensional world of “made”
things and natural forms. The basic abstract components — line, plane, mass and space are examined and
explored through assignments and research. A threedimensional sensibility is progressively developed
when the basic components are manipulated by the
effective use of direction, balance, axis, orientation,
relationship; in other words, organization (composition). The aesthetic consideration of materials and
tools in this context adds to the expressive equation of
three-dimensional study. The process may begin with
concept, material or observation; it continues by way
of lectures, demonstrations, critical analysis and class
discussion until each project is crafted to completion.
ASFD-168 | 2 CR This course emphasizes visual
observation through the study of color and composition. Learning to exercise critical judgment and the
development of aesthetic sensibilities are also primary
goals of the course. Students explore various media
and the tools of expression in the continuing search for
ways to communicate creative responses.
ASFD-169 | 2 CR A continuation of Light, Color
& Design I, this course expands the study of color and
composition while advancing aesthetic sensibilities
and strengthening critical judgment. Assignments are
more conceptually challenging, and will focus on the
historical and contemporary methods of manipulating the two-dimensional surface to explore its infinite
expressive possibilities.
Design History: Communication
ASFD-210 | 2 CR This course focuses on the history
of graphic design since the late 19th century. Emphasis
is given to the study of American and European designers such as Lester Beall, Paul Rand, Milton Glaser, Mark
Trieb, Ivan Chermayeff, Wil Burtin and Herbert Bayer
and how they have influenced modern graphic design,
advertising and publication design.
Design History: Illustration
ASFD-212 | 2 CR The course surveys the history of
design and illustration since the late 19th century with
emphasis on the study of American and European
painters and illustrators and their influence on contemporary illustration.
ASGR/Associate-Graphics
Communication Design I
ASGR-101 | 4 CR This course is an introduction to the
study of visual communication. Topics include conceptualization, graphic imagery, aesthetics and symbolism
for the communication of information through graphic
design. Problem-solving projects related to the design
profession are undertaken.
Communication Design II
ASGR-102 | 4 CR
ASGR 101.
This course is a continuation of
386 COURSES
Computer Graphics
Pre-Press and Print Production
ASGR-151 | 2 CR This is the introductory course to
computer graphics. This course teaches the students
many of the basic concepts necessary for successful use of the computer as a graphic tool: hand-eye
coordination; paint software fundamentals; basic
microcomputer operation; the care and feeling of disk
systems; familiarity with simple computer operating
system commands; and a discussion of the general
computer graphic marketplace. This course is a prerequisite for all computer graphics courses.
ASGR-220 | 2 CR This course explores the aspects
of successful digital pre-press production. Dyecutting, digital mechanics, 4-color separations, paper
stocks, RGB, CMYK, Pantone color systems, coatings,
em/ debossing, thermography, foil stamping, and
various types of printing presses are covered. Prerequisite: ASGR-102.
Graphic Design I
ASGR-201 | 2 CR This course is a continuation of the
study of graphic design as a communication tool on an
intensive, professional level. The designer’s role
as communicator and innovator of design for
corporate and environmental needs is studied and
developed for the portfolio. Prerequisites: ASGR-101
and ASGR-102.
Graphic Design II
ASGR-202 | 2 CR This course is a continuation of
ASGR 201. Prerequisite: ASGR-201.
Advertising Design I
ASGR-203 | 2 CR This advanced study of concept
and implementation for advertising campaigns, large,
and small space ads includes an exploration of the role
of marketing in advertising from concepts to
computers. This course emphasizes the development of personal expression and the preparation of a
portfolio. Prerequisites: ASDG-211.
Advertising Design II
ASGR 203. Prerequisite: ASGR-203.
Publication Design I
ASGR-205 | 2 CR Layout and design of magazines,
brochures and books is reviewed in this course with
emphasis on conception and design of complete units.
Prerequisites: ASGR-151 ASGR-102 ASDG-211.
Publication Design II
ASGR-205. Prerequisite: ASGR-205.
Package Design I
ASGR-207 | 2 CR In this course, students are
introduced to the concept and design of packaging,
including color, form, type, photography, and marketing. Prerequisites: ASGR-102, ASGR-151, ASCG-100 and
ASDG-211.
Package Design II
ASGR 207. Prerequisites: ASGR-207.
Graphic Design for Illustrators
ASGR-230 | 2 CR This course gives the illustration
major an opportunity to learn the basic principles
of graphic design which are applied to a variety of
portfolio projects. Type design, layout, print production procedures and the use of the computer as it
relates to overall design concept are covered. Prerequisites: ASGR-151 and ASDG-109.
their professional level of page design and production
in both black-and-white as well as four-color. Prerequisites: ASGR-151.
Internship
ASGR-9202 | 2 CR Students receive on-the-job
Internship
ASGR-9212 | 2 CR Students receive on-the-job
ASIL/Associate-Illustration
Portfolio Development/Business
Procedures
ASGR-240 | 2 CR This course is concerned with
building a graphic designer’s and illustrator’s portfolio
and giving the students an awareness of the crucial role
the portfolio plays in career development. The course
also includes information relating to the job market,
types of employment available, promotional pricing
strategies and other career information of interest.
Assignments are geared toward individual needs.
Guest speakers include representatives from the art
and design fields.
2-D Computer Graphics
ASGR-250 | 2 CR This course introduces the graphic
design student to more complex ways of creating an
image with the assistance of a computer. The goals
of this class are production of commercial images on
medium- and high-resolution computer graphics systems and understanding the components of advanced
computer graphics equipment. Prerequisites: 30
credits in Associate program.
Electronic Page Design I
ASGR-270 | 2 CR Electronic Page Design centers
on text-oriented applications for microcomputers and has a strong orientation towards real-world
production values. Assignments center around
commercially-viable products that can be produced by
this technology. Aside from projects and artwork, class
lectures will cover the theory of operation of desktop
publishing systems, system implementation and various issues such as high-quality printer output and
postscript page description language. Prerequisites:
ASGR-151 or ASCG-100.
Electronic Page Design II
ASGR-271 | 2 CR This advanced course introduces
students to true color image processing, powerful
painting and masking features and color separation
techniques. Other topics include templates, project
management, image setting and advanced type
control. Students produce portfolio pieces to illustrate
Painting I
ASIL-100 | 2 CR Oil and other media are used with
still-life and models. Canvas preparation, composition and space, color and value, and other technical
information are covered.
Illustration I
ASIL-101 | 2 CR This course covers the practical and
technical aspects of black-and-white and color rendering in diverse media. Special emphasis is given
to the techniques that apply to the needs of design
and illustration.
Illustration II
ASIL-102 | 2 CR Students are introduced to the study
of illustration as the visual interpretation of works and
concepts and as a vehicle to communicate messages
and ideas in pictorial form for advertising, books, and
magazines. The course provides an introduction to
the practical and technical aspects of illustration.
Emphasis is on the application of illustration skills
to the solution of individual problems in illustration.
Prerequisites: ASIL-101.
Illustration III
ASIL-201 | 2 CR This course is a continuation of ASIL101/102 with concentration on individual projects. It
emphasizes the communication and interpretation
of words, concepts and ideas in pictorial form and
also includes portfolio development. Prerequisites:
ASIL-102.
Illustration IV
ASIL-202 | 2 CR This course is a continuation of
ASIL-201. Prerequisites: ASIL-201.
Illustration I: Editorial
ASIL-203 | 2 CR This course is directed towards
relating professional projects geared to the magazine,
book, and newspaper markets, including work-
COURSES 387
ing procedures, media and source materials, client
relationships, and production needs and deadlines. It
emphasizes the development of individual perception,
point of view and style and includes portfolio development. Prerequisite: ASIL-102.
Illustration II: Editorial
ASIL-204 | 2 CR This course is a continuation of
AS

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