Untitled - Pratt Institute

Transcription

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.
PRATT INSTITUTE
Graduate Bulletin 2014–2015
Visit Pratt
All prospective students are encouraged
to visit Pratt. Here’s how:
Guided Tours of Brooklyn Campus
Web
Office of Admissions
Guided campus tours are scheduled Monday
Visit Pratt online at
The Office of Admissions is open weekdays
and Friday at 10 a m,
www.pratt.edu/admissions.
from 9 a m to 5 p m from September through
12 p m , and 2 p m and Tuesday through
Thursday at 10 a m and 2 p m .
Schedule a tour online at www.pratt.edu/
admissions/visiting _pratt
Arrange an appointment with your
Follow us on Twitter at
twitter.com/prattadmissions.
Contact the Office of Admissions
at 718.636.3514 or 800.331.0834
for more information.
department chairperson.
May and from 9 a m to 4 p m during June, July,
and August.
Pratt Institute
Office of Graduate Admissions
Myrtle Hall, 2nd Floor
200 Willoughby Avenue
Brooklyn, NY 11205
Questions? Call us at 718.636.3514
t el : 718.636.3514 or 800.331.0834
or 800.331.0834 or email us at
fax: 718.399.4242
[email protected].
Manhattan Campus
Please contact your department
to schedule a visit.
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, Armando Rafael, Diana Pau,
René Perez, and William Brinson, 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 walk through Pratt’s
Brooklyn campus
Previous spread: Main Building
Contents
1About Pratt Institute
61 School of Art
143 School of Liberal Arts
11 The History of Pratt
63 Art and Design Education
13 How a Pratt Education Works
69 Arts and Cultural Management
145 History of Art and Design
73 Creative Arts Therapy
151 Media Studies
and Sciences
23 School of Architecture
45 Art Therapy and Creativity 155 Writing
27 Graduate Architecture and
Development
157 Classes in the Liberal Arts
Urban Design
49 Dance/Movement Therapy
29Architecture
53 Art Therapy with Special
161 Academic Degrees Overview
35 Urban Design
163 Curricula
41 Programs for Sustainable
Planning and Development
45 City and Regional Planning
Needs Children
77 Design Management
182 Faculty
81 Digital Arts
259 Graduate Admissions
91 Fine Arts
269 Financial Aid
49 Sustainable Environmental
Systems
53 Historic Preservation
57 Facilities Management
287 Tuition and Fees
101 School of Design
295 Registration
105 Communications Design
313 Student Affairs
106 Communications Design
325 Libraries
108 Package Design
329 Board of Trustees
115 Industrial Design
331 Administration
123 Interior Design
333 Academic Calendar
341 How to Get to Pratt
129 School of Information and
Library Science
131 Library and Information Science
343 Index
The most innovative part of the most
interesting part of the most important
city in the world.
Founded in 1887, Pratt Institute prepares
artists, designers, architects, and scholars
its 3,144 undergraduate and 1,479 graduate
in their fields. Its programs encourage
students for rewarding and successful
collaboration and the development of
careers in art, design, architecture,
creative strategies for design thinking.
information and library science, and liberal
arts and sciences.
With a 25-acre landscaped campus in
As one of the world’s multicultural
epicenters for arts, culture, design,
technological innovation, and business,
Brooklyn, New York—home
to more artists than any
other city in the world and
home to one of the best art,
architecture, and design
schools in the world.
the historic Clinton Hill neighborhood
New York City provides Pratt students
of Brooklyn, a creative community in the
with an exceptional learning environment
midst of a renaissance, and a campus in
that extends beyond the Pratt campuses.
See Page 21 for overview of Graduate Programs
Manhattan, students are fortunate to have
From design firms and art galleries where
including location.
access to the resources of both—museums,
students may intern to museums and
galleries, restaurants, vintage shops and
concert halls where they enjoy all of the
more. Graduate programs are located on
city’s cultural offerings, Pratt’s New York
both campuses.
City location is unparalleled.
Pratt’s programs are consistently ranked
among the best in the country; its faculty
and alumni include the most renowned
Opposite: Students walk through the Quad
2 Why Pratt?
#1Interior Design
Consistently High Rankings
(U.S. News & World Report, 2013)
#2Interior Design
Ranked among the top design schools by
BusinessWeek, Pratt’s undergraduate and
(DesignIntelligence, 2014)
#5Industrial Design
#3Industrial Design
(DesignIntelligence, 2014)
#12Communications
Design
#2Digital Arts
(Animation Career Review, 2013,
Regional Rankings)
#11Archives and
Preservation, Library
Science
#6City and Regional
Planning
(Planetizen Guide to Graduate Urban
Planning Programs)
#2Fine Arts
graduate programs are consistently ranked
among the top 10 or 20 in the country and
the world.
In 2013-14, U.S. News and World Report’s
Best Graduate Schools included four of
Best Colleges in the Regional Universities
North category. For 2013, Pratt was ranked
#1 in New York City and #2 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.
Pratt’s programs, with Interior Design
ranked #1 and Industrial Design ranked
#5. Library and Information Science was
ranked #11 in the Archives and Preservation
Where creative minds are
inspired.
category, while Communications and
Package Design was ranked #12 and Fine
Arts was ranked #15.
In 2014, DesignIntelligence ranked Pratt’s
graduate Interior Design program #2 in the
nation. Pratt’s graduate Industrial Design
program ranked #3.
The School of Architecture was ranked
among the top schools in the world by
Archifund, and the M.Arch. first professional
degree was ranked eighth regionally by
DesignIntelligence
The Institute was ranked #20 in U.S. News
& World Report’s 2013 Guide to America’s
BROOKLYN CAMPUS
Located just 25 minutes from 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 nineteenth-century
buildings have been designated national
Opposite: Students sketch in the Sculpture Park
5
landmarks including the 1897 Renaissance
and mercantile princes of the Gilded Age.
Revival-style Caroline Ladd Pratt House,
Charles Pratt, whose fortune derived from
which serves as the official house of the Pratt
his partnership with John D. Rockefeller
president and several students. The Pratt
in Standard Oil, started his Institute on
Library, which was built in 1896 in a similar
family land just a few blocks from the family
style, boasts an interior designed by the Tiffany
mansion.
Glass & Decorating Co.
Beyond this rich heritage, Pratt also has
Clinton Hill is one of New York’s
premier Victorian-era neighborhoods and
several distinctly modern buildings that
is listed on the National Register of Historic
have been constructed in the past decade.
Places. In part because of Pratt, it boasts an
The 26,000-square-foot Higgins Hall
extraordinary number of creative artists,
Center Section, designed by Steven Holl
architects, designers, illustrators, and
Architects and Rogers Marvel Architects for
sculptors among its residents.
“History and architectural
beauty are all over Pratt and its
surrounding neighborhood.”
— BRETT AFFRUNTI, B.F.A. Communications
Design ’08, Illustrator, The New York Times
the School of Architecture, opened in 2006.
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-square-foot
building is a testament to Pratt’s commitment
to sustainability.
The entire 25-acre campus also comprises
the celebrated Pratt Sculpture Park, the
MANHAT TAN CAMPUS
Pratt’s Manhattan campus is located at 144
West 14th Street, walking distance to Union
Square, Chelsea’s art district, and many other
leading educational and cultural institutions.
The seven-story, 80,000-square-foot property
offers state-of-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
largest in New York City, with sculptures by
of Information and Library Science, the Center
artists including internationally renowned
for Continuing and Professional Studies, the
Richard Serra and Mark di Suvero. According
Associate Degree programs, the graduate
to Public Art Review it is one of the ten best
programs in Design Management, Arts and
campus art collections in the United States.
Cultural Management, and Communications
Pratt’s tree-lined neighborhood,
Design, and the School of Architecture’s
Clinton Hill, has a history that is intimately
undergraduate Construction Management
interwined with the Institute. A century
program and graduate program in Facilities
ago, it was home to the elite of Brooklyn.
Management. The library, exhibition space,
The expansive mansions lining Clinton
and state-of-the-art computer labs support the
Avenue belonged to the shipping magnates
academic programs.
Opposite: Detail of the façade of the Pratt Manhattan
campus
6 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
Email: [email protected]
Call: 718.636.3514 or 800.331.0834
Twitter: @prattadmissions
Facebook: Pratt Institute-Admissions
Professional Faculty
state-of-the-art facilities to research
Pratt’s nearly 1,000 faculty members are
providing students with the best education
award-winning artists, designers, planners,
architects, and scholars who mentor their
talented students to achieve comparable
success. They are also working professionals
Visit us, ask questions, and find out why Pratt is
the first choice for so many students. Campus
tours are available daily. Schedule your campus
tour of the Brooklyn campus online at www.
in the city’s creative sector, who bring to
the classroom their experience designing
buildings, creating ad campaigns, and
pratt.edu/visit. Manhattan tours must be
building furniture. The faculty represents
scheduled through the department you are
leaders in the art, design, architectural,
applying to.
technology, and business communities.
Most graduate departments welcome
prospective students who wish to visit. Please
contact your graduate department for an
appointment.
Pratt Institute
These faculty members impart to
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
Myrtle Hall, 2nd floor
potential and creativity to the fullest—to turn
out competent and creative professionals
Brooklyn, NY 11205
who will shape the world to come. Faculty
serve as critical connections when students
are ready for employment or internships.
ACADEMIC INITIATIVES
initiatives, the Institute is committed to
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,
Students and faculty move effortlessly
and sustainable city for all New
between traditional age-old techniques
Yorkers by empowering communities
and more contemporary digital software
to plan for and realize their futures.
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
Opposite: 3-D printer built by the Digital Futures Lab in
the School of Architecture
9
Tools for Tomorrow
INTERNSHIP AND CAREER SUPPORT
The Center for Career and Professional
servers. From film editing and digital
support the general education curriculum.
animation to two- and three-dimensional
The library houses more than 200,000
rendering, all workstations feature the latest
volumes of print materials, including more
software for the departments using them.
than 600 periodicals, rare books, and the
Those working in the three-dimensional
college archives. The library also includes
Development inspires, supports, and
realm have access to 3-D printers, laser
a multimedia center housing nearly 3,000
educates students and alumni. The Center
cutters, and CNC milling machines. Pratt
film and video titles as well as the Visual
offers career and internship counseling,
continually upgrades lab equipment as
Resources Center, a collection of more than
resume and portfolio assistance, industry
industry standards change.
120,000 circulating architecture, art, and
mentoring, professional development,
workshops, entrepreneurial support, and a
lifelong job search support system.
Pratt’s New York City location provides
design digital images.
EXHIBITIONS
Gallery space, both on the Brooklyn
a distinct advantage for students looking
campus and at Pratt Manhattan, is extensive,
for internships or job experience. Qualified
showing the work of students, alumni,
students are offered challenging on-the-job
faculty, staff, and other well-known artists,
experiences in top art galleries, publishers,
architects, and designers throughout the
architecture, and design firms in both
academic year. Pratt Manhattan Gallery is
Manhattan and Brooklyn, giving them
a public art gallery that strives to present
firsthand work experience as well as credit
significant work from around the world in
toward their professional degree.
the fields of art, architecture, fashion, and
Six months after graduation, 94 percent
The Pratt Manhattan Center Library
supports the Pratt community as well
as visiting researchers. The library has
a growing collection of monographs,
serials, and multimedia, as well as stock
photography. It offers a wide range of
electronic resources, including general and
subject-specific databases all of which are
available off-site.
design. The Rubelle and Norman Schafler
of Pratt’s graduate students are employed.
Gallery on the Brooklyn campus mounts
Students are prepared for fulfilling,
faculty and student exhibitions as well
meaningful, and productive careers along
as thematic shows featuring the work of
with an understanding of emerging trends
unaffiliated artists. In addition, Pratt has
and the global job market.
more than 15 other galleries located on its
Brooklyn and Manhattan campuses.
STATE-OF-THE-ART TECHNOLOGY
Pratt’s computer labs and digital output
centers have the most current equipment
LIBRARIES
The Pratt Library on the Brooklyn
available. Computer labs offer computer
campus is located in an 1896 landmark
workstations, color scanners, color and
building with interiors by the Tiffany
black-and-white printers and plotters,
Glass & Decorating Co. Collections and
digital and analog output centers, digital
services are focused on the visual arts,
photography, video and sound bays,
architecture, design, creative writing,
multimedia video projection, and multiple
and allied fields. Additional materials
Opposite: Students at the Pratt Manhattan Library
11
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
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, 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 a
13
Pratt Students
Although Pratt students come from all over
the world, they share several characteristics.
First, many have known since childhood that
they enjoy creating things. Second, most
enjoy inventive problem solving both in and
out of the classroom. Finally, most share a
deep desire to change the world and leave
their imprint.
Pratt receives approximately 3,000
applications for its graduate class of 464,
enabling the admissions committee to
select an student body with a wide variety
of backgrounds. Thirty-four percent of
the new graduate class come from other
countries, including China, Taiwan, India,
ST UDENT LIFE
ATHLE TICS AND RECREATION
Pratt students regularly attend films, plays,
Pratt’s Division III athletic programs are
lectures, art openings, and concerts—both
based in the Activities Resource Center,
on campus and around New York City.
which has a 200-meter indoor track,
Recreational classes are held at the Athletic
five indoor tennis courts, basketball and
Resource Center, which has extensive
volleyball courts, a weight room, dance/
work-out facilities including a 200-meter
exercise rooms, and saunas. Pratt is a
indoor track, five indoor tennis courts,
member of the Hudson Valley Athletic
basketball and volleyball courts, a weight
room, dance/exercise rooms, and sauna.
These cultural outings play an essential role
in the Pratt experience.
In addition to the wealth of opportunities
for exploration in the city, on the Brooklyn
campus, students often socialize in the
Conference. Men’s and women’s varsity
sports—open to undergraduates—include
outdoor and indoor track, cross-country,
basketball, volleyball, and tennis.
LIVING ON CAMPUS
South Korea, Mexico, Canada, Thailand, and
residence halls and cafeteria and cafes or at
Pratt provides some apartment-style
Turkey. Thirty-seven percent of the graduate
the Student Union, the Library, the Schafler
graduate housing in Brooklyn, but most
enrollment comes from states other than
Gallery, and the Activities Resource Center,
graduate students live off-campus in a
New York, giving Pratt a truly national and
where most sports and wellness activities take
variety of housing options from apartments
international student body.
place. In warm weather, students often meet
to brownstones and lofts, sharing with
and sit on the lawns amid the contemporary
other students. Many opportunities are
sculptures that dot the campus.
listed through the Office of Residential
Although it is possible to attend Pratt part
time, 87 percent of graduate students choose
to study full time, reflecting a high degree of
Life. Various meal plans are available for
commitment. The Institute’s entire student
residential students.
body is composed of 4,623 undergraduate and
graduate students—33 percent men and 67
percent women.
Opposite: Students sketch beside the Brooklyn
Campus Library
14 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
Edward Koren, cartoonist, The New Yorker
Naomi Leff, interior designer
George Lois, advertising designer
Robert Mapplethorpe, photographer
Peter Max, pop artist
Annabelle Selldorf, gallery and museum
architect
Robert Siegel, architect, Gwathmey Siegel
Kaufman
Pat Steir, contemporary painter and
printmaker
Norman Norell, fashion designer
William Van Alen, architect, Chrysler
Torch Song Trilogy
Roxy Paine, conceptual artist
Building
Steve Frankfurt, advertising innovator
Sylvia Plachy, photographer
Tucker Viemeister, product designer, Oxo
Bob Giraldi, film director
Beverly Pepper, sculptor
Felix Gonzalez-Torres, installation artist
Charles Pollock, furniture designer
Michael Gross, executive producer,
Paul Rand, graphic designer, created
Harvey Fierstein, playwright and actor,
Ghostbusters
IBM logo
Bruce Hannah, furniture designer for Knoll,
Robert Redford, actor and director
named Designer of the Decade in 1990
Robert Sabuda, illustrator
Eva Hesse, sculptor and painter
Stefan Sagmeister, graphic designer
Betsey Johnson, fashion designer
David Sarnoff, president, RCA Corporation
Ellsworth Kelly, minimalist painter
Tony Schwartz, creator, Alka-Seltzer
commercial
Good Grips
Max Weber, modernist painter
Robert Wilson, avant-garde stage director
and playwright
Carlos Zapata, residential and commercial
architect
Peter Zumthor, Pritzker Prize-winning
architect
Opposite: The iconic Chrysler Building, designed by
Pratt alumnus William Van Alen
16 Design Museum, The Frick Collection,
Museum of Arts and Design, The Museum
of Modern Art, and the Whitney Museum
of American Art.
Study Abroad Programs
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.
Cultural Partnerships
in New York City
The Institute has created partnerships with
a number of major cultural institutions so
students may take advantage of the vast
opportunities in Brooklyn and Manhattan.
Students participate in collaborative work as
part of their curriculum or simply have class
visits. On their own, Pratt students may visit
free of charge.
Close to Pratt’s Brooklyn campus,
the Brooklyn Museum has an impressive
permanent collection. The Egyptian art
collection is one of the world’s finest. The
museum’s Asian art collection, though
modest in size, is one of the more diverse
and comprehensive in the New York
metropolitan area. The museum puts on
several contemporary—and often local—art
exhibitions each year. The “First Saturday”
of each month is a day of special events when
the museum is free to the community.
Open year-round, the adjacent Brooklyn
Botanic Garden features one of the most
impressive Japanese gardens outside Japan.
It captures nature in miniature: trees and
shrubs, carefully dwarfed and shaped by
cloud pruning, are surrounded by hills, and
a pond. The Cranford Rose Garden features
5,000 bushes of 1,200 varieties of roses.
The Brooklyn Academy of Music,
popularly known as BAM, is at the vanguard
of theater offerings. You can see productions
ranging from performance art and
independent films to stylized Shakespearean
productions. Pratt students can attend BAM
events at discounted rates.
In Manhattan, Pratt students also
enjoy visiting these institutions where fees
Above: Brooklyn Museum
are waived: The Cooper Hewitt National
ARCHITECT URE IN T URKEY
Students visit and study urban conditions,
historical monuments, and archaeological
sites in Istanbul and surrounding regions.
This course provides firsthand experience
analyzing architecture, cultural forces,
and site conditions through architectural
investigations. The course focuses on
international experience within the lens
of two significant factors of the twentiethfirst-century metropolis: rapid change and
heterogeneity in Istanbul. Students look
at existing ecological, urban, and historic
data in order to evaluate and represent
information from the unique architectural
perspective. This class will track systemic
change and heterogeneity from past to
present in order to understand the shifting
heterogeneity that defines Istanbul and
the surrounding region. Path methodology
techniques will be used to study topics
including water quality, aquatic life, water
17
edge/coastline configuration, waterfront
course seeks to mine these intensively
programming/land-use, waterfront
designed environments for contemporary
architecture, waterfront “practices of
principles. While the course is fully engaged
everyday life,” land-cover, and urban form.
with the historical significance of the
material it presents, it also finds excellent
FLORENCE SUMMER PROGRAM
opportunities to study the relational
In partnership with Studio Art Centers
techno-material innovations, and
International (SACI), students study
Florentine art and culture, museum and
library research, documentation, and cultural
heritage conservation for four weeks. The
program offers two 3-credit courses.
dynamics, socio-political developments,
manipulated ecologies out of which such
incredibly concentrated cultural production
emerges. Course content is delivered
through lectures, discussions, tours, visiting
scholars, and projects that perform a
speculative mapping of the city of Rome in
LONDON SUMMER PROGRAMS
Students have the opportunity to study
the form of graphics, diagrams, notation,
and text.
Kings College London for two weeks in the
PRAT T SUMMER IN PARIS
early summer and, in a separate program,
The Pratt Summer in Paris Program gives
Ravensbourne College of Design and
Communication in London for two weeks
in July. Students can apply for one or both
programs, which each offer one 3-credit
course.
ARCHITECT URE AND URBAN DESIGN IN
ROME SUMMER PROGRAM
This program gives graduate Architecture
and Urban Design students the opportunity
to earn three credits studying architecture,
urbanism, and design during the month
of June. The program is located in Rome’s
famous Trastevere district and includes
travel to Florence, Siena, and Venice.
Financial aid is typically available. This
The Architecture and Design in
Copenhagen program gives Architecture,
Communications Design, Fine Arts,
Industrial Design, and Interior Design
undergraduate and graduate students the
opportunity to earn seven credits studying
cutting-edge Scandinavian design. The
program lasts seven weeks, running
between mid-June and early August. The
curriculum combines interdisciplinary
studio work with an investigation and
analysis of contemporary society, politics,
and environment. Teachers include masters
in the fields of architecture, furniture
design, graphic design, interior architecture,
e-publishing and digital scholarship at
study museums’ use of digital media at
ARCHITECT URE AND DESIGN IN
COPENHAGEN SUMMER PROGRAM
students the opportunity to earn six elective
and urban design. Students also travel to
Sweden, Finland, Norway, and western
Denmark for field trips.
credits studying literature and writing. It is
available to all Pratt students, but geared
more toward undergraduate students. The
SUSTAINABLE PL ANNING DEVELOPMENT
INTERNATIONAL WORKSHOPS
program is housed at the Cité International
The Programs for Sustainable Planning
Universitaire de Paris, which is located within
and Development (PSPD)—Planning,
minutes of the Louvre, Notre Dame, the Eiffel
Sustainable Environmental Systems,
Tower, the Sacré Coeur, and countless other
Historic Preservation, and Facilities
points of interest. The program includes two
Management—offer six courses that
Humanities courses. The first course, The
include an international component. In
American Writer in Paris, focuses on works
addition to PSPD graduate students, these
by the most prominent American writers
seven courses are open to other graduate
living in or passing through Paris during
students, fifth-year architects, and others
the twentieth century. The second course,
with the permission of the instructors in
Surroundings, is a writing seminar focused on
the course and one of the two PSPD co-
encounters with provocative settings.
coordinators. All courses offer three credits.
18 The courses involve study in Brooklyn
both before and after the excursion element.
In alternating summers, students can
either travel to Tokyo, Japan, for intensive
research on placemaking and urban design;
or to Istanbul, Turkey, for a mini-studio
addressing urban development topics.
Every January, students can participate in
a studio in and on behalf of a South India
community, where the intention is to create a
comprehensive sustainability, preservation,
and land use plan over a period of years.
Every spring break, students have the chance
to travel to Sao Paolo, Brazil, in connection
with work with graduate students there
comparing conditions and best practices for
a selected community sustainability topic.
• Also in spring, students can travel
PRAT T IN VENICE SUMMER PROGRAM
In Venice, students may register for six
to eight credits, selecting from courses in:
to Rome, Italy, for an intensive
Printmaking/Drawing, Painting, Art History
introduction to Roman architecture
of Venice, and Materials and Techniques
and the city’s unique ability to meld
of Venetian Art. The program takes place
architectural styles and time periods.
• In addition, students can participate
in a six-week study of Scandinavian
urban design, which takes place at
the Danish Institute for Study Abroad
(DIS) in Copenhagen.
in June and July. It is open to graduate and
undergraduate students. Pratt’s program is
conducted in collaboration with the Università
Internazionale dell’Arte at the Villa Heriott
and the Scuola Internazionale di Grafica.
With its rich artistic history and visual appeal,
Venice provides inspiration for studio and
on-site work. Art history classes are held at
19
various sites and alternate with lectures that
the firm WASA/Studio A, was completed.
provide a historical context for the visits. In the
The 120,000-square-foot building is
graduate course in Materials and Techniques
a testament to Pratt’s commitment to
students visit conservation laboratories to
sustainability.
learn from local experts and research specific
aspects of materials and process.
For more information on individual
Regardless of discipline, our graduates
must be able to integrate best sustainable
practices into their professional lives.
ACCREDITATION STATEMENT
Pratt Institute is a coeducational undergraduate and
graduate institution chartered and empowered to
confer academic degrees by the State of New York.
The certificates and degrees conferred are registered
by the New York State Department of Education. Pratt
is accredited by the Commission on Higher Education
of the Middle States Association of Colleges and
programs, contact Dr. Marianthi
Within each program, Pratt students are
Zikopoulos, Interim Director of Study
offered an opportunity to learn to think in
Abroad and International Partnerships, at
new ways about the relationship of designer
is an institutional accrediting agency recognized by
[email protected] or go to www.pratt.
to product, architect to built environment,
the U.S. Secretary of Education and the Commission
edu/study_abroad.
and artist to creative expression. The
Institute is continuously working to
reduce our carbon footprint, “greening”
Commitment to Sustainability
our dorms, facilities, and classrooms
and creating ongoing, living laboratory
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
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
(ACUPCC), Pratt seeks to be a carbon
neutral campus. In 2010, Myrtle Hall, a
LEED Gold-certified building designed by
on 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. 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
Incubator for Sustainable Innovation
program is accredited by the Committee on
provides ambitious students and Pratt
Accreditation of the American Library Association.
alumni with a stimulating place to launch
The Master in Art Therapy is approved by the
sustainability-minded businesses, providing
Education Approval Board of the American Art Therapy
office space, planning support, and access to
shop facilities. For more information, go to
csds.pratt.edu/.
Association, Inc., and as such meets the education
standards of the art therapy profession. The Graduate
Dance/Movement Therapy program has been
approved by the American Dance Therapy Association.
Programs offered by Art and Design Education and
the M.S. for Library Media Specialists (LMS) offered
responsible colleges. As active participants
Presidents’ Climate Commitment
215-662-5606. The Commission on Higher Education
design at Pratt’s Brooklyn campus. Under
one of the country’s most environmentally
in the American College and University
Schools, 3624 Market Street, Philadelphia, PA 19104,
by the School of Information and Library Science are
Opposite: Students take advantage of the Institute’s
many study abroad programs including Architecture in
Rome. Photo © Sami Suni
Page 20: Myrtle Hall, the Institute’s sustainably
designed, LEED-certified administrative
and academic building
accredited by RATE.
The BFA offered by the Interior Design department
is accredited by the Council for Interior Design
Accreditation (formerly FIDER).
DEPARTMENT
PROGRAMS AND EMPHASIS
STUDY ABROAD
CAMPUS
GRADUATE ARCHITECT URE AND
URBAN DESIGN
M. Architecture. (first professional)
Architecture M.S. (post-professional)
Urban Design M.S. (post-professional)
rchitecture and Urban Design in Rome,
A
Architecture in Turkey, , Architecture and Design in
Copenhagen
Brooklyn
PROGRAMS FOR SUSTAINABLE
PL ANNING AND DEVELOPMENT
City and Regional Planning M.S.
City and Regional Planning M.S./J.D.
(with Brooklyn Law School)
Historic Preservation M.S.
Sustainable Environmental Systems M.S.
Facilities Management M.S.
Sustainable Planning Development International
Workshops
Brooklyn, except Facilities
Management, which is based
in Manhattan
ART AND DESIGN
EDUCATION
M.S. with initial certificate
Pedagogy and Studio Advanced Certificate
Brooklyn
CREATIVE ARTS THERAPY
Art Therapy and Creativity Development M.P.S.
Art Therapy SP/SU M.P.S.
Art Therapy Special Ed M.P.S.
Dance/Movement Therapy SP/SU M.S.
Dance/Movement Therapy M.S.
Brooklyn
ARTS AND CULT URAL MANAGEMENT
Arts and Cultural Management M.P.S.
Manhattan
COMMUNICATIONS/PACK AGE
DESIGN
Communications Design M.F.A.
Package Design M.S.
DESIGN MANAGEMENT
Design Management M.P.S.
DIGITAL ARTS
Digital Arts M.F.A.
3-D Animation and Motion Arts
Digital Imaging
Interactive Arts Combined Digital Arts/Library and Info
Science M.F.A./M.S.
Florence Summer Program
Brooklyn
FINE ARTS
Fine Arts M.F.A.
Painting and Drawing
Photography
Printmaking
New Forms Sculpture
Architecture and Design in Copenhagen, Pratt in Venice
Brooklyn
HISTORY OF ART AND DESIGN
History of Art and Design M.S.
Combined History of Art and Design/Fine Art M.S./M.F.A.
Combined History of Art and Design/Library Science
M.S./M.S.
Pratt in Venice, Florence Summer Program
Brooklyn
HUMANITIES AND MEDIA ST UDIES
Media Studies M.A.
Pratt Summer in Paris
Brooklyn
INDUSTRIAL DESIGN
M.I.D.
Architecture and Design in Copenhagen
Brooklyn
INTERIOR DESIGN
Qualifying three-year M.S.
Two-year M.S.
Brooklyn
INFORMATION AND LIBRARY
SCIENCE
Library and Information Science M.S.
London Publishing Summer School, Florence Summer
Library and Information Science Library Media Specialist M.S. Program
Combined Library and Information Science M.S./J.D. (with
Brooklyn Law School)
Library and Information Science Advanced Certificate
Library Media Specialist Advanced Certificate
Archives Advanced Certificate
Museum Libraries Advanced Certificate
Manhattan
WRITING
Writing M.F.A.
Brooklyn
Manhattan
Manhattan
23
School of Architecture
DEAN
Thomas Hanrahan
ASSISTANTS TO THE DEAN
Kurt Everhart
Pamela Gill
DIRECTOR OF PRODUCTION L ABS
Mark Parsons
OFFICE
Studies in the School of Architecture gather from the arts,
sciences, and liberal arts to produce works of value that are
sensitive to the realities of life in the cultures of the world.
Graduates are imbued with strong ethics and an understanding
of architects’ ability to improve the quality of life.
As a result, they know how to build, what
to build for whom, and how to enhance
further graduate studies.
The post-professional Master of Science
the surrounding environment, in the city
in Architecture (M.S. Arch.) is a 36-credit,
or country, in a public works project or a
three-semester (summer, fall, spring) program
private home.
for those who hold an accredited five-year
The Graduate Architecture and
Urban Design programs offer three graduate
degrees—one professional and two postprofessional.
The first-professional Master of
Bachelor’s of Architecture or the equivalent. A
thesis is completed in the final semester.
Architecture and Urban Design is a 33-credit,
program for those who hold an accredited
five-year Bachelor’s of Architecture or
program for students holding a four-year
the equivalent. A culmination project is
undergraduate degree in any field. This
completed in the final semester.
Students in the M.S. Arch. and the Urban
architectural licensing exam and to become
Design programs are encouraged to develop
practicing architects. Students may also
specialized areas of research.
Opposite: Erik Thorson
[email protected]
www.pratt.edu/arch
ARCHITECT URE
URBAN DESIGN
PROGRAMS FOR SUSTAINABLE
CIT Y AND REGIONAL PL ANNING
SUSTAINABLE ENVIRONMENTAL
SYSTEMS
HISTORIC PRESERVATION
three-semester (summer, fall, spring)
84-credit, three-year professional degree
receive advanced standing for pursuing
Tel: 718.399.4304 | Fax: 718.399.4315
The post-professional Master of
Architecture (M. Arch.) degree is an
program prepares students to take the
Higgins Hall North, 1st Floor
FACILITIES MANAGEMENT
24
The School of Architecture is dedicated
the United States. The opportunity to
Students are further exposed to the
to maintaining the connection between
learn from peers is also an exciting part of
professional world through optional
design theory and practice and to extending
the educational experience at Pratt. Post-
internship programs that place them in
the range of knowledge necessary to fully
professional degree students come from
outstanding New York architectural firms,
understand the built environment. The
a wide range of architectural practice, and
public agencies, and nonprofit design
diversity of programs within the school, and
first-professional degree students come from
institutions, giving them firsthand work
the accessibility of other programs within
diverse fields of undergraduate study. The
experience as well as credit toward their
the Institute, enables students to pursue
student body includes many international
professional degrees.
a wide range of interests within the field.
students, each of whom brings a different
Architecture students may take electives in
perspective to the study of architecture. The
to educate the future leaders of the design
fine arts, illustration, computer graphics,
school encourages transfer students to apply
disciplines in the professional fields of
industrial design, furniture design, interior
and will evaluate credits from other colleges,
architecture, urban design, city and regional
design, and photography, as well as electives
universities, or community colleges.
planning, construction and facilities
in advanced architectural theory, design,
technology, and management.
The School of Architecture demonstrates
The School of Architecture’s mission is
management, and historic preservation.
daily that learning does not occur solely
This effort builds upon a strong context of
within the classroom. This is reflected in
professional education within an art and
allows students immediate and frequent
the annual undergraduate and graduate
design institute that stresses the relationship
access to the city’s resources. The graduate
lecture series, which brings some of the most
between intellectual development and
programs also have excellent internal
influential architects in the world to campus;
creative activity. The school provides a broad
resources: a strong faculty, good facilities,
the Center for Experimental Structures;
cultural and intellectual base in the liberal arts
and a developing research network that
exhibits by students and faculty that fill three
and sciences while providing the specialized
connects the department and its students to
galleries on a regular basis; and the study
knowledge unique to individual disciplines.
serious national and international work in
abroad programs in Italy and France. The
The importance of lifelong learning is
the field. This network brings distinguished
school publication, InProcess, documents
emphasized through studio-based curricula
visitors to speak to graduate students in a
student work throughout the year.
and research-oriented thesis programs.
research forum; invites visiting faculty to
Pratt’s Center for Community
The school’s location in New York City
teach studios, workshops, and seminars; and
Development, formerly PICCED, one of the
forges extensive and thoughtful connections
oldest community advocacy and technical
with international cities and throughout
assistance organizations in the United States,
gives students additional opportunities to
work on real-life projects.
SCHOOL OF ARCHITECTURE 25
HIGHEST PROFESSIONAL STANDARDS
In the United States, most state registration
boards require a degree from an accredited
professional degree program as a
prerequisite for licensure. The National
Architectural Accrediting Board (NAAB),
which is the sole agency authorized to
accredit U.S. professional degree programs
in architecture, recognizes two types of
degrees: the Bachelor of Architecture and
the Master of Architecture. A program may
be granted a five-year, three-year, or twoyear term of accreditation, depending on
its degree of conformance with established
educational standards.
Master’s degree programs may consist
of a pre-professional undergraduate
degree and a post-professional graduate
degree, which, when earned sequentially,
constitute an accredited professional
education. The pre-professional degree is
not, by itself, recognized as an accredited
degree, however.
The NAAB grants candidacy status
to new programs that have developed viable
plans for achieving initial accreditation.
Candidacy status indicates that a program
should be accredited within six years of
achieving candidacy, if its plan is properly
implemented.
ST UDENT WORK
The School of Architecture reserves the right
to temporarily retain during the academic
year, for exhibition and classroom purposes,
representative work of any student enrolled
in its programs.
The School of Architecture offers
graduate degrees in accredited and
nonaccredited programs. The M. Arch. first
professional degree program is a threeyear professional program. The program
is accredited by NAAB in 2010. The M.S.
Arch. and Urban Design programs are
post-professional and offer a three-semester
Master’s degree in Architecture and Urban
Design. Post-professional programs in the
United States are not accredited by the
NAAB. Pratt’s Graduate Planning Program
is accredited by the Planning Accreditation
Board and offers a two-year Master of
Science degree in City and Regional
Planning. The Facilities Management
“In 1980, Pratt was wonderful
in many of the same ways
it is wonderful now. The
professors I had talked about
the values in architecture:
the importance of space,
proportion, and light. And
those are values that I hold
dearly to this day.”
program is non-accredited and offers a twoyear Master of Science degree in Facilities
Management.
ADMISSION REQUIREMENTS
Please refer to the Admissions section.
—ANNABELLE SELLDORF, B. Arch. ’85,
Founding principal, Selldorf Architects
27
Graduate Architecture
and Urban Design
The mission of the Graduate Architecture and Urban Design
(GAUD) programs is twofold. For the first-professional degree
program, students develop expertise to engage and lead
complex architectural projects in the professional practice
of architecture through the exploration and development of
substantive methods of design and inquiry across the discipline.
For the post-professional programs both in architecture and in
urban design, the mission is to expand a student’s established
professional education into new forms of thinking, types of
practices, and areas of expertise. In all cases, each program
promotes a student’s lifelong relationship with his or her field.
Students in GAUD are immersed in an
and faculty are engaged in the design of
exploratory design-studio culture. The three
contemporary experimental architectural
distinct degrees within the two programs—
projects and the integration of academically
Architecture and Urban Design—share
rigorous seminar courses in history and
coursework, students, faculty, and events,
theory, computer media, and technology.
thus allowing each program to draw upon
The Graduate Architecture programs
the other’s perspectives and expertise. This
have a diverse faculty of distinguished edu-
mix supports the ability to integrate diverse
cators and practicing architects, excellent
theoretical and technical knowledge in
facilities, and trans-disciplinary connections
speculative design work while emphasizing
with the well-known art and design depart-
critical thinking/critical making. Students
ments of Pratt Institute. Distinguished
visitors present their work to graduate stu-
Opposite: Hannibal Newson, Mina Rafiee, Wei Xin,
Michelle Fowler, Paulina Hospod
dents on a regular basis in research forums,
guest studios, and seminars. Faculty and students in both programs come from national
and international backgrounds.
A developing research area within GAUD
is the Network for Emerging Architectural
Research (NEAR), which connects the
department to national and international
work. Commensurate with the complexities
of the 21st century, NEAR expands beyond
traditional limitations of academic research,
and establishes a space for experimentation
and development in academia, industries,
and public institutions.
The Graduate Architecture programs
at Pratt Institute’s School of Architecture
contribute to the progressive design environment for advanced architectural research
located in New York City. The school’s New
York City location provides immediate and
frequent access to the city’s extensive range
of creative opportunities. The international
study abroad programs extend the investigation of the city to Rome and Istanbul with
concentrated seminars looking at both cities
and their unique contributions to architecture and urbanity.
29
Architecture
Architecture is a cultural act. Both the first-professional
and post-professional programs seek to formulate a
contemporary approach to architecture that is “ecological”
in the sense that it provides collective exchanges that
are both trans-disciplinary and trans-categorical. This
ecological approach encourages feedback, theoretical studies,
and exposure to myriad other categories and disciplines
that are newly emerging in contemporary culture. It
also helps students develop relationships with industry,
manufacturing, and political agencies. This approach seeks
to intensify heterogeneous interests and agencies. In
addition, the programs see architectural innovations in both
theory and practice of architecture and the interconnected
phenomena out of which the discipline emerges.
CHAIR
William MacDonald
ASSISTANT CHAIR
Philip Parker
PROGRAM COORDINATORS
Alexandra Barker,
Master of Architecture
Jason Vigneri-Beane,
Master of Science, Architecture
Maria Sieira,
Architecture History/Theory
Cristobal Correa, Technology
Christopher Whitelaw, Media
ASSISTANTS TO THE CHAIR
Erin Murphy
Erika Schroeder
OFFICE
Tel: 718.399.4314 | Fax: 718.399.4379
[email protected]
www.pratt.edu/academics/architecture
Opposite: Left: Andri Klausen, Jeffrey Johnson; Right
Top: Andri Klausen, Jeffrey Johnson; Right Middle Top:
Jonathan Alexander, Nick Tran; Right Middle Bottom:
Jonathan Alexander, Nick Tran; Right Bottom: Jonathan
Alexander, Nick Tran
30
The Graduate Architecture program
offers two degrees: Master of Architecture
(M. Arch.) (first-professional), and
Master of Science (M.S.) in architecture
(post-professional).
MASTER OF SCIENCE, ARCHITECT URE
(POST-PROFESSIONAL)
The 36-credit, three-semester (summer, fall,
spring) post-professional program aims to
expand a student’s previously established
professional education into new forms of
MASTER OF ARCHITECT URE
(FIRST-PROFESSIONAL)
The Master of Architecture, a firstprofessional degree, is a NAAB accredited
84-credit, three-year program that maintains
a mission to train students as leaders in the
professional practice of architecture with
substantive methods of design and inquiry.
The program is intended for students holding
a four-year undergraduate, non-professional
degree in any field. This program aims to
establish a student’s professional education
with new forms of thinking and practice
and to help students develop a lifelong
relationship to their respective fields.
Core design studios and seminars
in history and theory, computer media,
and building technologies in the first
three semesters prepare students for the
comprehensive architecture project in the
thinking and practice. Open to students
holding a five-year (B. Arch.) or equivalent
(M. Arch.) degree in architecture, the
program helps students develop a lifelong
relationship to their specific interests in
architecture. All students are exposed to
relevant issues through rigorous history
and theory electives, lectures by prominent
scholars, computer-technology courses
emphasizing critical thinking, and studios
requiring integration of theoretical and
technical knowledge. The program begins
with an intensive summer semester
concentrating in design, digital media, and
theory. The second semester’s advanced
option studios are integrated with those
taken by the Master of Architecture (firstprofessional) students. The culmination of
the program is a thesis project in a studentdeveloped specialized area of research.
fourth semester. This combined design and
integrated building-systems course integrates
all related disciplines into the single project.
The final two semesters are dedicated to
advanced-option studios and seminars where
students can explore a range of options within
all four areas of the curriculum.
Right: Nima Farzaneh
Page 32: Top Row: Annie Bocella; Middle Row: Left, Middle: Andrew
Sutton; Right: Sean Madigan; Bottom Row: Left, Middle: Philip
Jenkin; Right: Victoria Maceira
Top Row: Left: Antonis Charalambous; Top Row: Middle: Ryan
Griffin; Top Row: Right: Sidika Merchant; Middle Row: Left, Middle,
Right: Michele Zanella; Bottom Row: Left: Reynolds Diaz Jr., Chris
Dorey; Bottom Row: Middle: Andri Klausen, Jeff Johnson
35
Urban Design
Urban design is a continually evolving field.
holding a five-year (B. Arch.) or equivalent (M.
CHAIR
The expansion and contraction of cities, the
Arch.) degree in architecture. The program
William MacDonald
increasingly intricate systems of economic
begins in the summer semester with an inten-
exchange, along with intense environmental
sive curriculum focused on concepts, theory,
change suggest that new forms of innovative
and representational/generative practices
environmental analysis and information-
of urban design, and continues with design
sensitive design are necessary and desirable.
studio and seminar courses toward a culmi-
New synthetic strategies for urban and
nating project in the third semester. industrial ecologies related to the capacities
The program is run as a series of advanced
ASSISTANT CHAIR
Philip Parker
COORDINATOR
David Ruy
of rural production are studied in detail. The
design/research studios and seminars that
Erin Murphy
program engages students across multiple
attempt to contend, in new ways, with the
Erika Schroeder
forms of expertise with the most thought-
complex issues of contemporary urban
ful and innovative work in new computer
environments. These issues include: desires
mapping and visualization technologies,
to promote notions of co-generative environ-
theoretical debates, historical precedents,
ments that lead the potential for non-linear
transdisciplinary approaches, and specu-
and highly sensitive system feedback; the
lative methodologies that are brought to
need to address multiplicity of scales and
questions of contemporary cities in design
diverse populations; the formulation of
studios and seminars.
connections between diverse institutions
OFFICE
Tel: 718.399.4314 | Fax: 718.399.4379
[email protected]
www.gaud.pratt.edu
and agencies; the analysis and invention of
MASTER OF SCIENCE ARCHITECT URE
AND URBAN DESIGN
Students enrolled in the Urban Design
program graduate with a master of science
degree in architecture and urban design. The
program is 33-credits and three semesters
(summer, fall, spring). It is open to students
forms of representation and repositories of
information that act as genuine resources for
decision-making. Urban design is envi-
Opposite: Carlos Gonzalez Uribe
ronmental design where environmental is
Page 36: Andri Klausen
considered at scales that range between micro
Page 37: Top, Center, Bottom: Andri Klausen
(street curb cuts) and macro (global flows of
Page 38: Top Left: Dhara Patel; Top Right: Bhava Mody;
Bottom: Ninad Garware
production and resources).
Page 39: Carlos David Gonzalez
41
Programs for
Sustainable Planning
and Development
Programs for Sustainable Planning
and Development
COORDINATOR
David Burney
718.399.4323
[email protected]
City and Regional Planning
CHAIR
Programs for Sustainable Planning and Development (PSPD)
is an alliance of four programs with a shared value placed
on urban sustainability—defined by the “triple bottom line”
of environment, equity, and economy.
John Shapiro
718.399.4391
[email protected]
ASSISTANT TO THE CHAIR
Adia Ware
718.399.4340
[email protected]
The four graduate Master of Science
programs are:
• City and Regional Planning
• Sustainable Environmental
Systems
• Historic Preservation
• Facilities Management
PSPD also offers linkages to the
undergraduate Construction Management
Sustainable Environmental Systems
program, with the opportunity to focus
COORDINATOR
on real estate development; Brooklyn Law
Jaime Stein
School, with the opportunity for a joint
master’s/Juris Doctor; and to the Pratt Center
for Community Development,
with the opportunity to combine study
and advocacy.
Each of the four graduate programs
The primary mission of the PSPD is to
maintains its independence, degree,
provide a professionally oriented education
and depth of study. Yet with the advice
to a student body with diverse cultural,
of coordinators and department chairs,
educational, and professional backgrounds.
students can move between the four
The PSPD welcomes applicants with
programs, with the further option to follow
undergraduate degrees in a wide range of
set tracks for specialized or multifaceted
disciplines. In the application process, the
studies. Studios bring together students
PSPD values creativity, civic engagement,
from all four graduate programs for
and depth of experience, in addition to
interdisciplinary teamwork.
intellectual capacity.
718.399.4328
[email protected]
Historic Preservation
COORDINATOR
Nadya K. Nenadich
718.399.4326
[email protected]
Facilities Management
CHAIR
Harriet Markis, P.E., SECB
212.647.7524
[email protected]
Philip Ramus
Opposite: New York City is the PSPD’s laboratory for
cross-disciplinary study and internships
212.647.7524
[email protected]
42
ENVIRONMENTAL SUSTAINABILIT Y
The Sustainable Environmental Systems
program is entirely devoted to urban
environmental policy, science, and design.
“Green development” and LEED courses
augment the Facilities Management program
curriculum. The Historic Preservation
program is already “greened,” as the most
sustainable action is to preserve and reuse.
URBANISM
In this century as in the last, the major
human force on our planet is migration
to metropolitan areas, while the major
challenge of the present and future is
addressing global warming. Prior city
planning values of aesthetics (as per the
City Beautiful movement of the late 19th
century) and new technology (as per the
City Efficient movement of the mid-20th
century) must now be augmented with a
new City Sustainable movement. The PSPD
is especially committed to realizing this
paradigm on the community as well as the
citywide basis.
SOCIAL EQUIT Y AND
ECONOMIC VIABILIT Y
True sustainability considers factors such
as social justice and financial realities.
Advocacy and participatory planning are
core principles, further propelled by the
Livable Cities and the Environmental Justice
movements. Sustainability is not just a new
set of technologies and standards; it is also a
value system.
PROFESSIONALISM AND
INTERNSHIPS
on two weekdays and evenings. This
Relevant employment and internships are
flexibility to work or intern, and affords
an important component of the PSPD’s
educational approach. Students entering
with work in a relevant field may earn credits
through work experience/portfolio credit.
Unpaid and paid internships are available.
The resulting variety of professional
scheduling affords students maximum
the PSPD the ability to tap as faculty the
region’s most accomplished professionals.
These include the founders of community
organizations, executives in development
firms, New York City commissioners,
political leaders, and more.
experiences enriches seminar discussions
and studio teamwork, provides students
with a wealth of contacts in the field,
and strengthens their job qualifications.
IMPACT
THE PRAT T CENTER
The PSPD collaborates closely with the
Pratt Center for Community Development
(www.prattcenter.net)—one of the nation’s
foremost university-based research and
Through internships, partnerships, studios,
technical assistance organizations in the
demonstrations of professional competence,
service of disadvantaged communities.
and directed research, students have ample
A number of courses relate to Pratt Center
opportunity to work on real-world and
projects, many students intern at the Pratt
real-time issues. Successes are illustrated
Center, Pratt Center senior staff teach in the
in this catalog and in the PSPD newsletter.
PSPD, and other faculty work closely with
(Check the websites for each program.) New
the Pratt Center on research and advocacy
York’s history, diversity, and international
efforts. Pratt Center’s services include:
character offer a rich training ground for
planners, preservationists, developers, and
sustainability practitioners.
Students graduate equipped with
• Visioning to identify community needs
and workable strategies.
• Testimony and events to
the technical know-how, collaborative
inform groups and officials
skills, and critical thinking necessary to
about community challenges
pursue professional careers and plan for
and opportunities.
environmental and social justice in urban
places. Alumni play leading roles in a broad
spectrum of jobs in the public, private, and
nonprofit sectors.
PSPD courses are offered in the evenings,
except for the Historic Preservation
program’s courses, which are concentrated
• Research, recommendations for
action, and advocacy to advance
community plans.
• Neighborhood to regional
coalitions to advance specific
policy recommendations.
The PSPD also enjoys a relationship with
are as much about students learning global
degree can be pursued simultaneously or
the New York Industrial Retention Network
innovations and practices as about providing
sequentially so long as 15+ credits of the
(NYIRN) and with Project for Public Spaces
opportunities for students to study in foreign
Pratt master’s degree are completed after
(PPS). NYIRN is the city’s leading advocate
places. For example, Pratt students have
matriculation at Brooklyn Law.
and technical assistance provider for indus-
traveled to Brazil to consider innovative
try, and a national leader in studying and
approaches to affordable housing; studied
advocating green construction and industry.
the revitalization of former industrial
PPS is the nation’s leading proponent of
districts in the Czech Republic, Germany,
placemaking, traffic calming, public mar-
and Brooklyn with European students;
kets, and more, with projects all around the
and fleshed out the community details of
world. PSPD students have ample opportu-
a regional sustainability plan for Goa with
nity to intern with NYIRN and PPS, and work
Indian students.
on their projects. Other internship placements include the New York City Economic
Development Corporation and other city
agencies, the Landmarks Conservancy and
other civic organizations, NYC Environmental Justice Alliance and other environmental
groups, and community-based organizations
throughout New York City.
SUSTAINABILIT Y AT PRAT T
Pratt Institute and Brooklyn Law School
sponsor a program leading to the degrees
of Master of Science in City and Regional
Planning and Juris Doctor (J.D.). By taking
full advantage of the PSPD’s alliance of
programs, all PSPD students can further
specialize in community development,
environmental policy, preservation, or
real estate. Students can also participate in
Pratt’s Sustainability Coalition (www.csds
Brooklyn Law’s Community Development
.pratt.edu), an interdisciplinary committee
Clinic, which represents community
of students, faculty, and staff. The Sustain-
development corporations, cultural
ability Coalition facilitates awareness,
institutions, and affordable housing
communication, and cross-departmental
providers that serve underrepresented
interaction about environmental sustainabil-
communities.
annual Green Week.
The joint degrees can be earned in four
to five years of full-time study—less time and
cost than if the two degrees were pursued
GLOBAL PRACTICE
independently. Students must apply and
The PSPD is responding to the challenges
Unlike the PSPD, Brooklyn Law does not
of the “global village” with courses that run
partly or entirely abroad. These courses
Julie Sculli
Academic Services Coordinator
Brooklyn Law School
[email protected]
718.780.0626
www.brooklaw.edu/academic/joint/
jointprogramsphp#mscity
JOINT DEGREE IN L AW
The PSPD is one of the founding members of
ity, in addition to organizing the Institute’s
Contact:
be accepted to both schools independently.
admit students in spring, and prospective
law students must take the LSAT. The joint
45
Since its inception 50 years ago, the City and Regional
Planning program has remained true to its emphasis on an
education that stresses practice over theory, participatory
planning over top-down policy making, and advocacy over
technocracy. Pratt’s accredited Master of Science in City and
Regional Planning requires 60 credits. The schedule of classes
allows for prospective students to enter in fall or spring, and
complete their studies in two or two-and-a-half years.
To promote specialized or interdiscipli
as from faculty. Virtually every student is
nary study, half of the credits are in elective
assured an opportunity for an internship, and
seminars and studios. While by no means
four out of five students do so.
required, students can focus on one of six
particular professional specializations,
corresponding to the program’s areas of
strength. These are described on the next
two pages.
ST UDIO CULT URE
All of the advanced planning studios are
interdisciplinary, drawing students from
the other PSPD programs: Sustainable
Environmental Systems, Facilities
INTERNSHIPS
Management, and Historic Preservation.
Most students have had, or in the course of
The studios tackle real planning challenges,
study will gain, work experience in the field
so that peers learn from each other as well
Opposite: Student plan for retaining industry while
addressing climate change in Brooklyn
in connection with a project of the Pratt
Center for Community Development or
another advocacy organization.
CHAIR
John Shapiro
[email protected]
Adia Ware
[email protected]
OFFICE
Tel: 718.399.4340
www.pratt.edu/pspd
COMMUNIT Y DEVELOPMENT AND
PARTICIPATORY PL ANNING
spaces from a bottom-up, people-centric
reuse, and public/private partnerships. (Refer
approach.
to the Facilities Management program for additional electives).
Students focus on asset-based approaches
to strengthen healthy places and revitalize
distressed ones. They learn how to
regulate land use with neighborhood
quality of life in mind, develop affordable
housing, strengthen businesses and retain
jobs, and enhance urban environments
through design and amenities. The
program’s alliance with the Pratt Center
for Community Development provides the
underpinning for this specialization. For
more information, visit prattcenter.net/.
SUSTAINABILIT Y AND RESILIENCY
In considering urban air, water, waste, and
brownfield problems and best practices,
Pratt Institute and Brooklyn Law School
students learn how to promote sustainable
sponsor a program leading to the degrees
communities and environmental justice.
of Master of Science in City and Regional
With the creation of Recovery Adaptation
Planning and Juris Doctor (J.D.). By taking
Mitigation Planning (RAMP), students
full advantage of the PSPD’s alliance of
can focus on climate change and disaster
programs, all PSPD students can further
planning. RAMP links multiple studios,
specialize in community development,
seminars, and workshops directed at
environmental policy, preservation, or real
one neighborhood each semester, and
estate. (Refer to the earlier PSPD section for
in cooperation with local, research, and
more details.)
PHYSICAL PL ANNING
advocacy organizations. (Refer to the
Students develop an understanding of the
interplay among physical, social, regulatory,
JOINT DEGREE IN L AW
program for additional electives.)
cultural, and economic considerations in
creating viable physical patterns for diverse
contexts—from large-scale development
to neighborhoods and cities. The emphasis
is on the experience of place and economic
and social vitality, rather than on pure
design or a particular design ideology.
PRESERVATION PL ANNING
Students learn to integrate historic
preservation in the wider context of
urbanism, real-estate development, and
sustainability. The National Council for
Preservation Education recognizes the
Preservation Planning specialization. (Refer
PL ACEMAKING AND ALTERNATIVE
TRANSPORTATION
to the Historic Preservation program for
additional electives.)
In the past 10 years there has been a
paradigm shift in thinking about urbanism,
from a primary focus on buildings to one
on the spaces between buildings—public
space. Students learn to create and manage
successful, vibrant, and equitable public
— MITCHELL SILVER, B.Arch. ’87,
PUBLIC PURPOSE REAL-ESTATE
DEVELOPMENT
Raleigh, North Carolina, Chief Planning
Students can gain the full range of knowl-
President, American Planning
edge associated with expertise in real estate
development, but with an emphasis on green
development, affordable housing, adaptive
Opposite: International courses and studios run in
Copenhagen, São Paolo, Tokyo, and India
“I
use a lot of the concepts
of design, construction,
and development I learned
at Pratt to work with
architects and developers.”
and Economic Development Officer;
Association
49
Sustainable Environmental
Systems
The Master of Science in Sustainable Environmental Systems is
one of the nation’s most innovative, interdisciplinary, systemsbased sustainability programs.
COORDINATOR
Jaime Stein
718.399.4328
[email protected]
The Master of Science in Sustainable
Environmental Systems (SES) is designed
to meet today’s increasing demand for
environmental professionals. Students
learn the interdisciplinary skills needed to
assess contemporary environmental issues;
catalyze innovative environmental problem
solving; uphold environmental and social
justice; and engage diverse stakeholders
in designing and developing sustainable
plans, policies, and communities. Graduates
are prepared to take on a range of roles as
environmental designers, policy analysts,
sustainability consultants, low-impact
developers, researchers, and advocates,
collaborating with environmental scientists,
policymakers, and communities.
Opposite: Student work from Green Infrastructure
Design and Build course
THE SUSTAINABLE ENVIRONMENTAL
SYSTEMS PROGR AM IS UNIQUE IN ITS
COMBINATION OF SCIENCE, DESIGN,
AND P OLICY.
By uniting a foundation of theoretical and
technical core courses with innovative
mini-courses, the program offers a uniquely
comprehensive curriculum that fosters
exposure to cutting-edge practicing
professionals. The program encourages
students to closely examine the relationships
between the environment, policy, and
public health. It examines the true cost of
environmental burdens and social benefit.
Adia Ware
718.399.4340
[email protected]
www.pratt.edu/uesm
THE SUSTAINABLE ENVIRONMENTAL
SYSTEMS PROGRAM IS UNIQUE IN ITS
EMPHASIS ON THE URBAN ENVIRONMENT.
As integral members of the Programs for
Sustainable Planning and Development
(PSPD), students are exposed to land use,
transportation, preservation, development,
and economic planning strategies. Through
this exploration, students understand the
complexities of the urban context and can
analyze global, federal, state, and local
policies accordingly. Students learn the skills
DIVERSIT Y
CAREER
Students learn from each other as well
By bringing cutting-edge New York
as from faculty. Most students have had
City sustainability practitioners into
(or in the course of study will gain) work
the classroom, students have access to
experience in the environmental or related
an invaluable network as they enter the
fields—as architects, engineers, community
professional world.
organizers, and entrepreneurs. As the degree
program is integrated with other PSPD
professional development, many students
programs, with the option for extended study
have existing professional experience.
beyond the 40-credit Master of Science in
SES, as follows:
needed to build and preserve sustainable
INTERNSHIPS
urban communities. Through the Recovery
Virtually every student is assured an
Adaptation Mitigation and Planning Initiative
internship with an organization, agency, or
(RAMP) the SES program has formed an
professional practice. In the past, interns
interdisciplinary suite of studio courses and
have been placed with the Mayor’s Office
workshops in which students and faculty
of Long Term Planning and Sustainability,
from the School of Architecture work with
Metropolitan Waterfront Alliance, New York
local community leaders from the region’s
Industrial Retention Network, and Pratt’s
most vulnerable coastal communities. The
Center for Sustainable Design. Internship
collaborative approach of RAMP enables
examples include modeling energy
focused, interdisciplinary study and
efficiency efforts in Bedford-Stuyvesant
implementation of resiliency strategies
with the Pratt Center for Community
for sustainable coastal communities.
Development; working with local businesses
to develop sustainability plans; and working
program welcomes students with a variety
on LEED-certified projects. (Refer to the
of undergraduate degrees, recognizing
earlier section on the PSPD for details.)
that sustainability is most effective when
integrating a number of disciplines.
Students entering the program with
relevant professional experience, or with
a Bachelor of Architecture or a B.S./B.E. in
civil engineering or environmental science
degree, may receive up to 10 credits of
is particularly rewarding for those seeking
Courses in the City and Regional
Planning program expose students to
land use, transportation, and economic
development planning strategies. Joint
studios deal with sustainability plans
for development sites, neighborhoods,
and businesses.
Courses in the Facilities Management
program allow for a focus on green development and property management practices.
Courses in the Historic Preservation
program allow for a focus on livability and
the recognition that often the “least carbon
footprint” approach is to preserve and reuse.
Courses within the Center for
Continuing and Professional studies allow
for an Advanced Certificate in Green
Infrastructure, a 21-credit hour professional
DESIGN + BUILD
Working alongside professionals, and using
New York City as a laboratory, students
learn a sustainability concept and its
implementation. This experience is reflected
advanced standing.
in our Green Infrastructure Design + Build
Opposite: Segments from final student presentations
focused on sustainability indicators and energy systems
fellowships.
studio as well as our Green Infrastructure
training in urban green infrastructure
(www.pratt.edu/prostudies).
53
Part of the School of Architecture, Historic
preservation policies and methods within a
Preservation at Pratt is a two-year 44-credit
broader historical and social context, a critical
ACADEMIC COORDINATOR
program leading to a Master of Science in
approach that enables graduates to practice
Nadya K. Nenadich
Historic Preservation.
at the highest professional level. Internships
The Historic Preservation (HP) program
prepares students for leadership in a continu-
give students real-world experience.
The program also seeks to foster a critical
718.399.4326
[email protected]
ously changing preservation context. With a
approach to the field. Historic Preserva-
broad grasp of cultural heritage issues, law,
tion is in the midst of many changes as the
718.399.4340
policy, and practice coupled with documen-
profession grapples with the integration of
[email protected]
tation, evaluation, communication, and
environmental, sustainability, and livability
interpretative skills, the program’s scholars
issues. An urban focus, using New York City
are prepared with the essential practical and
as a laboratory, allows students to interact
professional tools of the field. Case studies
not just with preservation professionals
and interaction with community leaders and
but also with the residents and community
practitioners insure an integrative, interdis-
groups of historic neighborhoods, experienc-
ciplinary, and inclusive approach. The New
ing as students the world they will work in.
York City environment, its urban context,
The faculty is drawn from preservation
and an accomplished faculty support the
professionals who bring the real world of
goal of excellence and national recognition
preservation practice—that of the architect,
in the field.
the designer, the historian, the private sector,
Courses such as history, documenta-
the government, and the nonprofits—into the
tion and interpretation, adaptive reuse,
classroom. Students intern at the New York
architecture, preservation planning, policy,
City Landmarks Preservation Commission,
and heritage impart the broad range of skills
the Municipal Art Society, at preservation
practitioners need today to practice in this
organizations, and in architects’ offices,
field. Students are encouraged to analyze
working at the cutting edge of our field.
Internships range from community
Opposite: Documentation research for the Brooklyn
Navy Yard studio workshop
organizations at one end to the World
Monuments Fund at the other.
Adia Ware
54
Study abroad is available. Last year,
classes ran in Rome, Copenhagen, Brazil,
statement of purpose is very important.
No portfolio is required and we do not
architectural and planning offices and house
museums. They run statewide preservation
require the GRE. An in-person or telephone
organizations. Some have even come back to
interview is strongly recommended. In your
teach at Pratt. A number of current students,
is located on Pratt’s 25-acre Brooklyn
statement, please tell us why you want a
recent graduates, and other alumni have said
campus, which is on the National Register of
degree in historic preservation and why you
they will speak with prospective students. If
Historic Places, and which boasts several
want to come to Pratt. We want to be sure
you are interested, their email addresses will
buildings officially designated as New York
that the students we select are those who can
be made available to you.
City or New York State landmarks.
best benefit from our unique focus and who
and India.
The Historic Preservation program
What we’re looking for in an application
will bring original insights into our field.
is two-fold:
1. that you can handle the level of graduate work at Pratt successfully; and
2. that Pratt is the right place for you.
GPA is important, but we also look at what
interests you have as shown by extracurricular activities, hobbies, and jobs. The
LIFE AF TER PRAT T
HP graduates have found jobs in all areas
of historic preservation. They work at local
preservation and community organizations and at the National Park Service and
the World Monuments Fund. They work in
Above: Adaptive reuse plan designed by students for a
vacant hospital
Opposite: East Village studio workshop students
considered street life, retailing, and culture
57
The Master of Science program in Facilities Management (FM)
prepares graduates as professionals and problem solvers to
assume executive responsibilities in the management of facilities.
Facilities management executive responsi
may be required to take non-credit courses
bilities include assurance of a quality
in technical subjects prior to registering for
environment, cost-effective capital and
required courses.
operating investments, and the management
of facilities and equipment as assets.
Applicants must submit a statement
of purpose in essay format to support the
Pratt’s Facilities Management Program
application for advanced studies. The
teaches innovative approaches to emerging
essay should indicate an interest in or
technologies, sustainable practices, and
an awareness of issues addressed in the
ethical values, which distinguish Pratt’s
Facilities Management program.
Facilities Management alumni as they lead
Interviews are recommended and may
the field’s efforts to advance the quality of
be scheduled by contacting the department
the built environment.
at [email protected]. Students are eligible
for graduate assistantships and tuition
SPECIAL ADMISSION REQUIREMENTS
Undergraduate degrees in business,
architecture, construction management,
and engineering fields are preferred for
admission. Applicants receiving a bachelor’s
degree in other fields are also eligible but
Opposite: Students attend the Building Information
Modeling for Facilities Managers course
scholarships upon acceptance into the
program only.
Facilities management has emerged
as a new area of expertise as communities,
corporations, and institutions systematically
plan for growth and change.
The Executive Facilities Management
function consists of a distinct set of
responsibilities.
CHAIR
Harriet Markis, P.E., SECB
[email protected]
Philip Ramus
[email protected]
OFFICE
Tel: 212.647.7524 | Fax: 212.367.2497
www.pratt.edu/arch/fm
These include:
• Strategic planning.
• Financial forecasting and budgeting.
• Real-estate acquisition and disposal.
• Architectural and engineering
planning and design.
• Construction management,
maintenance, and operations
management.
• The integration of new technologies
into existing and planned facilities.
Managing these areas of responsibility
requires the merging of business skills and
technical expertise. With this paradigm
in mind, graduates of the Facilities
Management Program will be able to:
• Understand the planning, construc
tion, and operations framework in
which facilities are managed at local,
regional, national, and international
levels; and act as liaison between the
owner and professional service agents
on building teams.
• Synthesize interdisciplinary efforts and
act across traditional administrative,
planning, and operational boundaries
• Analyze facilities needs and develop
planning initiatives and effective
implementation strategies that are
responsive to specific current and
projected facilities issues.
• Manage the process of facility
on schedule and within budget to a
specified standard of quality.
• Direct and lead the specialists,
consultants, and in-house staff, as
well as outsourcing organizations
that perform specific aspects of the
facilities management function.
• Coordinate development activities
with ongoing operations to minimize
disruptions and maintain the
continuity of facilities functions and
economic viability.
The faculty consists of professionals
actively engaged in facilities management
in the public and private sectors as well
as in the various areas of specialization.
energy conservation, alternative energy
sources, construction innovation, and more.
Further real-estate development expertise
can be garnered through a combination
of construction management, facilities
management, and other PSPD electives
dealing with zoning, public approvals,
market studies, adaptive reuse, real-estate
law, environmental law, historic preservation
compliance, and more.
PRESERVATION
Electives can be taken in PSPD
programs to provide extra knowledge of
architectural history, adaptive reuse, and
landmark approvals.
WORK AND ST UDY
brings a dynamic vitality to Pratt’s Facilities
The Facilities Management courses are
Management program.
Part of Programs for Sustainable
Pratt’s Facilities Management Program
ment activities.
is unique in its opportunity for enriched
in the engineering of facilities.
practices: LEED certification, green roofs,
faculty and students working in the field
control diverse facilities and manage
environmental issues, and their value
provide depth as to a variety of sustainability
This combination of actively practicing
Planning and Development (PSPD),
their impact on quality of life and
Electives can be taken in PSPD programs to
development to complete projects
to organize, coordinate, and
• Perceive design requirements,
SUSTAINABILIT Y
study, potentially leading to careers in real-
offered in the evening at the Pratt Manhattan
Center, affording students the maximum
flexibility to combine work and study.
Refer to the earlier PSPD section for
more information on these opportunities.
estate development, as well as expertise in
sustainability and preservation.
Opposite (clockwise from top left): FM students at
Winter Conference in Kufstein, Austria; FM student
Karen Hoffman at Madison Square Garden; Students’
field trip to Washington, D.C.; Pratt Manhattan campus
61
School of Art
The School of Art is home
to the most comprehensive
professional art education
available.
ART AND DESIGN EDUCATION
Two major objectives guide every
DESIGN MANAGEMENT
department. The first is an emphasis on
professional skills development. The
school’s students gain the techniques,
skills, methodology, and vocabulary
required for success as productive artists,
designers, and scholars.
The second objective—imperative so that
the professional expertise is not simply technical training—is development of the critical
ACTING DEAN
Leighton Pierce
ARTS AND CULT URAL MANAGEMENT
CREATIVE ARTS THERAPY
DIGITAL ARTS
FINE ARTS
ADMINISTRATIVE ASSISTANT
TO THE DEAN
Katherine Morris
ASSISTANT TO THE DEAN
Donna Gorsline
ASSISTANT DEAN FOR ACADEMIC
AFFAIRS
Dianne Bellino
ACTING ASSOCIATE DEAN
Amir Parsa
judgment and historical perspective needed
DIRECTOR OF FINANCE AND
ADMINISTRATION
to become a problem solver. Art and design
Daisy Rivera
history, melded with studies in the liberal arts
and sciences, provides the context for stimulating intellectual and creative inquiry.
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.
Opposite: Work by Trudy Benson (M.F.A. ’10)
OFFICE
Main Building, Fourth Floor
Tel: 718.636.3619 | Fax: 718.636.3410
62
The faculty consists of professional art-
resources. Pratt’s distinguished professional
tion of disciplines, dedicated to the primacy
ists, designers, and practitioners, including
programs in the School of Design and the
of studio practice and the transformative
numerous recipients of prestigious awards
School of Architecture also enrich the School
power of creativity. We educate leaders in the
such as the Tiffany, Fulbright, and Gug-
of Art programs.
creative professions to identify, understand,
genheim fellowships. The faculty’s works,
Perhaps best of all, the school’s disciplines
shape, and benefit from the challenges of
projects, and publications are recognized and
are taught in the broader cultural context of
a rapidly changing world. Our courses are
respected around the world.
New York City, which provides inspiration
designed to develop critical thinking skills,
and an opportunity to learn from the multi-
deepen understanding, enable practice, and
and faculty, the School of Art offers a wide
tude of artists and designers who abound in
empower visionary action. The School of Art
range of graduate degree offerings in Fine
this creative capital.
is dedicated to developing creative leadership
In addition to the outstanding curricula
Arts and Media studio disciplines as well
The mission of the School of Art is to
as programs in Art and Design Education,
educate those who will make and shape
Creative Arts Therapy, and Arts and Cultural/
our built and mediated environment, our
Design Management. All programs are sup-
aesthetic surroundings, and our collective
ported by exceptional technical and studio
future. The School of Art is a diverse collec-
in a world that requires it.
Above: Work by Jean Paul Gomez (M.F.A. ’13)
63
Art and Design Education
In 1994, Pratt inaugurated the Master of Science in Art and
Design Education, drawing students from the worlds of
art, design, and architecture. The curriculum expands upon
the philosophy and practices of our continuing undergraduate
and post-baccalaureate programs and was one of the first in
the country to include design education.
We endeavor to be progressive and dynamic
In 1897, art classes for children were
ACTING CHAIR
Aileen Wilson
[email protected]
718.636.3637
Lia Wilson
[email protected]
718.636.3681
and at the forefront of our field while
offered in cast drawing; sketching in outline,
OFFICE
providing a stimulating, challenging, and
color, light, and shade; and freehand
Tel: 718.636.3637 | Fax: 718.230.6817
supportive environment for our students,
perspective. This was to be the genesis of a
faculty, and staff. Our students are
unique student teaching experience and
passionate teachers and learners engaged in
resource for the community. Beginning in
creative individual and community practice
1902, the Saturday classes were used as a
as artists, educators, and researchers.
vehicle for art teacher training. The Saturday
The earliest incarnation of the current
Art School became a laboratory where
Department of Art and Design Education
learning how to teach and researching issues
was in the late 19th century, when Pratt
of pedagogy are modeled upon artistic
Institute opened its doors in Brooklyn, New
practice. Students test ideas, develop a
York. Opportunities to combine theory and
personal teaching style, and explore research
practice have been an integral part of the
program ever since. Now, as then, teaching is
viewed as a creative process with studio work
enhancing and complementing instruction
rather than competing with it.
questions through participation and
observation. The seminars following the
Saturday classes are forums for reflection
upon both unfinished and completed projects.
Students thus get opportunities to work
collaboratively with their peers, community
[email protected]
www.pratt.edu/ad/ade
COORDINATOR,
YOUTH PROGRAMS
Tara Kopp
[email protected]
Tel: 718.636.3654
YOUTH PROGRAMS OFFICE
Tel: 718.636.3654 | Fax: 718.230.6876
www.pratt.edu/youth
SCHOOL OF ART 65
Above: Saturday Art School sculpture class, ages 9–12,
with graduate student teacher Caitlin Reller.
Photo by Kevin Wick
Opposite: Saturday Art School’s Adventures in Art,
age 8, with graduate student teacher Erika Schroeder.
Photo by Kevin Wick
Page 66: Pratt’s Saturday Art School classes
The department’s conception of art has
pology. Narrative and autobiography, play
broadened considerably from those first
and performance, meaning and memory
classes in the 19th century. A range of art
are threads that play an important role in
practices is presented and explored, from
our classroom conversations and research.
We ask our students to go beyond textbook
vocabulary and style. Their plans, essays, and
research papers are developed from their own
stories and personal knowledge. Reflective
practitioners, they are prepared to work effectively in diverse cultural contexts and to apply
interdisciplinary perspectives in a variety of
educational settings.
traditional forms to contemporary multidisciplinary works.
Our approach to art and design education is distinguished by a willingness to look
members, and professionals in the field, while
to other disciplines for inspiration. In recent
they learn to develop lessons and construct
years, we have drawn upon the work of art-
environments that promote critical inquiry
ists, educators, and scholars in the fields of
and creative practice.
literature, folklore, philosophy, and anthro-
SCHOOL OF ART 67
Through a combination of individual
study, observation, and reflection, along with
collaborative and interactive experiences,
students learn how to articulate the inexpressible, imagine the invisible, and convey a sense
of the aesthetic in their art classrooms as well
as in their own lives and in the community at
large. The study of art and design education
leads us back to our own creativity.
The Program’s Structure
M.S. IN ART AND DESIGN EDUCATION
WITH INITIAL TEACHER CERTIFICATION IN
VISUAL ARTS, PRE-K–12
BROOKLYN CAMPUS, A 38-CREDIT-HOUR DEGREE
Applicants must have completed a four-year
undergraduate program with a minimum
of 25 credit hours in the appropriate courses
in studio art and/or the history of art from a
regionally accredited institution of higher
education, or one that is approved by the
New York State Department of Education, or
with the equivalent of the bachelor’s degree
from an international institution of acceptable standards.
M.S. IN ART AND DESIGN EDUCATION
PROFESSIONAL CERTIFICATION
BROOKLYN CAMPUS, A 34-CREDIT-HOUR DEGREE
Applicants must have received their Initial
Certification as a teacher of Visual Arts and
have prior teaching experience.
ADVANCED CERTIFICATE IN ART AND
DESIGN EDUCATION
BROOKLYN CAMPUS
This 23-credit-hour program is open to
individuals with an M.F.A. degree, or those
currently enrolled in the M.F.A. program at
Pratt. For those applicants already holding an
M.F.A. degree, the program may be completed in two semesters.
All applicants must submit a portfolio of 15
images of work (submit online at pratt.slideroom.com). The required written statement
of purpose is given significant consideration.
All applicants are contacted for a Skype
interview when all credentials have been
received. A TOEFL of 600 (250 computer or
100 Internet) is required for international
students. All applicants are encouraged to
schedule a visit to the department.
CERTIFICATION REQUIREMENTS
In order to be recommended for NYSED
Initial/Professional Certification in Visual
Arts, Pre-K–12, candidates must also have
completed the following:
A 3-credit course in child and adolescent
psychology and a 3-credit course in a foreign
language are pre- or co-requisites. These
courses may be taken at Pratt or transferred
from another post-secondary school.
WORKSHOPS
• Child Abuse Identification Workshop
• School Violence Prevention and
Intervention Workshop
• Training in Harassment, Bullying,
Cyberbullying, and Discrimination in
Schools: Prevention and Intervention
These workshops must be taken with a
provider approved by NYSED.
PASSING SCORES ON THE FOLLOWING
TESTS AND ASSESSMENTS:
• Educating All Students (EAS)
• Academic Literacy Skills Test (ALST)
• Content Specialty Test (CST)
• edTPA
69
Arts and Cultural Management
The mission of the Arts and Cultural Management (ACM)
graduate program is to build on Pratt Institute’s international
reputation for developing creative leaders. Our program’s
mission is to develop leaders able to use their creativity
strategically to foster creative expression, build creative
community, and shape a commerce of ideas and images in an
increasingly challenged and mediated world. ACM prepares
participants to lead and manage in a changing cultural
landscape that includes new challenges, new media, and new
forms of cultural expression. Based in experiential learning,
the program creates a collaborative learning community that
sharpens critical thinking, deepens reflective practice, and
develops strategic leadership skills.
The program encourages participants to
two-year Arts and Cultural Management
consider their role in society and their
(ACM) Program, created to bridge the
respective communities as cultural arbiters
creative disciplines with the strategic
and educators. This approach yields arts
disciplines, provides a leadership education
and cultural leaders who are equipped with
more focused than an M.B.A. on the
the necessary theoretical, analytical, and
special needs of cultural leaders managing
practical skills to respond creatively to the
21st-century creative enterprise across
changing cultural, economic, and social
the boundaries of private, nonprofit, and
environments in which they work. The
government sectors. Our program objective
is to develop reflective leaders who can
Opposite: Students make site visits to the city’s cultural
institutions
collaborate to create sustainable strategic
advantages using our Triple Bottom Line
CHAIR
Mary McBride, Ph.D.
OFFICE
Tel: 212.647.7560
[email protected]
www.pratt.edu/ad/acm
70
that are inherent in arts and cultural
business environments.
• Utilizing technology and new media to
advance strategic goals.
• Providing practical skills for
negotiating organizational and artistic
conflicts.
• Broadening outlooks on the social,
economic, and political climate and
the role of arts and cultural institutions
in society.
• Sharpening personal capacities
for understanding and solving
organizational and human relations
problems.
• Developing communications skills for
the effective exchange of ideas and
information.
• Sharpening the individual’s capacities
to anticipate and effectively manage
change fueled by external forces.
• Developing the leadership capabilities
of each participant.
The program’s core principles and key study areas provide an integrated focus on the role of strategic
design in the creation and management of thriving cultures, communities, and commerce
by Design plus Culture (TBLD+C) strategic
framework. By expanding the coursework
• Stretching each participant’s ability
to deal with a wide range of critical
to include nonprofit management practices,
artistic, institutional, and business
public policy, and other contemporary
problems in practical and theoretical
issues, ACM stresses the importance
terms.
of simultaneously developing business
acumen and a sense of social responsibility.
These goals are accomplished by:
• Increasing the individual’s ability to
• Sharing the ideas and experiences of
a diverse group of promising arts and
cultural managers.
The ACM program prepares participants for
a rapidly shifting cultural, economic, and
social environment and political context.
It provides the skills necessary to lead and
manage in a changing world and an increasingly challenged ecosystem.
manage complex, cross-disciplinary,
The ACM program provides
and competing problems and tensions
participants with the opportunity to:
SCHOOL OF ART 71
• Join a creative learning
community of professionals with
working professionals and those who may
and professional goals, including how the
wish to pursue full-time internships.
applicant hopes to use the skills he or she
acquires in this program. The statement
diverse expertise.
• Develop a strategic skill set
that bridges public, profit, and
should be no more than 500 words or two
will be an acceptable demonstration of
nonprofit sectors.
• Explore the role of art, culture, and
The Arts and Cultural Management Program
meaning-making in shaping equity,
is a two-year, cohort-based program.
economy, and ecology of place.
Participants are required to take 42 credits to
• Create and expand professional
networks worldwide.
• Examine trends and global challenges.
• Use technology to advance
dialogue and engagement.
• Refine communication, collaboration,
and conflict-management skills.
• Lead the development of thriving
cultures and creative economies.
complete the program and receive a Master
of Professional Studies (M.P.S.) in Arts and
Cultural Management. The program has five
required semesters—fall, spring, summer,
fall, spring. Each semester is divided into two
terms and participants enroll in two courses
per term, with the exception of semesters
three and five. Courses are taken in order as
listed in the program curriculum. Two five-day
intensives—at the beginning and middle of the
program—provide the opportunity for several
Leadership coaching is a key component
brief, intensive courses, including behavioral
of the Arts and Cultural Management
simulation and negotiating modules.
program. It provides participants with an
Coursework is concentrated in these
opportunity to reflect on their leadership
sessions and moves at a fast pace. Class
style and identify strengths and stretch
attendance is critical, since each alternating
steps. Coaches work one-on-one and with
weekend of classes is one-tenth of the entire
participant teams and serve as catalysts for
course. Students are required to complete the
positive change and ongoing development
42 credit hours of the program to graduate.
related to career needs. Coaches enable and
support participants. They assist in conducting assessments, enabling participants to
develop specific personal and professional
development action plans, and enabling
teams to deepen their skill in managing conflict and encouraging innovation.
Classes are offered on alternating
weekends in Manhattan to accommodate
pages. In some cases, volunteer experience
ENTRANCE REQUIREMENTS
Applicants should demonstrate substantial
experience in a related field or activity and
an interest in leading cultural enterprises.
The required statement of purpose should
reflect the applicant’s personal vision of how
this program fits in with his or her personal
interest in the field. An interview (in person,
by phone, or by email) with the program
director is required for admission. A
minimum 3.0 undergraduate cumulative
index is required. For international students,
a minimum Test of English as a Foreign
Language (TOEFL) score of 600 is required.
Course enrollment is available to fully
matriculated Design Management and Arts
and Cultural Management students only.
73
Creative Arts Therapy
Established in 1970, Pratt’s Graduate Department of Creative
Arts Therapy is one of the oldest graduate creative arts
therapy training programs in the country.
Pratt offers a Master of Professional Studies
artistry with clinical acumen through the
in Art Therapy and Creativity Development,
integration of experiential, theoretical,
a Master of Professional Studies in Art
and practical learning. Our goal is to help
Therapy with Special Needs Children, and
students to be able to use a complex and open
a Master of Science in Dance/Movement
theoretical framework that makes it possible
Therapy. Students learn creative arts
for them to respond to a multitude of clinical
therapy skills as applied to a wide variety of
situations. They learn to use themselves in
patient populations, including psychiatric
the most creative ways possible, while being
inpatient and outpatient, substance abuse,
grounded in developmental and diagnostic
geriatric, special education, therapeutic
skills, group, and individual dynamics.
nurseries, after-school programs, families,
Each student is encouraged to develop his
medical rehabilitation, Child Life, eating
or her own unique style, informed by an
disorders, AIDS, the homeless, and
experiential process.
traumatized populations, as well as work
Our philosophy stems from the
in prevention and wellness. At the end of
understanding of art therapy and dance/
their training, students are prepared for
movement therapy as experiential
entry work in a broad continuum of settings,
therapies. Experiential learning and
ranging from institutions to creative work in
process orientation are the cornerstones
the community.
of our curriculum. Every course includes
Our students learn to combine personal
some experiential components, and the
department maintains an environment
Opposite: Dance/Art Therapy presentation
that supports and encourages the students’
CHAIR
Julie Miller
ADMINISTRATIVE SECRE TARY
Jean Simmons
OFFICE
Tel: 718.636.3428 | Fax: 718.636.3597
[email protected]
www.pratt.edu/ad/ather
74
involvement in that process. Accordingly,
Knowledge of research and professional
we are committed to maintaining small class
writing skills are developed through
sizes, to enhancing communication between
completion of a thesis. Students are given
students and faculty, and to encouraging
the option of a range of research methods,
discussion of the learning process itself.
including quantitative and qualitative. The
One of the strongest elements of our
latter may include a case study, a project
program is the synthesis of the theoretical
implemented in the community, or descriptive
and the practical. Our program combines
methods investigating the experience of a
practicum/internship assignments with
phenomenon or therapeutic process.
coursework from beginning to end, providing
The American Art Therapy Association
graduates with a firm grounding in the actual
has approved both art therapy degrees. The
practice of art and dance/movement therapy
Dance Therapy program is approved by the
upon graduation. Students attend two days
American Dance Therapy Association. All
of practicum/internship weekly. They must
programs are licensure-qualifying and
complete one practicum/ internship in each
graduates automatically satisfy educational
of two years. They receive weekly on-site
requirements for licensure in New York State.
supervision. In addition, they engage in
For those considering a career in art or dance
weekly group and bi-monthly individual
therapy or who want a basic introduction, we
supervision with one of our faculty. Because
offer the Spring Institute, which is a three-
Pratt is located in a large urban center, there is
day set of courses in various areas of creative
a wide variety of practicum sites with a range
arts therapy.
of populations. Our internship coordinators
The Creative Arts Therapy program
assist students in finding an appropriate
offers its degrees in two formats. The
clinical placement based on the learning
Academic Year format offers classes in
needs of the student.
a traditional manner, with classes in fall
There is richness to be gained from
and spring semesters, for 15 weeks each
including both art therapy and dance/
semester. The low residency format is an
movement therapy students in the
innovative educational program based on
department. Students can learn about the
a low residency adult learning model. The
nature of creative arts therapy in general
program is designed for those students
and the particular strengths and limitations
who do not live near or are otherwise
of their chosen modality. A majority of the
unable to engage in a traditional master’s
courses are discipline specific, although
degree format.
many of the classes are taken with art and
dance therapists combined. Graduates
receive discrete degrees, in either art or
dance therapy.
M.P.S. IN ART THERAPY AND CREATIVIT Y
DEVELOPMENT AND M.S. IN DANCE/
MOVEMENT THERAPY
These programs provide a synthesis of
creative, aesthetic, and psychotherapeutic
theory. Courses offer a thorough theoretical
framework that is then translated into
personal and practical application through
an experiential process. Artwork and/or
movement is done in every course and is used
to learn therapeutic skills. Students focus on a
wide variety of populations and are required
to work with a different population for each of
the two years of internship/practicum. Both
programs are for students who want a broad
body of skills, balanced with a strong
theoretical framework.
M.P.S. IN ART THERAPY WITH SPECIAL
NEEDS CHILDREN
The program is intended to train art
therapists who want to work with special
education populations, not as art teachers.
The degree does not qualify students for a
teaching license. Classes are the same as
for other art therapy students. The main
differences are:
• In both years of the practicum
experience students must work with
special education populations.
• Distinct readings are given in
some classes.
• Papers and case presentations center
on a special education population.
SCHOOL OF ART 75
ADMISSION REQUIREMENTS
(FOR ALL DEGREES)
but all other prerequisites must be completed
before starting the program. Psychology
courses are being held in New York. Courses
A bachelor’s degree is required for
credits must be completed before the start of
in New Hampshire take place in Lincoln, in
the second year.
the White Mountains. Students rent resort
admission. For the Art Therapy program,
a degree in art or psychology is preferred.
For the Dance Therapy program, a degree
in dance or psychology is preferred. The
following prerequisites are required for
Students in the academic year format are
developmental, and abnormal psychology
the duration of their stay. The low residency
in the low residency format are admitted for
format is offered to both art and dance/
the spring semester only.
movement therapy students.
The low residency program is
ACADEMIC YEAR FORMAT
and theories of personality).
The cycle of classes in New York is as
For the Art Therapy program only: 18
and practicum/internship from September
credits in studio art (to include coursework
condominiums, at reasonable prices, for
admitted for the fall semester only. Students
all programs: 12 credits in psychology
(to include coursework in general,
Housing is available on campus when
follows: students take a number of courses
through May for two consecutive years.
in drawing, painting, and 3-D to include
ceramics).
LOW RESIDENCY FORMAT
For the Dance/Movement Therapy
The cycle of classes is as follows: students
program only: coursework in anatomy/
take one class (7–9 days) in mid-March in
kinesiology; extensive experience in at least
New York. During the last week of June, they
two idioms of dance, one of which must be
take another class (7–9 days), also in New
modern dance; and experience in mind/
York. During the first three weeks of July,
body modalities, such as meditation, yoga,
students take courses (over three weeks) in
body therapy, etc.
New Hampshire.
All prerequisite courses may be taken on an
before classes and then complete their papers
undergraduate level but must be taken from
after classes are over, giving them a chance
an accredited institution to receive academic
to integrate class experience with readings
credit. Studio classes will be accepted for
and practicum/internship experience. Two
movement experience. For the Art Therapy
years of practicum/internship are done
program, students may start classes with half
from September through May following the
of the psychology and half of the studio art
first and second year of summer classes.
credits but must complete all prerequisites
Supervision is completed through weekly
before the start of the second year. For the
phone, video, and online contacts that keep
Dance Therapy program, students may start
low residency students consistently in touch
classes with half of the psychology credits,
with Pratt faculty.
Students complete reading assignments
not considered full-time. Therefore
international students will be ineligible
for F-1 Visas.
77
Design Management
Design education imparts many things, but it does not
typically provide training in the leadership, team building,
strategy, finance, marketing, and operations skills necessary
to effectively lead a design department or to run a design
business. Similarly, M.B.A.s who are selected to lead design
functions often lack the design experience necessary to guide
design decisions or to lead creative people.
The Design Management (DM) program was
design, interior design, graphic design,
created to bridge the disciplines of design and
fashion design, communication and
business management. The two-year program
information design, interactive media
provides an executive education more focused
design, and architecture.
than an M.B.A. on the special needs of design
The program’s academic calendar is
leaders managing design firms or managing
modeled after successful executive M.B.A.
design teams in creative industries. Since its
programs. Its schedule of alternating
launch in 1995, the program has been
weekends (Saturdays and Sundays)
providing an executive education more
allows participants to carry their full job
focused than an M.B.A. on the special needs of
responsibilities while they study.
leaders managing design firms or teams in
creative industries.
Design Management classes are
The mission of the Design Management
(DM) graduate program is to build on Pratt
Institute’s international reputation for
designed for working professionals
developing creative leaders and to provide an
and delivered by working professionals
educational experience that can help shape
from the worlds of business and
21st-century strategic leaders who are able to
design. Participants come from a variety
bridge the disciplines of design and business
of disciplines, including industrial
to catalyze innovation. Our program
CHAIR
Mary McBride, Ph.D.
OFFICE
Tel: 212.647.7538
[email protected]
www.pratt.edu/ad/dm
Page 86: Left Top, Bottom: Catalyst design
management magazine; Top Right and Bottom
Left: Design Futures collaboration with EDC and
Source4Style; Bottom Right: The program’s core
principles and key study areas provide an integrated
focus on the role of strategic design in the creation
and management of sustainable advantage
Above: Infographic exploring the the correlation of
sustainable practices, education, and quality of life.
Featured in Catalyst Issue 11
objective is to develop reflective leaders
who can collaborate to create sustainable
strategic advantage using our Triple Bottom
Line by Design plus Culture (TBLD+C)
strategic framework.
The program provides designers with the
opportunity to:
• Join a learning community of
professionals with diverse professional
and cultural backgrounds.
• Learn to identify and manage critical
business challenges strategically.
• Practice using Triple Bottom Line
by Design (TBLD) to create strategic
and sustainable advantage and social
innovation.
• Develop a strong skill set in the
• Analyze key global social, economic,
• Explore emerging trends and draw
• Meet the challenge of managing in
discipline of business and the
management of design.
from new ideas converging across
design disciplines.
environmental, technological, and
political challenges.
team-based organizations.
• Develop leadership capabilities.
SCHOOL OF ART 79
• Refine communication, negotiation,
and conflict management skills.
• Learn techniques for leading and managing innovation.
• Use technology to aid design in creating advantage.
• Sharpen skills in operations and
project management, finance, and
budgeting.
• Apply strategic thinking to marketing,
new product development, and brand
management.
• Create and extend professional networks worldwide.
Leadership coaching is a key component
of the Design Management program. It
provides participants with an opportunity to
reflect on their leadership style and identify
strengths and stretch steps. Coaches work
one-on-one and with participant teams
and serve as catalysts for positive change
and ongoing development related to
career needs. Coaches enable and support
participants. They assist in conducting
assessments, enabling participants to
develop specific personal and professional
development action plans, and enabling
teams to deepen their skill in managing
conflict and encouraging innovation.
Graduates are prepared for leadership
roles in strategic design and strategic
management. They are able to use design
to create sustainable strategic advantage
and social innovation and to shape the way
business is designed worldwide.
The Design Management program
curriculum is designed to develop strategic
to receive the accredited academic degree
Master of Professional Studies (M.P.S.) in
Design Management.
management skills in five areas related
ADMISSIONS REQUIREMENTS
to design management: operations
Design Management program applicants
management, financial management,
marketing management, organization
and human resource management,
and management of innovation and
change. Courses are relevant and offer
active learning experiences that provide
participants with an integrated focus
on the role of design in the creation and
management of strategic and sustainable
advantage and social innovation.
Offered at Pratt’s West 14th Street campus
in Manhattan, classes meet every other
weekend for two full days or twelve hours.
In addition, students attend for a full week
at the beginning and middle of the program.
This integrative experience provides the
opportunity for several brief, intensive
courses, including behavioral simulation and
negotiating modules. These weeks establish
and maintain relationships among students
in each class, which many participants in
executive programs consider especially
valuable. The program has five required
semesters—fall, spring, summer, fall, spring.
Each semester is divided into two terms and
participants enroll in two courses per term,
with the exception of semesters four and
five. Courses are taken in order as listed in
the program curriculum. Participants are
required to complete 42 credit hours in order
should ideally have an undergraduate
degree in one of the design disciplines and
a minimum of three years’ professional
experience prior to admission. All applicants
must follow the standard rules for admission
to a graduate program at Pratt and meet those
requirements. See www.pratt.edu/apply.
Course enrollment is available to fully
matriculated Design Management and Arts
and Cultural Management students only.
81
Digital Arts
Imagine you’re an artist who knows how to use every piece of
hardware and software in the world…now what?
CHAIR
Peter Patchen
ASSISTANT CHAIR
Students in the Graduate Digital Arts
thriving New York art scene, establishing a
program at Pratt are immediately engaged
professional network and taking advantage
in the creation of artwork utilizing digital
of exhibition opportunities that exist
technologies. These artists come together to
nowhere else in the country. Graduates
study interactive arts, digital animation and
become leading contributors to the digital
motion arts, and digital imaging. Within a
arts with a commitment to the cultural
context of new media, students use critical
enrichment of their world.
Carla Gannis
Deidre Carney
L AB MANAGERS
Igor Molochevski
Greg Blazer
thinking, creative problem solving, technical
facility, and conceptual skills to develop a
sophisticated body of work.
Studio practice is essential for students
of interactive art and imaging. Students
working in these areas of study are provided
with studio space for the completion of
their theses. This intensive course of study
is augmented by internships, special topics
courses, and lectures and critiques by
visiting artists. Students create work with
the guidance of a faculty of professional
practicing artists and scholars, who serve as
models in the pursuit of artistic excellence.
Digital art students become part of the
Opposite: Huan Shen (M.F.A. ’13), animation still
OFFICE
Tel: 718.636.3411 | Fax: 718.399.4494
[email protected]
Students are able to follow one of three
tracks: interactive arts, digital animation and motion arts, and digital imaging.
This 60-credit, full-time program is to be
completed in two calendar years. Students
complete required coursework in their
primary area of emphasis and one year of
work on a thesis, which culminates in a thesis
paper, exhibition, or screening of the completed work. Additional degree requirements
include completing six credits of extradepartmental studio electives, one course in
art history, and one course in liberal studies.
http://dda.pratt.edu
SCHOOL OF ART 83
INTERACTIVE ARTS
Admissions Requirements
Students use computer-human interaction
to convey meaning in the form of physical
installations, interactive objects, and online
artworks. This includes the combination of
Applicants must have an undergraduate
degree in art, design, or animation and
should submit a strong visual portfolio
video, animation, text, audio, and imagery in
demonstrating a conceptual and aesthetic
an interactive environment. Recommended
focus. Applicants whose first language is
electives include courses in history of new
not English must achieve a minimum score
media, sculpture, creating exhibitions, proto-
of 550 on the Test of English as a Foreign
typing, programming, interactive installation,
Language (TOEFL). In addition to the
online media, robotics and physical comput-
TOEFL requirement, all enrolling students
ing, electronic music, and sound.
whose first language is not English will
be tested for English Proficiency unless
DIGITAL ANIMATION AND MOTION ARTS
Students create evocative narrative and
nonnarrative films and installations using
2-D and 3-D digital animation techniques,
live action, and motion graphics. Recommended electives include history of
they have a TOEFL score of 600. Pending
the outcome of this test, individuals
may be assigned to ESL courses. For
more information, contact the Office of
Admissions at [email protected] or the
department chair at 718.636.3411.
Digital Arts Graduate Assistantships are
FACILITIES
IMAGING CENTER
•9 digital studios
•Imaging center
•Audio room
•Gallery/test space
•Graduate studios
The Digital Arts Imaging
Center has classrelated equipment and
other services available
only to registered
Digital Arts students.
Services include:
ADDITIONAL
RESOURCES
•Wide format
•B/W laser printers
•3-D printer (ABS)
•3-D scanner
•Color laser and
•3-D printing (ABS)
•3-D scanning
•Flatbed and
•DVD and CD-ROM
EQUIPMENT FOR
CHECK OUT
INCLUDES:
(by concentration)
inkjet printers
duplicator
•Flatbed scanners
•Slide scanner
•RAID file storage
and transfer system
•Plasma screen
•Render farm
•Laser cutter
animation, film criticism, traditional anima-
available beginning in the first semester of
SOF T WARE
tion, character design and rigging, lighting
attendance. Positions range from assisting
and rendering, audio and video, composit-
faculty research to creative or technical
ing and special effects, and advanced digital
support. Graduate Assistantships are
animation techniques.
awarded based on individual skills or degree
•Adobe Photoshop
•Adobe Illustrator
•Adobe InDesign
•Adobe After Effects
•Apple Aperture
•AutoDesk Maya
•Apple Final Cut Pro
•Apple Logic
•Adobe Dreamweaver
•Adobe Flash
•Adobe Director
•Max/Msp/Jitter
•Mental Ray
•Processing
•Quicktime Pro
•Syflex
goals and are available throughout the
DIGITAL IMAGING
Digital Arts M.F.A. degree program.
This area of study employs digital and
traditional processes in the creation of largeformat digital prints, installations, artist
books, and other tactile media. It addresses
Opposite: Piyatas Tantanapornchai (M.F.A. ’13),
interactive installation
critical issues and techniques in the develop-
Pages 84–85: Fangge Chen (M.F.A. ’13), animation still
ment, printing, and presentation of digitally
Pages 86–87: Loreto Riveros (M.F.A. ’13), digital imaging
based art. Recommended electives include
critical history of photography, etching, silkscreen, lithography, and digital photography.
Pages 88–89: Left: Yasmina Nysten (M.F.A. ’12), digital
imaging installation;Right: Qian Zhang (M.F.A. ’13),
interactive installation
and much more
2-D printing
slide scanning
•HD digital
video cameras
•Digital still cameras
•Portable lighting kits
•Digital audio
recorders
•Headphones
•Microphones
•11' × 12' portable
green screen
•35 mm projector
•Portable video
projection screens
•Video tripods with
three-way fluid head
•Wacom tablets
•Installation computers
•Digital projectors
(normal and
wide throw)
•DVD players
and recorders
•Wide array of tutorials
and much more.
91
Fine Arts
The primary goal of the M.F.A. program is to provide an
advanced education for artists. To this end, we emphasize
the development of students as individual thinkers, makers,
and professionals.
CHAIR
Deborah Bright
ACTING ASSISTANT CHAIR
Dina Weiss
Nat Meade
Centrally located in Brooklyn’s thriving art
Graduate instruction is offered in a wide
community, Pratt’s M.F.A. program in Fine
range of media, including painting, drawing,
Arts immerses students in the culture of
printmaking, photography, video, sculpture,
contemporary art, supported by a faculty
and integrated practices and new forms
of working artists and peers. The graduate
(i.e. installation, public art, performance).
curriculum is both rigorous and flexible,
Beyond departmental courses, M.F.A.
allowing wide latitude for interdisciplinary
students may choose graduate-level
exploration while fostering critical
electives in any department in Pratt Institute
perspectives and a deeper understanding of
and concurrent dual degree programs
the histories, issues, and cultural contexts that
(M.S./M.F.A.) are offered in the History of
OFFICE
inform artmaking today.
Art and in Art and Design Education.
Tel: 718.636.3634
Pratt’s M.F.A. degree is in Fine Arts rather
Students work in individual studios
than in a specific discipline. Students build
and have access to shared shops and
their program of study in consultation with a
labs, including a fully equipped wood
faculty mentor and departmental advisors.
shop, metal shop, print shop, ceramics
studios, darkrooms, digital labs with
Opposite: Mi Ju, M.F.A. ’12
high-resolution scanners and printers, as
Page 92: Ruth Mora, M.F.A. ’13
well as dedicated campus galleries. There
Page 93: Jean Paul Gomez, M.F.A. ’13
are many opportunities to show work in a
Pages 94–95: Left: Macklen Mayse, M.F.A. ’13;
Right: Brian Wittmuss, M.F.A. ’13
variety of traditional and non-traditional
Lisa Banke-Humann
TECHNICIANS
Adam Apostolos
Alexia Cohen
Yasu Izaki
Sarah Shebaro
Keith Simpson
Christopher Verstegen
www.pratt.edu/ad/fineart
96
spaces on campus. Each semester, students
open their studios to the public and second-
year students mount individual thesis
The Master of Fine Arts program at Pratt
shows that are also open to the public. In
Institute offers the following areas of
addition to a regular schedule of studio
emphasis: painting/drawing, printmaking,
visits by faculty members, the department’s
sculpture, photography, and integrated
Visiting Artist Lecture Series (VALS) brings
practices/new forms (nontraditional
internationally renowned artists and critics
investigations). Students complete two
to give public lectures and have individual
semesters of coursework in their area of
studio visits with graduate students. In
emphasis and one year of work on a Master
addition, the Pratt Artists League (PAL),
of Fine Arts thesis, including a written thesis
the graduate student club, has a budget to
statement and a solo exhibition in the graduate
bring in visiting artists and critics for studio
galleries. Degree requirements include 27
visits and fund other student-generated
studio elective credits, nine credits in art
programming and exhibitions. An
criticism/history, and six credits in the liberal
interdisciplinary five-week summer course
arts. The 27 elective credits may be used for
in Rome, City as Studio, offers students the
a wide variety of interdisciplinary, studio,
opportunity to research and create work in
or technics courses across the Institute. A
an international context.
minimum of 60 credits and two years of study
Pratt’s faculty members in Fine Arts
are required for the Master of Fine Arts degree.
are distinguished by their achievements,
The time and number of credits may not be
exhibiting internationally, as well
reduced but may be extended. All work for
as receiving major awards from the
the degree must be completed within seven
Guggenheim Foundation, National
calendar years after initial registration as a
Endowment for the Arts, Tiffany
graduate student.
Foundation, Joan Mitchell Foundation,
Skowhegan, Pollock-Krasner Foundation,
Creative Capital, and Art Matters. Pratt’s
graduate students in Fine Arts come from
around the world and are selected for their
promise and readiness for the intensive, selfdirected experience of graduate study.
M.F.A./POST-BACCAL AUREATE
(CERTIFICATE IN ART AND
DESIGN EDUCATION)
M.F.A./Post-baccalaureate (Certificate in Art
and Design Education) is designed for M.F.A.
students desiring eligibility for a Pre-K–12
teaching certificate. Students take 20 credits in
Art and Design Education. With one additional
studio elective credit, students can qualify for
Opposite: Eric Rue, M.F.A. ’13
their provisional New York State Certification
to teach Fine Arts, Pre-K–12, a certification
that is reciprocated in more than 35 states.
For specific courses, see the Art and Design
Education section of this Bulletin.
M.S./M.F.A. IN FINE ARTS
Students will complete the normal
requirements for the M.F.A. with an art
history minor (15 credits of HA, HD courses),
plus 15 additional credits of art history,
including the distribution requirements and
required courses specified for the master’s
degree in art history. Students must be
accepted by both departments and complete
a total of 75 credits.
ADVANCED CERTIFICATE
(FALL AND SPRING)
This 23-credit-hour program is open to
individuals with an M.F.A. degree, or those
currently enrolled in the M.F.A. program at
Pratt. For those applicants already holding
an M.F.A. degree, the program may be completed in two semesters, and the application
requirements are the same as those listed for
the M.S. in Art and Design Education.
ADMISSIONS REQUIREMENTS
Applicants for admission to the M.F.A. degree
program in Fine Arts must have a bachelor’s
degree from an accredited college, university
or art/design school. It is not required
that applicants have majored in studio art
in their undergraduate studies, only that
they demonstrate their readiness for the
SCHOOL OF ART 99
challenges of M.F.A. studies. The 60-credit
M.F.A. program in Fine Arts comprises four
consecutive 15-week fall/spring semesters
and begins in the fall. Accepted students may
defer entry for one year. Those considering
applying are strongly urged to visit Pratt.
Department tours can be arranged by
contacting Nat Meade, Assistant to the Chair,
718.636.3792 ([email protected]).
APPLICATION GUIDELINES
In addition to Pratt’s general graduate
admissions requirements, applicants
to the M.F.A. in Fine Arts are required
to upload the following materials to
https://pratt.slideroom.com.
1) A digital portfolio of up to 20 wellselected images (including detail views)
of recent works made in the last 2–3 years.
The graduate admissions committee is
looking for portfolios that show a serious
exploration of an idea through a body of
work rather than showing a disconnected
sampling of concepts and styles.
Applicants may show work in diverse
media as long as all of the work shows
evidence of a guiding sensibility or idea.
Opposite: Patrick Rowe, M.F.A. ’13
2) An accompanying numbered image list
indicating the title, dimensions, materials
used, and date of completion for each
work submitted.
For international applicants whose first
language is not English, a minimum TOEFL
score of 80 (Internet) is required. Applicants
who are notified that they have reached the
semi-finalist stage of the admissions process
will be interviewed on Skype.
Fall admission only, priority deadline
and scholarship consideration: January 5.
Applications will be considered as long as
there is space in the program.
“I can’t overemphasize the
importance of New York as
the center of the art and
design world; studying in
New York at Pratt was a very
special experience.”
—JOHN PAI, B.I.D. ’62, M.F.A. ’64,
Internationally renowned sculptor and
former Pratt faculty
101
School of Design
The School of Design is home
to the most comprehensive
professional design education
available.
Two major objectives guide every
department. The first is an emphasis on
COMMUNICATIONS DESIGN
ACTING DEAN
Leighton Pierce
PACK AGE DESIGN
INDUSTRIAL DESIGN
INTERIOR DESIGN
TO THE DEAN
Katherine Morris
Donna Gorsline
professional skills development. The
school’s students gain the techniques,
skills, methodology, and vocabulary
required for success as productive artists,
designers, and scholars.
The second objective—imperative so
that the professional expertise is not simply
technical training—is development of the
ASSISTANT DEAN FOR
ACADEMIC AFFAIRS
Dianne Bellino
ACTING ASSOCIATE DEAN
Amir Parsa
critical judgment and historical perspective
DIRECTOR OF FINANCE AND
ADMINISTRATION
needed to become a problem solver. Art
Daisy Rivera
and design history, melded with studies in
the liberal arts and sciences, provides the
context for stimulating intellectual and
creative inquiry.
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.
Opposite: Work by Gyeong Ko Eun (M.F.A. ’11)
OFFICE
Main Building, Fourth Floor
Tel: 718.636.3619 | Fax: 718.636.3410
102
distinguished professional programs in the
leaders in the creative professions to iden-
ists, designers, and practitioners, including
School of Art and the School of Architecture
tify, understand, shape, and benefit from
numerous recipients of prestigious awards
also enrich the School of Design programs.
the challenges of a rapidly changing world.
Perhaps best of all, the school’s disci-
Our courses are designed to develop critical
The faculty consists of professional art-
such as the Tiffany, Fulbright, and Guggenheim fellowships. The faculty’s works,
plines are taught in the broader cultural
thinking skills, deepen understanding,
projects, and publications are recognized
context of New York City, which provides
enable practice, and empower visionary
and respected around the world.
inspiration and an opportunity to learn
action. The School of Design is dedicated
from the multitude of artists and designers
to developing creative leadership in a world
who abound in this creative capital.
that requires it.
In addition to the outstanding curricula
and faculty, the School of Design offers
a wide range of graduate degree offer-
The mission of the School of Design is
ings in Communication Design, Interior
to educate those who will make and shape
Design, and Industrial Design. These
our built and mediated environment, our
studio practices are extended and linked to
aesthetic surroundings, and our collective
programs in Art and Design Education and
future. The School of Design is a diverse
Arts and Cultural/Design Management.
collection of disciplines, dedicated to the
All programs are supported by exceptional
primacy of studio practice and the trans-
technical and studio resources. Pratt’s
formative power of creativity. We educate
Above: Work by Carolina Pabon-Escobar (M.I.D. ’13)
Opposite: Work by Sasha O’Malley (M.S.
Communications Design ’10)
105
Communications Design
Pratt Institute’s Graduate Communications Design Department
has been educating graphic and package designers for over
40 years. In a survey of 10,000 design professionals by Graphic
Design USA magazine, the program is recognized as one of the five
most influential graphic design schools of the past 50 years and
one of the top five graphic design schools today; the program is
ranked in the top 12 of over 200 graduate design programs in the
nation, as reported in U.S. News & World Report rankings.
CHAIR
Santiago Piedrafita
ASSISTANT CHAIRS
Michelle Hinebrook
Warren Bernard
Anna Krstevski
OFFICE
Tel: 212.647.7573 | Fax: 212.367.2481
[email protected]
Pratt offers the Master of Fine Arts degree in
media specialists. The faculty serves as
Communications Design (M.F.A., terminal
important professional contacts for the
degree) and the Master of Science degree in
students—several have written pivotal
Package Design (M.S., initial master’s degree).
design books and articles, and many have
The department is located in the
been honored with design awards from
Manhattan neighborhood of Chelsea at
prestigious arts and design organizations.
144 West 14th Street, between Sixth and
Our location in one of Manhattan’s
Seventh Avenues, and our student studios
most creative areas provides a wealth of
are four blocks north on West 18th Street.
opportunities available nowhere else. With
The department’s faculty includes highly
access to world-famous design firms—and
regarded, award-winning professional
through the department’s internship
designers, authors, and marketing and
opportunities and professional faculty—the
students have the opportunity to talk and
Opposite: John Olson (M.S. ’14)
work with some of the best designers.
www. prattgradcomd.com
106
As a result, many students secure industry
positions even before their graduation.
A diverse body of students from different cultural, professional, and educational backgrounds—over 28 countries
are represented—come to Pratt to further
their careers in the design industry, begin a
journey towards becoming a design educator, or alter a career course. Our graduate
programs provide students the opportunity
to develop and refine their design process,
design voice, and creative skills leading to
professional competence and leadership.
within cross-disciplinary environments.
expect to complete the degree requirements
We approach design as an agent of change—a
within three years if attending full-time. A
strategy for transforming behaviors of
portfolio review is required for admission.
individuals in desirable and sustainable ways.
Classes are offered both day and evening,
The program provides a framework
for both professional practice and
program include an emphasis on studio prac-
full-time studio practice in graphic design—
tice, research and scholarship, design teach-
communications, identities, objects,
ing methodologies, and academic studies of
environments, and systems. Graduates
enter the professional world with a confident
design voice and an outstanding body of
work, prepared to become innovative leaders
media, typographics, identity systems and
branding, package design, design strategy,
social media and interaction design,
motion design, environmental design, data
Design plays a central and formative role
visualization and information design, and
in shaping communities, technology,
advertising design.
and business. Never have designers been
The components of the 62-credit M.F.A.
academic careers, while emphasizing
in communications design areas—i.e. print
M.F.A. in
and part-time attendance is optional.
Applicants who hold an undergraduate
visual media such as history, theory, critical
analysis, aesthetics, and related humanities and social sciences. There are seven
M.F.A. Studios—courses that investigate
current practice and the future direction of
communications design. Courses emphasize research, critical thinking, and design
strategy, coupled with entrepreneurship
and an iterative design process. Students are
invited to synthesize theory with practice.
These are intense studios taught by resident
and visiting faculty, sharing a common
foundation with the other studios offered in a
expected to cultivate such a diverse set of
degree in graphic design, visual
skills and knowledge. Our M.F.A. program
communications, or the equivalent, and/or
prepares individuals to pursue design
have professional graphic design experience,
with passion and cultural relevance. Our
are typically able to complete the degree
distinctive program emphasizes design as
requirements within two years if attending
a means for communicating meaningful
full-time. Up to 12 credits of qualifying
messages, organizing information, creating
courses may be required for applicants who
compelling experiences, and effecting
do not meet all entrance standards but whose
projects as well. Studios will consist of group
social change.
applications indicate a strong aptitude for
discussions, critiques, student presentations,
graduate study. This includes those who
individual faculty meetings, and visits with
successful designers are cultural innovators
studied in fields such as industrial and
guest designers.
who use media to inform, persuade, and
interior design, architecture, fine arts, media
These core studios are supported by
entertain. Our graduates develop voices
arts, communications and journalism, liberal
study in design process and methodology,
as authors and entrepreneurs engaged in
arts, business, and the sciences. Students
identifying and solving design problems
required to take qualifying courses can
We believe the most intriguing and
given semester. Each student is encouraged
to search for connections and relationships
between the studio projects and thesis, with
an emphasis on discovering his or her own
design voice. A significant proportion of the
work will be self-directed and independent,
with collaborative and community-based
Opposite: André De Castro (M.F.A. ’13)
108
technology, history, visual thinking,
narrative strategy, social interaction, visual
identity systems, and typographic and
information design. Elective opportunities
include design management and marketing,
typeface/letterform design, color studio,
advertising, and illustration. Students may
also take electives in graduate programs
across the Institute.
Seminars are offered as a forum
for critical analysis and discussions of
theoretical, historical, and contemporary
issues in communications design. Design
Learning Outcomes of M.F.A.
Communications Design degree:
1. The ability to identify a problem
(problem seeking) and apply design
process and research methodology
towards a solution;
2. Advanced professional competence,
demonstrating depth of knowledge
and achievement, in a welldeveloped, defendable, and
significant body of work;
3. The ability to demonstrate knowledge
Writing will focus on core writing skills and
of necessary theory and practice and
effective methods for researching, analyzing,
the desire for a leadership position in
evaluating, and chronicling design issues.
the profession and academia;
Independent studies, special projects,
internships, and portfolio development
opportunities are all available. A Teaching
Practicum is offered for those who desire to
enter post-secondary teaching.
M.F.A. candidates in Communications
4.Advanced capabilities with
technologies, demonstrated
in the creation, dissemination,
presentation, documentation, and
preservation of work.
professional competence, which must
to be eligible for degree conferral. The
department will support students in
frequent opportunities to present their
work both publicly and in circumstances
that develop connections with the
communication design profession.
field of package design.
The M.S. in Package Design is an initial
master’s degree that offers students structured courses on the decision-making
process for new product and package development, featuring direction in package
design, typography, brand development,
marketing, structural packaging, packaging
technology, fragrance packaging, and the
business aspects of the package industry.
A minimum of 48 credits, which can be
completed within two to three years of study,
is required for the M.S. Package Design
degree program. Students accepted into
M.S. Package Design typically hold undergraduate degrees in graphic design or related
design fields such as industrial or interior
design, architecture, fine arts, or media arts.
We welcome applicants from non-design
and the sciences. A qualifying program of up
M.S. Package Design
to an additional six credits of prerequisite
classes may be required for applicants whose
be approved by a thesis committee and
the department chairperson in order
prepared to become innovative leaders in the
fields as well, such as business, liberal arts,
Design will be required to present a thesis
and final body of work demonstrating
world with an outstanding body of work,
The M.S. in Package Design, a degree first
offered in 1966, educates students from diverse cultural, professional, and educational
backgrounds in design thinking, technical
skills, collaborative abilities, academic
knowledge, and managerial competence.
While focusing on creative problem solving,
the curriculum is pragmatic and industryoriented. Graduates enter the professional
undergraduate backgrounds do not meet all
entrance standards but whose applications
indicate a strong aptitude for graduate study.
For students with substantial graphic design
experience, the program—with courses
ranging from structural packaging to visual
communications to marketing—challenges
their creativity to its furthest potential. A
portfolio review is required for admission.
Opposite: Rui Maekawa (M.S. ’14)
110
“Studying at Pratt exposed
me to teachers and
professionals who taught
me a lot more than I
realized at the time.
Graduate students at
Pratt were required to
write quite a bit, and that
developed my writing
abilities.”
—ISAAC KERLOW,
M.S. Communications Design ’83,
Artist in residence, Earth
Observatory of Singapore
Above: Xiaoping Ma (M.F.A. ’14)
Opposite: Rogier Bak (M.F.A. ’14)
Learning Outcomes of the M.S. Package
Design degree:
1. Advanced professional competence,
Classes are offered both day and evening,
demonstrating depth of knowledge
and part-time attendance is optional.
and achievement, in a well-devel-
The final stage of the curriculum is the
thesis, which provides knowledge of the
problem-solving process through directed
oped, defendable, and significant
body of work;
2. Advanced capabilities with technolo-
research and, over the succeeding two
gies, demonstrated in the creation,
semesters, gives students the opportunity
dissemination, presentation, docu-
to develop an extensive, innovative project.
mentation, and preservation of work;
The comprehensive thesis demonstrates
professional competence and includes
extensive research, project formulation and
production, and process documentation.
Work on the thesis is done under the direction
of a major discipline faculty advisor.
3. The ability to think and plan
independently;
4.An awareness of current issues and
developments in communications
design and the basic desire, ability,
and potential to contribute to the
expansion of the field.
“Amazing! When I was at
Pratt in ’64, the school was
around the age I am now. It’s
still a role model for vitality,
creativity, engagement,
longevity…I’d like to emulate
my alma mater when I’m 125.”
—EDWARD KOREN, M.S. Art Education ’65
Cartoonist, The New Yorker
Left: John Olson (M.S. ’14)
Opposite: Top: So Young Jung; Bottom: Left, Right: Yue
Li (M.S. ’14)
115
Industrial Design
Ultimately, design is about human beings, individually and
collectively, supplying propulsion to idealistic, aesthetic, and
practical ideas, and the passion of creating, understanding,
and sharing the work we do.
There are millions of people all over the
neuroscience, dentistry, aviation, and music.
world waiting for the enlightened and
We choose an amazingly diverse group of
entrepreneurial participation of designers,
students and encourage them to exploit their
waiting to hear the insights that come
previous academic pursuits and experience,
from our years of work and study—real
and they do so while gaining a solid
interventions that can touch the lives of
understanding of current design thinking.
all citizens of the world via the language
Likewise, each faculty member within
CHAIR
Steve Diskin, Ph.D.
ASSISTANT CHAIR
Scott Lundberg
Audrey Lapiner
TECHNICAL COORDINATOR
John Medley
SHOP TECHNICIANS
Gary Hou
Manuel Mota
of design, showing what’s possible in life.
the program has his or her particular path,
The Industrial Design Department at Pratt
and there is surely an understanding that, in
is united in a common, rigorous pursuit of
the expanding design profession, disciplines
creativity, explored through projects large
often cross lines. As such, Industrial Design
and small, and translating ideas into a wide
students and faculty share an important
OFFICE
variety of forms, systems and structures.
mission: to encourage individual growth to
Tel: 718.636.3631 | Fax: 718.636.3553
With this focus, the Pratt Master’s program
its highest potential. Pratt also maintains
in Industrial Design (MID) is consistently
strong ties to industry through corporate-
ranked in the top 10 nationally by U. S. News
supported programs, bringing essential
and World Report and DesignIntelligence.
industry knowledge into the classroom.
A strong legacy feature of the MID is
Internships in design consultancies and
that it welcomes students without previous
corporate offices are encouraged, and have
bachelors degrees in ID. These students
proved to be valuable learning experiences
are talented not only in related fields of
that cannot be duplicated in a purely
architecture, engineering, and interior
academic setting.
design, but also fine art, biology, economics,
Alejandro Morales
Melissa Skluzacek
Julia Wheeler
[email protected]
www.pratt.edu/ad/id
Opposite: Dana Oxiles
116
The Master of Industrial Design degree
GID: Global Innovation
Design Track (2nd year option
abroad)
consists of a six-semester, 60-credit program
for all students, regardless of previous
background, to promote collegiality and
cohesion in each incoming group of grad
students. This cohesion is absolutely
essential to a program that creates an
environment where “learning from each
other” and teamwork happen, and where
the richness of the program is enhanced
by a strong sense of community.
While our M.I.D. is admittedly a
generalist, humanist scheme designed to
support the varying skills and interests of
the students, we recognize that professors
and students alike need to be able to
comprehend and articulate the structure
and content of the program. Therefore, we
have clearly designated these three years of
study as: 1st year “core” (design thinking,
ideation, process, skills); 2nd year “research”
(methodology, topics, sources, electives,
pre-thesis); and
3rd year “thesis” (major individual project).
In addition, and looking to integrate the
future areas of expertise of grads, we have
grouped courses in three general areas:
“exploration” (studio, thesis, workshop);
“technology” (digital tools, form,
visualization, materials); and “context”
(seminar, special projects, business) to
give them the professional knowledge and
skills, in commercial, historical, societal and
global contexts, they will need to become
successful design professionals.
M.I.D. Thesis
The 3rd-year thesis provides the greatest possible freedom and opportunity for investigat-
Beginning in the 2014-2015 academic year,
a select group of ID graduate students will
be offered the option to spend their entire
second year abroad for full credit—the fall
semester at Keio University in Tokyo and
spring semester at the Royal College of Art
(RCA) and Imperial College London—in
the new Global Innovation Design (GID)
program. This groundbreaking international
study partnership will also allow students
from London and Tokyo to spend a semester
at Pratt.
At Keio, studies will be devoted to media
design and culture, utilizing the school’s
advanced facilities, including prototyping
and robotics. In London, the curriculum will
focus on engineering and invention. The
Pratt component will emphasize the core
principles of industrial design. Pratt GID students then return to New York to complete
their final two semesters of thesis work and
required courses. In addition to their local
ing a selected topic under the direction of a
faculty mentor. Candidates are expected to
demonstrate the full range of design skills
and methodology in their thesis projects.
Subjects range from consumer products and
packaging to systems and exhibition design,
and to the impact of emerging philosophies,
materials, and technologies in a global context. Students register for six credits of thesis
over one year, which culminates in a formal
presentation of work at the conclusion of
the program.
All work for the degree must be completed within seven calendar years after initial
registration as a graduate student.
We invite you to have a look at the Industrial Design Department’s ID VIEWBOOK,
an annual overview celebrating end-ofterm presentations, the range of projects
produced in the department, and some of the
results of the hard work of amazing students
and professors.
studies, students at each location will collaborate globally on a large-scale project. By
capitalizing on the expertise of each school
and the distinct cultures of the three locations, the GID program will give students a
rich academic program and unique perspective on global design and entrepreneurship
that no single institution could conceivably
provide. For a more on GID, visit
http://globalinnovationdesign.org.
Opposite: Cappellini Showroom exhibition of Furniture
Studio designs by grad students of Professor
Mark Goetz
Page 118: Top: Mahtab Pedrami; Bottom: David Hsu
Page 119: Chris Richard
Page 120: Wyman Mastin
Page 121: David Steinvurzel
123
Interior Design
Interior Design at Pratt provides the ultimate learning
environment—New York City, an internationally recognized
center of interior design—and a challenging course of
study for students preparing themselves for a career in an
expanding, dynamic field.
CHAIR
Anita Cooney
ASSISTANT CHAIR
Karin Tehve
Aston Gibson
The graduate Interior Design program
comes from a background in economics has
was ranked first in the country by U.S.
a very different approach from one coming
News & World Report and second by
from dance, and each has something to
[email protected]
DesignIntelligence in 2014. Students are
learn from the other.
www.pratt.edu/ad/int
drawn from all parts of the world and, by
Our faculty members are practicing
way of the Qualifying Program, from a
professionals who bring real-world design
variety of disciplines, which creates an
experience into play in their classroom
intellectually and aesthetically stimulating
teaching. Their varied backgrounds and
environment in the studios. These students
expertise allow students to explore many
are a select group who come to Pratt to work
avenues of design.
hard and prepare to enter a profession in
Building upon its reputation as one of
which the designer must be multifaceted
the top graduate programs in the country,
and able to provide innovative design
the graduate Interior Design program
solutions. Many come to the program for
seeks to expand its leadership role, setting
career change, so classroom interchange
standards for critical thought, exemplary
is enhanced by the diversity of students’
expression, professional aptitude, and
interests. For instance, the designer who
responsible action in transforming the
human environment. The curriculum
Opposite: Erin Fredrickson
brings the rigor as well as broad and deep
OFFICE
Tel: 718.636.3630 | Fax: 718.399.4440
124
thinking of architectural study to focus on
The program is full time. Many students
MASTER OF SCIENCE IN
INTERIOR DESIGN
the scale, use, and materiality of the interior,
find internships, either for credit or
connecting interior design to larger issues
independently, generally pursued during
of inhabitation, cities, and society. The
The mission of the Master of Science in
the summer breaks.
Interior Design program is to educate
program instills values in its students, not
as mere competencies but as opportunities
for critical engagement in the contemporary
world. In support of this transformative
responsibility, the program fosters an
inquisitive dialogue among its faculty and
students, and open exchange with the world
of designers, producers, and users of the built
environment. We are equally committed to
the application of current technology to the
educational experience and the support of
analysis and research that contributes to the
body of knowledge in the discipline.
For most students, the program
talented and motivated students from
culminates in a thesis project. The thesis
diverse cultural, professional, and
provides the greatest possible freedom
educational backgrounds in the discipline
and opportunity for pursuit of a selected
and profession of interior design. Our
topic. Work is done under the direction of
educational community encourages
thesis advisors and is completed within one
philosophical exploration, ethical and
year. The Exhibition Design Intensive is an
environmental responsibility, aesthetic
alternative to the traditional thesis track
and offers students a one-year immersion in
exhibit design in the final year.
Applicants with an undergraduate
expression, and practical application.
We provide students with a challenging
environment and course of study that
encourages creative innovation.
degree in interior design, architecture,
or other closely related design fields may
be eligible for the 48-credit two-year
Like its undergraduate counterpart, the
graduate Interior Design program at Pratt
is an architecturally oriented program with
emphasis on spatial design as well as surface
embellishment. All aspects of space—scale,
proportion, configuration, and light sources,
as well as textures, materials, and colors—
are studied in relation to their effect on the
human spirit. Students are encouraged to
take advantage of the many course offerings
at Pratt, enabling them to fully develop
their interests and talents. Electives may be
chosen from any department in the Institute,
so an enormous variety of courses is available
for the pursuit of individual interests.
graduate program. An application portfolio
is required. A two-semester Qualifying
Program of an additional 20 credits is
required for applicants whose undergraduate
backgrounds are unrelated to interior design
or architecture but whose applications
indicate a strong aptitude for graduate
study. These students complete 68 credits
in three years. It should be noted that while
applicants to the Qualifying Program
are not required to submit a portfolio, we
do encourage applicants with academic
or professional experience to submit a
portfolio of work from other disciplines such
as fine arts, fashion, industrial design, or
communications design.
Opposite: Top Row: Hyun Jun Chang; Center Row,
Bottom Row: Hanna Chung
Opposite: Top, Center: Leila Hirvonen; Bottom: Hyun
Jun Chang
Left: Top, Bottom: Sruthi Sruthi Sekar and Ajitha
Anandan; Center: Justin Crocker, Xi Zheng, and
Edeline Bigas
“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 Design ’68
Renowned interior designer; principal, Samuel
Botero Associates, Inc.
“I’ve been told I’m good at
creating luxurious spaces and
creating comfort in a very
elegant way. The Color course I
took at Pratt gave me the tools to
develop finished palettes for all
my professional projects.”
—JASMINE LAM, M.S. Interior Design ’98
Principal, Jasmine Lam, Interior Design +
Architecture
129
School of Information and Library Science
A REAL EDUCATION FOR THE DIGITAL
WORLD
edge of his/her area of research and teaching
DEAN
and recognized internationally through their
Tula Gianinni, Ph.D., M.L.S., M.M.
In our global digital world, the field of library
publications and conference papers and
and information science is at the heart
presentations.
of human culture and communication.
Now, more than ever, the world relies on
highly educated professionals to design
and organize information using the latest
technology and digital tools in ways that
connect people with one another and to ideas
and meaning.
Pratt’s School of Information and Library
Science (SILS) prepares students to harness
the latest digital technology to design a more
usable and understandable world. At the
same time, SILS also prepares students to be
leaders in the field of library and information
science by imbuing them with the values
of the profession and teaching them to
uphold and advocate for intellectual
freedom, equal access to information, and
lifelong learning.
And, most important, students learn and
participate with an outstanding, creative,
and innovative faculty, each on the cutting
Opposite: SILS Annual Showcase
A GLOBAL EDUCATION
IN MANHAT TAN
SILS’s graduates are uniquely prepared
for the many new and changing
opportunities available to information
[email protected]
ASSISTANT TO THE DEAN FOR
ADMINISTRATIVE SERVICES
Vinette P. Thomas, M.S.L.I.S.
[email protected]
ADVISOR FOR ACADEMIC PROGRAMS
Quinn Lai, M.A., M.S.L.I.S.
[email protected]
professionals across a wide range of
environments, including libraries, archives,
and museums, the IT sector, law, and health
information. Our fall 2013 survey of recent
graduates showed 90 percent were working
in professional positions obtained within a
year of graduation.
Katie Merlie, B.A.
[email protected]
LMS COORDINATOR
Jessica Lee Hochman, Ph.D.
[email protected]
SILS’s programs build on the theory and
research of the LIS field and a pedagogy
that offers students an unparalleled
opportunity to engage in an immersive,
hands-on educational experience. As
the only LIS school headquartered in
Manhattan — a world capital of art and
culture — we say that Manhattan is our
campus as our students participate
OFFICE
Tel: 212.647.7682 | Fax: 212.367.2492
[email protected]
www.pratt.edu/sils
130
in collaborative and interdisciplinary
institutions. Finally, SILS’s international
when accreditation was introduced. Since
programs, partnerships, and internships
summer programs in Florence and London
its founding, Pratt has been a leading school
with New York’s great cultural institutions
make the promise of a global education a
of design, art, and architecture, and SILS
such as the Brooklyn Museum, The
reality for students.
complements and aligns with its mission. By
being part of Pratt, SILS brings innovation
Metropolitan Museum of Art, the Brooklyn
Public Library, and the New York Public
Library. Students carry out internships and
other work-study opportunities that can be
found nowhere else.
Students also have the unique
opportunity to learn from leaders in the
information professions who hold key
positions in academic, public, and research
libraries, and New York’s premier cultural
ST UDYING LIBRARY SCIENCE AT A SCHOOL
OF ART AND DESIGN
The history of SILS dates back to 1887, the
year Pratt Institute itself was founded.
SILS takes pride in being the oldest library
school in the United States and in having
our program continuously accredited by the
American Library Association since 1924,
and creativity to information and library
science while drawing on Pratt’s many
academic offerings in the arts to offer unique
programs blending the arts with library and
information science, such as our dual degree
programs with the history of art and design
and with digital arts.
Above: The Degrees of Bioethics by Amanda Favia and
Chris Alen Sula
131
Library and Information Science
A CREATIVE AND
VIBRANT COMMUNIT Y
SILS FACILITIES ARE DESIGNED
FOR TEACHING AND LEARNING
DEAN
SILS attracts students from top universities
SILS features specialized learning
[email protected]
who come to study with leading practi-
environments to support our in-depth
tioners and researchers. Our full-time
curriculum: we have labs for cultural
faculty members are leaders in informa-
informatics, user experience, and the iLab
tion research. Connecting their research
for Digital Culture and Information, and
and teaching, students benefit from a rich
the research/seminar lab. Each supports
and immersive learning environment that
learning activities with the latest technology
ADVISOR FOR ACADEMIC PROGRAMS
challenges them intellectually and to think
and software for courses such as information
Quinn Lai, M.A., M.S.L.I.S.
creatively. Part-time faculty members
architecture and interactive design,
are leaders in practice, holding key posi-
information visualization, research methods
tions across the information professions.
in the social sciences, and knowledge
Students can participate in a wide variety
organization. Our cutting-edge seminar/lab
of student organizations to enhance their
classrooms are designed for participatory
SILS experience. Among the organizations
hands-on learning experiences.
American Library Association, Special
Libraries Association, Association for
Information Science and Technology,
and the Society of American Archivists.
ASSISTANT TO THE DEAN FOR
ADMINISTRATIVE SERVICES
Vinette P. Thomas, M.S.L.I.S.
[email protected]
[email protected]
Kate Merlie, B.A.
[email protected]
LMS COORDINATOR
Jessica Lee Hochman, Ph.D.
they can join are: SILS Student Association (SILSSA), and student chapters of the
Tula Gianinni, Ph.D., M.L.S., M.M.
[email protected]
WHAT MAKES SILS YOUR FIRST CHOICE
FOR A LIBRARY AND INFORMATION
SCIENCE EDUCATION?
• An outstanding job-placement rate as
a result of strong relationships with the
profession
• Partnerships with major cultural
institutions providing students venues
for experiential learning, including the
OFFICE
Tel: 212.647.7682 | Fax: 212.367.2492
[email protected]
www.pratt.edu/sils
132
New York Public Library, the Brooklyn
Public Library, the Brooklyn Museum,
and The Metropolitan Museum of Art
• The chance to earn advanced
certificates in archives and in museum
libraries within the M.S.L.I.S. degree
• The opportunity to take courses
within overarching program concepts:
Cultural Informatics, Information
Policy and Society, LEO (Literacy
Education and Outreach) for Library
Media Specialist, and Children and
Young Adult Librarianship
• International summer partnership
programs in Florence with Studio
Art Centers International and in
London with Kings College London,
Department of Digital Humanities.
• The opportunity to earn dual degrees,
The Master of Science
in Library and Information
Science (M.S.L.I.S.)
THE CORE CURRICULUM
All students must take the four-course core
curriculum that prepares them for more
advanced courses and to pursue focused
STRUCT URE AND REQUIREMENTS
The structure of the program supports
student learning and career goals and is built
around overarching areas of study that are at
once interdisciplinary and converging. These
areas of study.
Required courses:
LIS-651 Information Professions
LIS-652 Information Services and Sources
are expressed through areas of concentration,
LIS-653 Knowledge Organization
advanced certificates, and dual-degree
LIS-654 Information Technologies
programs that offer students a rich array of
choices and the opportunity to take a creative
approach to planning their program. Through
a wide variety of courses, the curriculum
represents the information continuum in all
media and formats, including creation,
storage and retrieval, communication,
Prior to enrolling in LIS-654 Information
Technologies, students should possess
baseline technology skills and be able to use
the Microsoft Office suite, including Excel,
Access, and PowerPoint, and various other
Internet technologies.
description and access, selection,
including the M.S.L.I.S. with: a master
acquisition, organization, preservation,
of science in art history, a master of
dissemination, use, and management.
ST UDENT LEARNING ASSESSMENT/
OUTCOMES AND E-PORTFOLIO WITH
OUTCOMES ASSESSMENT PROGRAM
COURSE AND CREDIT REQUIREMENTS
Entering students are required to create
fine arts in digital arts, and law degrees
with Brooklyn Law School
• Small classes averaging 15 students
support participation and interaction
for immersive learning
• Student advisement and mentoring by
full-time faculty
• Classrooms designed as seminar/labs
to support hands-on learning, lecture,
and discussion
• Convenient class meeting times at
3:30 pm and 6:30 pm to accommodate
working students
• Courses feature teamwork, research,
and projects
Students must complete 36 credit hours
with a B average or better and meet other
prescribed requirements of the Institute.
Students entering with a master’s degree
complete 30 credits. All SILS courses are
3 credits. The degree includes four core
courses (12 credits) and eight elective courses
(24 credits). Students must complete degree
requirements within four years from the date
of registering for the first course.
an e-portfolio and participate in SILS’s
e-portfolio assessment program. Working
with their faculty advisors, students select
three to five of their assignments that best
demonstrate mastery of the M.S.L.I.S.
program-level learning objectives and
outcomes. Students must demonstrate that
they can do the following: carry out and
apply research; communicate effectively and
create and convey content; use information
technology and digital tools effectively;
apply concepts related to use and users of
information and user needs and perspectives;
SCHOOL OF INFORMATION AND LIBRARY SCIENCE 133
and perform within the framework of
collections; exhibitions and catalogs; image
LIS-626 Online Databases: Law
professional practice.
databases; Web design; and preservation and
LIS-684 Contemporary Issues in Law
E-portfolios at Pratt run on the mahara
conservation and digital humanities.
platform, open source software, and are
supported by the Office of Educational
IPS (Information Policy and Society)
Technology and the Technology Advisory
The IPS concentration will give students the
subcommittee on Teaching and Learning.
We invite you to visit the e-portfolio
website at http://eportfolio.pratt.edu/.
CURRENT SILS ST UDENTS
Some students enroll directly from their
undergraduate degrees; others decide to
change careers after having established
themselves in other professions such as law
or teaching. Among our entering students,
about 30 percent hold subject master’s
degrees and some enter with a Ph.D. or J.D.
PROGRAM THEMES: DESIGN
YOUR DEGREE PROGRAM TO MEE T
YOUR INTERESTS AND NEEDS
Cultural Informatics: Information Studies
theoretical knowledge and practical skills to
work in today’s information environments.
You will learn about the legal, economic,
For more information on the IPS program
email Professor Debbie Rabina, program
coordinator, at [email protected].
ST UDENT LEARNING OBJECTIVES &
OUTCOMES
and social forces that affect how we create,
Viewed through the lens of information
use, reuse, repurpose, and share informa-
studies in the digital age from digital libraries
tion. Students will gain expertise in the
to global networks and social media, the
nature and use of information resources of
SILS program learning objectives represent
the federal government and its agencies, as
what students learn and what skills they have
well as nonconventional NGO information
acquired at the completion of their MSLIS
opportunities such as bibliographic and sta-
degree program.
tistical sources, online databases, technical
1. Research
report centers, public information facilities,
2. Communication
and sources of technical assistance. You will
3. Technology
be able to write policy briefs and reports for
4. User-Centered Focus
your institution, make recommendations
5. LIS Practice
for information policies, locate data from international organizations such as the World
Bank, and much more.
E-PORTFOLIO AND ASSESSMENT:
A GRADUATION REQUIREMENT
at the Intersection of Culture, Digital Tech-
Courses in the IPS concentration
All students entering the MSLIS degree
nology, and Information Science closely
include:
program are required to complete an
tied to digital culture across libraries,
LIS-607 Digital Information Economics
archives, and museums.
Traditional library services in arts and
humanities have been transformed through
their convergence with digital technology.
Pratt’s program reflects the field’s new
directions and global reach, as represented
in an array of courses with studies in
academic, research, and museum libraries;
archives and special collections; fine and
performing arts; digital libraries; digital
and Management
LIS-611
Information Policy
LIS-613 Government Information Sources
LIS-616 Business Economics & Statistical
Sources
LIS-627 Online Databases: Business
LIS-617 Legal Research Methods & Law
e-portfolio that must be approved by their
advisor before they will be permitted to
graduate. The e-portfolio provides students
with an opportunity to showcase their best
work from the courses they have taken at SILS,
and an opportunity to demonstrate they have
met the learning objectives.
LEO (LITERACY, EDUCATION, AND
OUTREACH)
From public and school libraries to
museums, this area of study is supported by
our programs in Library Media Specialist and
Children and Young Adult Librarianship.
M.S.L.I.S. WITH LIBRARY MEDIA
SPECIALIST (LMS) PROGRAM LEADING TO
NY STATE TEACHER CERTIFICATION
LMS meets the needs of students who
wish to become school librarians. Our
LMS specialization, accredited by the NY
State Regents, leads to NY State teacher
certification. This 32-credit track, part of
the 36-credit M.S.L.I.S. degree, prepares
students for rewarding careers. Students
holding an M.S.L.I.S. degree may complete
the LMS track with the SILS Advanced
Certificate. See below for details.
Through scholarship, fieldwork and
student teaching practica, LMS candidates
prepare for careers in New York City school
libraries. Completion of this program leads
to New York State teacher certification in the
area of LMS, which is one of two areas in which
students at Pratt can earn teacher certification.
To give students a richer experience
through collaboration and interdisciplinary
approaches, we work with Art and Design
Education to meet program and certification
requirements in the field of education. LMS
This application includes:
• An interview with the LMS
Coordinator
• A brief application form
• An additional brief essay
• Three recommendation letters
• Undergraduate GPA of 3.5 or above
• GRE scores, upon request
To comply with the New York State Education
Department’s (NYSED) requirements for
certification, students must have the requisite
background in liberal arts and sciences,
which will be determined prior to admission.
In some cases, students may be able to earn
these credits as they complete their SILS
degree. In addition, NYSED requires:
• Pedagogical core in education
(six credits of coursework,
ED-608 Roots of Urban Education
and ED-610 Child and Adolescent
Development, LIS-691 Serving Students
with Disabilities in the Library)
• Two noncredit seminars: Child Abuse
Recognition and Life Safety and
Violence Prevention
• Three examinations administered by
New York State
• edTPA video assessment (for students
beginning in Fall)
students must fill out an additional application
after acceptance to SILS.
676, 677, 680, 690, 692)
• Two electives
LMS Students must complete 100 hours of
field observation in school libraries in at least
eight different schools. At least 15 hours must
be in schools that serve students with special
needs. During LIS 690 and LIS 692, students
will conduct 40 full days of student teaching.
For more information on LMS, please
visit http://www.pratt.edu/academics/
information_and_library_sciences/degree_
programs/library_media_specialist/.
Children and Young Adult Librarianship
Students pursuing this program area find
rewarding positions in public libraries
and in museum education and outreach
programs. They also take advantage of SILS’s
strong partnerships with the New York and
Brooklyn Public Libraries and the New York
City public schools.
PROGRAM FOCUS AREAS
In consultation with faculty advisers,
students generally focus their elective
coursework to meet individual career
goals in the field of library and information
science. Within this framework, we have
developed areas of emphasis based on the
strengths of our curriculum and faculty
as well as disciplinary and collaborative
SILS Required coursework for LMS
connections with the Institute. These areas
Students includes:
are described below.
• Four SILS Core Courses (LIS 651, 652,
Opposite: SILS Annual Showcase
• Six LMS Required Courses (LIS 648,
653, 654)
136
Digital Humanities
UX (User Experience)
Reflecting the latest trends in LIS,
The User Experience (UX) concentration
SILS introduced a digital humanities
teaches students how to design usable,
concentration in 2011. Bringing focus to
useful, and desirable digital interfaces (e.g.,
digital cultural heritage, data collection,
websites, mobile/tablet apps, etc.) from a
data analysis, and visualization, as well
user-centered perspective. While UX is a
as the changing natures of scholarship
field in its own right, UX skills are becoming
and publication in the digital age, its
increasingly important within the LIS
foundational courses are:
profession as libraries, museums, archives,
LIS-657 Digital Humanities
LIS-658 Information Visualization
Knowledge Organization
and Cultural Heritage
and information organizations expand their
digital offerings. Drawing from the HumanComputer Interaction (HCI) discipline,
students in the UX concentration will be
trained in the methods used to understand
users and their contexts and apply that
Growing out of traditional studies of
knowledge to the design and evaluation of
cataloging and classification, database
interactive technologies.
design, storage, and retrieval, this area
has emerged as one central to the latest
Recommended electives:
developments in Internet and Web-based
LIS-630 Information Science Research
information studies.
LIS-643 Information Architecture and
It prepares students for careers in online
services, digital collections and libraries,
Web libraries, and information systems
and networks.
LIS-608 Human Information Behavior
LIS-662 Advanced Cataloging
Interaction Design
LIS-681 Community Building and
Engagement
LIS-644 Usability Theory and Practice
LIS-693 Digital Libraries
LIS-658 Information Visualization
LIS-645 Management of Digital Content
LIS-663 Metadata, Description and
Access
LIS-670 Cultural Heritage Description
and Access
Preservation/Conservation
LIS-632 Preservation and Conservation
LIS-634 Conservation Lab, Brooklyn
College Archives
LIS-697 Cultural Heritage Conservation,
Florence, SACI School
LIS-655 Digital Preservation
and Curation
Research and Assessment
A solid understanding of the research process
is valuable in many professional activities,
including data management, academic and
medical librarianship, leadership, grant
writing, scholarly communication, research,
and usability. Involvement in research
enables an individual to be an effective
professional and leader, and strengthens
an organization’s status within the larger
professional community.
LIS-605 Digital Resources and User
Interaction
Law Librarianship
Given the rapid growth of information
services over the Internet and Web, as well as
global contexts, information policy and law
have become a new and demanding area of
focus for legal research, adding to the field’s
scope and influence. Law schools, law firms,
court system libraries, and corporations
are typical places of work for law librarians.
For recommended electives for this
concentration, see the section under
dual-degree programs with Brooklyn
Law School.
Health Information
The expanding role of technology in the
provision of health sciences and medical
application to the other, provided that the
student has not yet graduated from the
first program entered.
information offers students new and
challenging opportunities. Librarians in this
field work in a wide range of settings, from
medical schools and academic libraries to
M.S.L.I.S. AND M.F.A. IN
DIGITAL ARTS (DIGITAL ARTS
AND INFORMATION)
Recommended courses:
Accounting for Lawyers
Administrative Law
American Legal History
Comparative Law
Copyright Law
pharmaceutical firms and hospitals. The
This three-year, 75-credit dual degree
program permits students to take Pratt
prepares students to work at the intersection
courses on site at Cornell Medical Library,
of digital arts and information. It offers
Intellectual Property: Protection of
where they study the latest theories and
students the opportunity to develop
Digital Information
practices in the field.
high-level knowledge and skills in using
International and Foreign Law Research
digital tools creatively across media in such
emerging areas as virtual information and
LIS-685 Medical Librarianship
learning environments for a wide range of
LIS-697 Contemporary Issues
information settings.
in Health Information
Dual-degree Programs
LIBRARY AND INFORMATION
SCIENCE AND L AW (T WO
DUAL-DEGREE PROGRAMS WITH
BROOKLYN L AW SCHOOL)
Information Privacy
Similarly, nine of the 86 credits required for
the J.D. may be taken at Pratt.
Recommended courses:
LIS-613 Government Information Sources
LIS-616 Business, Economics and
Statistical Sources
LIS-617 Legal Research Methods and Law
Literature
M.S.L.I.S. AND M.S. IN HISTORY OF ART,
DESIGN, AND ARCHITECT URE
M.S.L.I.S. and J.D.: 104 credits; M.S.L.I.S.
This program is especially designed for
Law and Society: 45 credits
LIS-626 Online Databases: Law
In affiliation with Brooklyn Law School,
LIS-627 Online Databases: Business
this program prepares students for careers
LIS-684 Law Librarianship:
students who wish to pursue careers
in art-related fields—where art, information,
and technology converge. Students will be
prepared to work in any number of settings
from academic libraries and museums to
galleries and auction houses, as well as other
cultural settings. The program requires 30
credits at SILS and 30 credits in history of art,
for a total of 60 credits. Students must apply
to and be accepted as matriculated in
both programs. Application may be made
initially to the dual-degree program, or
to one of the two programs, with later
and L.L.M. (Law Master’s) in Information
in law librarianship and related fields.
Today’s employers often give preference
to law librarians holding a J.D. as well as
an M.S.L.I.S. The joint degree requires
completion of 86 credits for the law degree
and 36 credits for the M.S.L.I.S. degree; nine
of the 36 LIS credits can be taken at Brooklyn
Law School, subject to the approval of the
dean of SILS. Students wishing to pursue the
M.S.L.I.S./L.L.M. must already hold a J.D.
LIS-619 International Information Sources
Contemporary Issues
This dual degree can be completed in three
to four years of full-time study, or four to five
years of part-time study, including summers.
To enter the program, a student must apply
separately to Pratt and to Brooklyn Law
School. Each school processes applications
independently, without reference to the joint
degree. Upon acceptance to both schools,
138
a student follows the joint degree program
leading to the conferring of both degrees.
Students who have already earned a library
ADVANCED CERTIFICATE IN ARCHIVES (12
CREDITS WITHIN THE M.S.L.I.S. PROGRAM
OR POST-GRADUATE)
science or law degree before applying to
This program can be taken within
Pratt are not eligible for the joint degree
Pratt’s M.S.L.I.S. program. It can also
program. To obtain a Brooklyn Law School
be taken as a stand-alone program
application and catalog contact:
by holders of an M.L.S. degree from an
Brooklyn Law School
250 Joralemon Street
Brooklyn, NY 11201
718.780.0385
SILS Certificate Programs
ALA-accredited program.
ADVANCED CERTIFICATE IN
LIBRARY MEDIA SPECIALIST PROGRAM
LEADING TO NEW YORK STATE TEACHER
CERTIFICATION IN LMS (18 CREDITS)
To be eligible for this post-master’s program,
applicants must hold an M.L.S. degree from
an ALA-accredited program.
Required courses:
Required courses:
LIS-648 Library Media Centers
LIS-625 Management of Archives and
LIS-676 Literature and Literacy for
Special Collections
LIS-698 Practicum/ Seminar
Two electives from recommended
archives courses (6 credits)
Children
LIS-677 Literature and Literacy for Young
Adults
LIS-680 Instructional Technology
LIS-690 Student Teaching I
SILS offers several certificate programs
within the M.S.L.I.S. program, or for people
who already hold library science degrees and
wish to earn a specialization.
ADVANCED CERTIFICATE
PROGRAMS IN ARCHIVES AND
IN MUSEUM LIBRARIES
Students choose to complete one or both
12-credit certificates within the M.S.L.I.S.
(24 credits plus the 12-credit core for the
36-credit master’s), as the program curricula are complementary within the contexts
of cultural informatics and arts and
humanities perspectives.
ADVANCED CERTIFICATE IN MUSEUM
LIBRARIES (12 CREDITS WITHIN THE
M.S.L.I.S. PROGRAM OR POSTGRADUATE)
LIS-692 Student Teaching II
One hundred hours of field observation in
school library media centers plus 40 full days
Pratt-SILS is the first and only school of
of student teaching (20 elementary and 20
library and information science to offer a
secondary) are required. Student teaching is
museum libraries certificate program. Based
conducted in the fall or spring terms in New
on four pillars of knowledge—research/
York City under the supervision of a certified
curatorial; digital technology; education,
LMS. Field hours and student teaching must
outreach, and field experience—it prepares
be completed, documented, and submitted to
students for careers not only in museums,
the coordinator in order to graduate.
but also research libraries, art libraries,
In addition, New York State requires a
and in digital archives and humanities.
firm background in liberal arts and sciences
This program can be taken within Pratt’s
for all certified teachers, to be determined
M.S.L.I.S. program. It can also be taken as
prior to admission. In some cases students
a post-M.L.S. certificate by holders of an
may earn these credits as they complete their
M.L.S. degree from an ALA-accredited L.I.S.
SILS degree.
school. Students select one three-credit
course from a selection of courses for each of
the four required areas.
Opposite: Maker Known: Data Quilt by Deimosa
Webber-Bey
140
Required courses:
Admissions
ED-608 Roots of Urban Education
Students may begin their program fall, spring
ED-610 Child and Adolescent
Development
LIS-691 Serving Youth with Disabilites
For more information, contact Professor
Jessica Hochman, coordinator of the
Library Media Specialist Program, at
[email protected].
ADVANCED CERTIFICATE IN
LIBRARY AND INFORMATION ST UDIES
(30 CREDITS)
To meet the needs of experienced
professionals, Pratt offers a post-master’s
certificate requiring 30 credits of
or summer. Applications are reviewed on a
rolling admissions basis.
Planning Your Program
ADVISEMENT AND MENTORING
Upon entering SILS, each student is assigned
a faculty advisor to help with course planning
ADMISSION AS A SPECIAL ST UDENT
Students eligible for admission may begin
the program as a special student, defined
as a non-matriculated student. As such,
a student may take up to six credits. To
proceed in the program, a student must
apply for admission and be accepted as
matriculated. See www.pratt.edu/apply
for more information.
SCHOL ARSHIPS
to meet his/her educational and career
goals as well as for e-portfolio advisement.
Whether taking the 36-credit master’s or
the 30-credit degree for students holding a
master’s in another field, students work with
their advisors to customize their programs.
In addition, the SILS office staff, a team
of knowledgeable and caring professionals,
are ready to assist students and to make their
educational experience at Pratt rewarding
and personally fulfilling. All students should
establish a Pratt email account and sign up
coursework. Of these, six must be research-
Merit scholarships are awarded to entering
for the SILS listserv to stay informed about
oriented independent study. Of the
students based on their academic record.
school activities and job postings.
remaining 24 credits, students may take up to
Continuing scholarships are awarded to
nine in related subject areas.
students for their second year of study
Required courses:
24 elective credits
(eight three-credit courses)
LIS-699 Research-oriented
Independent Study
(six credits)
based on their work at SILS, including
student research and international study
in our London and Florence programs and
practicum study abroad. We also award
tuition scholarships for two courses tied to a
two-semester internships program at a NYC
cultural institution such at The Metropolitan
Museum of Art.
INTERNSHIPS AND PRACTICUM
To gain hands-on experience studying
and working in one’s area of emphasis, we
strongly encourage students to participate in
our program of internships and practicum.
Students select their work site based on
program interests and career goals and have
the opportunity to work in such leading
cultural organizations as The Metropolitan
Museum of Art, the New York and Brooklyn
Public Libraries, Brooklyn Historical Society,
Brooklyn Museum, Teachers College and
Brooklyn College Library and Archives,
Lesbian Herstory Archives, Frick Reference
Library, MoMA, and Pratt libraries in
addition to numerous other academic and
special libraries in the metropolitan area
in fields such as IT, publishing, and the
corporate sector. The practicum serves to
bridge students to the professional world and
facilitate career development.
WORKSHOPS
SILS provides students with a series of
all-day workshops taught by experts in
their field. Past workshops included Paper
Conservation, Rare Book Cataloging,
Introduction to EAD, Introduction to
INTERNATIONAL PROGRAMS
Responding to the globalization of
information and library service, SILS’s new
program in international librarianship offers
courses in Florence and London.
Archivists Toolkit, Grant-writing for
Digitization Projects, Graphic and
Sequential Novels, and Podcasting and
Information Visualization.
“The fact that Pratt is a
world-renowned
art school that encourages
independent thinking
seemed like a natural fit
for me.”
—JILL GOLDSTEIN, M.S.L.I.S. ’09, Project
Archivist, Hank Kaplan Boxing Archive,
Brooklyn College Library
Florence in partnership with Studio Art
Centers International (SACI) is a five-week,
six-credit program offering two three-credit
courses that run concurrently and are taught
by SACI Italian faculty:
1. Florentine Art and Culture, Museum and
Library Research and Documentation
2. Cultural Heritage Conservation,
“We are terrifically excited
about the sea change at
libraries, and rethinking our
model in a new world.”
—GRETCHEN CASSEROTI, Assistant
which focuses on paper conservation
Director for Public Services at the Public
including rare books, manuscripts, and
Library in Darien, Conn.
art on paper
London is a two-course, six-credit program:
1. London Summer School on
E-Publishing and the Strand
Symposium in partnership with
Kings College London, Department
of Digital Humanities, is a two-week
three-credit program. It features visits
to publishers and libraries in London,
Cambridge, and Oxford, and lectures
by noted academics.
2. Museums & Digital Media with the
Ravensbourne College of Design &
Communication
“Forty years have passed,
and I still believe that
Pratt Institute, with its
friendly atmosphere, was
the best thing that ever
happened to me.”
—DR. FARIDEH TEHRANI, M.S.L.I.S. ’76,
Librarian, Rutgers University Libraries
143
School of Liberal Arts
and Sciences
The mission of the School of Liberal Arts and Sciences is to
enable students to explore areas of knowledge and 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.
HISTORY OF ART AND DESIGN
MEDIA ST UDIES
WRITING
CL ASSES IN THE LIBERAL ARTS
DEAN
Andrew W. Barnes, Ph.D.
[email protected]
On the graduate level, the School of Liberal
Our faculty in the School of Liberal
Arts and Sciences offers the M.A. in Media
Arts and Sciences are nationally and
Studies, the M.S. in History of Art and
internationally known creative artists,
Design, and the M.F.A. in Writing. Both the
writers, scholars, critics, and scientists
Media Studies and Writing programs are
who have chosen to be at Pratt because our
unique to a liberal arts school located within
inherent cross/transdisciplinary nature gives
an art and design institution in that they work
us the freedom to fundamentally rethink the
with and interrogate social spaces that are
way we approach our given subjects.
configured and reconfigured using a creative
The School of Liberal Arts and Sciences
lens influenced by artists, designers, and
also provides English language support
architects. In addition, the School of Liberal
for international students in the Intensive,
Arts and Sciences also offers graduate
full-time Certificate of English Proficiency,
classes for students majoring in the fine arts,
and summer certificate Programs (IEP, CEP,
digital arts, communications design, and
and SCP). The courses in these programs
architecture, among others.
help students to prepare for academic and
Opposite: Students in the classroom
Gloriana Russell
ACADEMIC ADVISEMENT
COORDINATOR
Erich Kuersten
OFFICE
Tel: 718.636.3570 | Fax: 718.399.4586
www.pratt.edu/slas
144
studio courses by incorporating elements
of literature, as well as critical theories and
examinations of the visual arts. The SCP is
strongly recommended for students whose
TOEFL score is below 600 (PbT). Students
who complete the SCP program are not
required to take the placement exam.
Finally, our Writing and Tutorial Center
gives support to students in their graduate
thesis by giving them the tools to better
articulate and present their final projects.
145
History of Art and Design
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
experience, and a professional network that
scholars and mentors who focus on the
will inform and support their careers for
intellectual and professional growth of our
many years.
students. Their expertise, dedication, and
Every graduate student’s program
original thinking can be seen in the broad
includes “behind-the-scenes” experiences,
range of courses, academic and professional
not only at exhibitions and museums but
opportunities, and, most importantly, in the
also in the Institute itself. Connections with
quality of our students’ work.
other departments in all areas of fine arts and
Explore our degree options and you will
design—interior, industrial, communication,
find students studying 17th-century frescos
and fashion—offer a unique platform for
in Venice, 20th-century product design at
an interaction between practitioners and
first-rate auction houses, and 21st-century
theoreticians. Our students witness the making
performance art at the Guggenheim
of art and design first hand, which adds a real-
Museum. Students come from a wide range
life perspective to their scholarly studies.
of backgrounds, and leave with knowledge,
A Pratt graduate student is surrounded
and inundated by an aesthetic and intellectual
Opposite: Class trip to The Metropolitan Museum of Art,
New York
swirl like no other. Pratt’s faculty is
distinguished in training and experience,
OFFICE
Tel: 718.636.3598
[email protected]
147
with an impressive array of degrees and
Design courses are augmented by Pratt’s
professional credentials.
School of Information and Library Science,
The History of Art and Design
Department of Art and Design Education,
department offers exciting lectures and
and the Arts and Cultural Management
seminars on a wide range of approaches,
program. Many members of our faculty
from connoisseurship to the most recent
are museum professionals who bring their
theoretical approaches. Frequent excursions
expertise and experience to the classroom.
and internships result from our extensive
The Certificate is intended to give graduates
working relationship with the city’s museums,
an “edge” for those who seek museum and
galleries, and cultural organizations and are a
gallery employment. The Certificate is
crucial part of the curriculum.
available to graduate students enrolled in the
History of Art and Design master’s program
as well those in the dual programs with the
Graduate Degrees
Department of Fine Arts and the School
of Information and Library Science and is
The department of the history of art and
design offers the M.S. degree, requiring 36
credits as described below and a thesis. In
addition, a Certificate of Museum Studies
only awarded upon completion of those
master’s degrees. Some of the courses for the
Certificate may be taken within the credits
required for the M.S. degree.
Two dual degree programs are
Pratt in Venice is a six-week summer
program that takes place in June and July.
Art History of Venice (HA590I, 3 credits)
and Materials and Techniques of Venetian
Art (HA600I, 3 credits) are offered together
with Painting (Art 590I, 2–3 credits) and
Printmaking/ Drawing (Art 591I, 2–3 credits).
Graduate and undergraduate students
enroll for six to eight credits. We collaborate
with the Università Internazionale dell’Arte
and the Scuola Internazionale di Grafica in
Venice. Group visits to Padua and Bassano/
Maser are included. The program fosters
interaction between art history and the
studio arts through group events, faculty/
student discussions, visiting lecturers, and
just by being there together. Participants
experience the visual riches of Venice and
have the opportunity to conduct research in
can be earned in conjunction with this
M.S. degree.
PRAT T IN VENICE
MATERIALS, TECHNIQUES, AND
CONSERVATION
available: History of Art and Design with
Art’s historical concern with materials and
Fine Arts, leading to M.S/M.F.A. degrees;
techniques exists naturally in connection
and History of Art and Design with Library
with programs in the practice of art. This is
and Information Science, leading to
an emphasis in all our courses, but it takes
M.S/M.S degrees.
specific form in our required Materials,
extraordinary museums and libraries.
Techniques, and Conservation course. In
ADVANCED CERTIFICATE IN MUSEUM
ST UDIES
The Certificate in Museum Studies
complements the M.S. degree in the
History of Art and Design Department by
addition, issues related to conservation
problems in Venetian art history are explored
with the help of local experts on site in our
Venice program.
Opposite: Students at Pratt in Venice at the Gallerie
dell’ Accademia in summer 2011
history and practical, in-depth experience
Page 148, Top: Class trip to the Bronx Museum; Bottom:
Students at a private showing in the Print Study Room
of The Metropolitan Museum of Art, New York
in the museum world. History of Art and
Page 149: Class trip to the Museum of Modern Art
offering both a solid base in art and design
151
Media Studies
The Graduate Program in Media Studies at Pratt is situated
in the uniquely vibrant environment of an art, design, and
architecture school. Students who value both the intellectual
and creative sides of media studies are encouraged to apply.
CHAIR
Maria Damon, Ph.D.
[email protected]
COORDINATOR
Jonathan Beller, Ph.D.
[email protected]
Media Studies at Pratt is an intensive
program developed in relation to Pratt’s art,
design, and architecture environment and
to the burgeoning mediascape, lively social
space, and theoretical scene of Brooklyn and
New York City. Classes are small, following
both the seminar and workshop format, and
all classes are taught by professors.
The program has been conceived and
instituted in a way that understands that
media emergence is rapidly transforming
experience, society, and knowledge. It is
designed to foster the investigation of many
of the significant social, political, cultural,
economic, and aesthetic questions of our
time by drawing both on the historical record
with regard to media forms and on cuttingedge theory regarding gender and sexuality,
race, nation, political economy, aesthetic
form, screen studies, and the like.
Danielle Skorzanka
The program emphasizes studies of media
in their various forms, including film, video,
television, radio, writing, and computermediated forms of convergence. Students
study the logics and logistics of media
and mediation, and they explore cultural
technologies of expression, representation,
and manipulation, along with the aesthetic,
economic, and political contexts in which
such media necessarily operate. Students
gain expertise in media history, theory
and practice, and in textual analysis,
interpretation, and semiotics.
The Master of Arts in Media Studies
graduate program consists of 30 credits
taken over three semesters and a thesis. The
program can be completed in three semesters
if the student finds a final thesis/project topic
during the first year and prepares to complete
OFFICE
Tel: 718.636.3790
153
it in the third semester. Even so, an extra
The Final Project/Thesis Workshop
through coursework and then in their one-
semester is generally recommended to allow
(HMS-659A) offers an intensive small support
on-one work with thesis advisors. Faculty
more time to find, explore, and develop the
group in which students can develop and
represent areas that include New Media,
thesis/project that will best serve the student’s
write their thesis; students who want more
Documentary Studies, Global Media, Media
particular interests.
time to finish their thesis may take HMS-659B
and the Urban Environment, Media and
(Thesis in Progress).
Performance, Music/Sound Studies, Media/
The core sequence for the M.A. consists
of Mediologies I and II (six credits total)
Students may also choose to undertake an
Attention Economies, Media Ecology,
and Encounters I and II (two credits total),
internship for academic credit (HMS-9700, 9701,
Archaeology of (New) Media, and Media,
Practices I and II (elective courses totaling
9702, 9703) and professional enrichment.
Activism, and Social Change.
Elective seminars run in the format
six credits), seminars and project courses
of small discussion courses focused on
(electives totaling 12 credits), an Internship
course (optional) and a final thesis with
Admissions Requirements
analysis of texts, films, objects, themes,
required Final Project/Thesis Workshop (four
credits total).
Mediologies courses (HMS-650A/B) provide
students with crucial critical and theoretical
tools; students take a sequence of two
required introductory courses during their
first year. These courses are designed to
address students with substantial experience
in media studies as well as students with
Applications for admission to the Master
of Arts in Media Studies are due January 5
for the following fall; the program accepts
fall entrants only. Applicants should have
a B.A., B.S., or B.F.A. from an accredited
institution. Candidates must submit (1) a
statement of purpose in which they describe
their interest in the program; (2) 10–20
less exposure.
pages of relevant writing sample(s), with
Practices courses comprise a range of
(3) transcripts of undergraduate coursework;
electives, including those taught in
other programs, such as Digital Arts. These
courses enable students to acquire basic
competence in media aesthetics
and production.
emphasis on analytical writing about media;
and (4) two letters of recommendation.
All applicants must follow the standard
admission process for graduate programs at
Pratt: see www.pratt.edu/apply.
MASTER OF ARTS IN MEDIA ST UDIES
students to engage directly with others
In addition to the core courses described
issues and ideas, in an open-discussion
“salon” environment.
and theories. Elective project courses are
semester-long laboratory/workshops
in which students and one or more
faculty members—in any one of several
departments—engage a topic, idea,
interface, space, or modality, focusing on
the interface between the theorization and
production of media objects. Foci will vary
based upon specific expertise and interests
of involved faculty and students.
Each year in late April, the Media Studies
Program will host a conference, Mediologies,
which will include presentations of work
and works-in-progress by students, faculty,
and guest presenters. Seminar courses being
offered in the spring will enable students to
develop papers and projects specifically for
Encounters courses (HMS-549 A/B) enable
working in media fields, and with timely
individual or team presentations on the
above, the program offers a range of
electives in areas of specialization and
interdisciplinary constellations within
media studies, enabling students to develop
particular areas of concentration, first
presentation at Mediologies.
155
Writing
The Pratt M.F.A. in Writing is a new and unique two-year
program specifically designed to support and encourage
intellectually rigorous and inspired writing practices that are
philosophically, culturally, and politically informed.
CHAIR
Maria Damon, Ph.D.
[email protected]
COORDINATOR
Christian Hawkey
[email protected]
The premise of the program is that writing
form of resistance) to our rapidly evolving
can be transformative at all scales, from the
environmental and political times and to
personal to the social, and we aim to incubate
the enormous shifts taking place in media
such cosmopolitan, local, pleasure-filled, and
technologies. What can writing become
potentially revolutionary poetic practices.
now that the landscape for its production,
Our approach to the M.F.A. curriculum
distribution, and exchange includes not
emphasizes interdisciplinary group critiques
only books and journals, but also internet
(with core faculty, guest artists, and peers
platforms, digital technologies, video, audio,
engaging in weekly discussions and
pdf, blogs, and social media?
presentations of student work). Additionally,
This program engages a vision of writing
students take part in one-on-one guided
that is not genre-specific, but rather inclusive
mentorships, civic and urban exploration
of multiple modes of inscription—from
and fieldwork, and student-led collaborative
fiction to poetry, performance to nonfiction,
seminars in Literature, Media Studies,
translation to cultural criticism, investigative
Performance, Experimental Practices,
journalism to digital media, documentary
Activism and Critical Theory, to name a few.
to science fiction. There is also a special
The Pratt M.F.A. therefore offers
focus on alternate or hybrid approaches to
contemporary writers the tools and the
writing, with hybridity defined as a set of
support they need to build a practice that
interactive processes that can potentially
is responsive and adaptive (and even a
generate new social spaces. What avant-
Danielle Skorzanka
OFFICE
Tel: 718.636.3790
156
garde experiments, what research, what
provides students with support and guidance
interventions, what archives, what speech
to extend their cultural productions and
acts, what literary and artistic traditions,
research interests into the world in the
what genres, what media technologies,
form of Fieldwork Residencies: ongoing
what theoretical frames, what narratives,
residencies conducted in collaboration
and what materials are most suited to your
with an outside institution, community,
artistic inquiries? We’ll help you figure
organization, archive, occupational domain,
that out as you begin to establish a creative
or activist group.
practice that is sustainable across a lifetime
of change.
Our core faculty of writers is diverse
and internationally renowned. Their work
traverses and often combines numerous
disciplines: activism, performance art,
translation, media and cultural theory,
theater, fine art. Our course of study
emphasizes collaboration, radical pedagogy,
administrative transparency, and nonhierarchical learning.
Other notable features of the Pratt MFA in
Writing include:
• Student-led collaborative Writing
The Graduate Program in Writing M.F.A.
consists of several core classes and seminars
taken over four semesters (two years), with
the goal of producing a final manuscript,
performance, or collaborative event.
There are three notable features of the
new program. First, the heart of the program
is a once-a-week core class, the Writing
Studio, which is an open, democratic forum
dedicated to the collective critique and
discussion of student and faculty works-inprogress. Second, each student is offered
one-on-one guided Mentorships with a
chosen faculty member. Third, the program
Applications for admission to the Master of
Fine Arts are due January 5 for the following
fall; the program accepts fall entrants
only. Applicants should have a B.A., B.S.,
or B.F.A. from an accredited institution.
Candidates submit (1) a statement of
purpose in which they describe how their
writing interests align with the vision of
the program; (2) 10–20 pages of relevant
writing samples of any genre; (3) transcripts
Practice Seminars that explore the
of undergraduate coursework; and (4) two
intersections of writing, research,
letters of recommendation. To apply, follow
activism, radical pedagogy, and
the standard admission process for graduate
critical theory.
programs at Pratt: www.pratt.edu/apply.
• Sustained focus on 21st-century modes
of authorship including: activism,
transdisciplinary and cross-genre
experiment, performance, innovative
Course of Study
Admission Requirements
uses of new media, investigative and
research techniques, conceptual
frameworks, collaborative methods,
and site-specific approaches.
• A course of study stressing a writing
process that takes into account the
material and technological aspects
of writing, the human body that
produces it, and the larger social,
sexual, historical, economic, racial,
and cultural contexts in which and
through which all imaginative writing
takes place.
157
Classes in the Liberal Arts
Humanities and Media Studies
CHAIR
Maria Damon, Ph.D.
[email protected]
ASSISTANT CHAIR
Kathryn Cullen-Dupont
Danielle Skorzanka
Mathematics and Science
Pratt provides a well-rounded education in the liberal arts that
encompasses Humanities and Media Studies, Mathematics and
Science, Social Science, and Cultural Studies. In addition, the
Institute supports international students in gaining the English
language skills they need to pursue their education and to
interact as vital members of the community.
CHAIR
Carole Sirovich, Ph.D.
[email protected]
Margaret Dy-So
L ABORATORY TECHNICIAN
Tiffany Liu
Social Science and Cultural Studies
CHAIR
HUMANITIES AND MEDIA ST UDIES
MATHEMATICS AND SCIENCE
The Humanities and Media Studies Depart-
The mission of the Department of
[email protected]
ment offers a variety of courses—English
Mathematics and Science is threefold. The
literature, communications, music, theater,
first is to acquaint students with scientific
Sophia Straker-Babb
film, foreign languages, and creative writ-
methodologies, critical thinking, and the
ing—as well as a graduate programs in Media
history of scientific thought. The second is
Studies and Writing. What unites them,
to address the interface between science
giving them continuity, is the department’s
and art, architecture, and design, whether
mission: to recognize and foster the relation-
it is through the physics of light, the
ship between visual and written texts; to instill
chemistry of color, the biology of form, or
within students critical thinking, reading, and
the mathematics of symmetry. The third is
CERTIFICATE OF ENGLISH PROFICIENCY
COORDINATOR
writing skills that will inspire them in their
to educate students so that they can respond
Dana Gordon
professional lives for intellectual and creative
intelligently and critically to today’s new
growth; and to promote understanding and
developments in science and technology and
COMPUTER-ASSISTED L ANGUAGE
LEARNING COORDINATOR
appreciation for the diverse cultures within
make informed decisions regarding current
Rachid Eladlouni
the U.S. and throughout the world.
scientific matters that affect public policy
ASSISTANT TO THE DIRECTOR
issues and ethics.
Natasha Dwyer
Gregg Horowitz, Ph.D.
Intensive English Program
INTENSIVE ENGLISH DIRECTOR
Nancy Seidler
[email protected]
SCHOOL OF LIBERAL ARTS AND SCIENCES 159
SOCIAL SCIENCE AND
CULT URAL ST UDIES
The Department of Social Science and
Cultural Studies trains students to
bring critical and analytical skills to bear on
the social world and on their professional
and artistic work. Through the perspectives
of social science, history, philosophy, and
cultural studies, students explore the cultural
achievements of humankind and the social
forces that have influenced the development
of culture and human personality.
Resources in the School of
Liberal Arts and Sciences
Pratt Institute and the School of Liberal
Good communication skills are essential
Arts and Sciences welcome international
to academic success at Pratt Institute. In-
students and offer an array of programs and
struction in the IEP emphasizes language use
services to improve English-language skills
for general academic and specific purposes
and academic readiness. All international
in the professions in which Pratt specializes,
students with TOEFL scores below 600
namely, art, design, architecture, and infor-
(PbT), 250 (CBT), or 100 (iBT)—including
mation and library science. IEP faculty are
transfer students—whose first language is
trained and experienced in teaching English
not English must demonstrate proficiency in
as a second language, as well as in integrat-
English by taking an English Placement Test
ing art and design content into their courses.
upon arriving at the Institute. The Intensive
Our classes are small (8 to 12 students per
English Program (IEP) in the Language
session), and enrolled international students
Resource Center on Pratt’s Brooklyn campus
benefit from their use of the Language Re-
administers the test.
source and Writing and Tutorial Centers for
This placement test consists of a reading
test, a writing test, and a personal inter-
additional language learning practice.
For information on the Test of English as
view with an IEP faculty member. Students
a Foreign Language (TOEFL) requirements
assessed at the exempt level of English
at Pratt Institute, please refer to the catalog
proficiency satisfy their Intensive English
listing for particular schools and departments.
The Intensive English Program (IEP) pro-
requirement and may enroll in all Institute
New international students are strongly
vides academic English language instruction
courses without restriction. Students who
encouraged to enroll in IEP summer courses
to matriculated graduate and undergradu-
are assessed as being in need of English
in order to be fully prepared for the academic
ate students. In addition, two certificate
instruction must register in consecutive In-
requirements of their degree programs.
programs run under the IEP’s umbrella: the
tensive English courses (including summer
full-time Certificate (CEP) and Summer
IEP classes should they wish to take other
(SCP) programs. The mission of all programs
Institute courses during those sessions) until
in the IEP is to support successful matricula-
they achieve exempt status based on IEP exit
tion of international students by providing
proficiency criteria.
INTENSIVE ENGLISH PROGRAM
appropriate English language instruction.
Students who, upon entering Pratt, are
Internal assessment and advisement ensure
assessed below Level 5 may be required to
students’ proper placement in English lan-
join the full-time CEP Program. Students
guage courses, as well as successful matricu-
who have registered for three (fall and
lation and degree attainment. The curricu-
spring) semesters are considered “at risk.”
lum includes art, design, and architecture
Students who have registered for four (fall
content and is enhanced by direct exposure
and spring) semesters and who do not assess
to related cultural experiences and language-
at the exempt level may be required to with-
learning technology.
draw voluntarily from Pratt or register for the
full-time CEP Program.
THE CERTIFICATE OF ENGLISH
PROFICIENCY PROGRAM
The Certificate of English Proficiency (CEP)
program at Pratt Institute is a one-year
English-language program located at our
Brooklyn campus. Students whose TOEFL
scores fall below the admission minimums
established by Institute degree programs
may apply to the CEP for full-time Englishlanguage instruction. At the end of the
two-semester program of English study, those
students completing CEP coursework receive
a certificate of English language proficiency.
160
Courses focus on speaking, listening,
reading, and writing within the context of art
and design, as well as TOEFL preparation.
For more information on Pratt’s Intensive
and Certificate English programs, contact
IEP administrative offices at 718.636.3450,
visit the IEP website at www.pratt.edu/iep or
email IEP at [email protected].
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 conversation sessions
are also offered.
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.
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.
161
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
SCHOOL OF ARCHITECT URE
Architecture
B. ARCH.
0202
Architecture (first-professional)
M. ARCH.
0202
Construction Management
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
M.S.
0206
M.S.
0201
Digital Design and Interactive Media
A .O.S.
5012
M.S.
0299
Graphic Design
A .O.S.
5012
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
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 ART
SCHOOL OF DESIGN
0601
Digital Arts
M.F. A .
1009
B.F. A .
1009
Fine Arts
M.F. A .
1001
Industrial Design
B.I.D.
1009
SCHOOL OF DESIGN
Interior Design
B.F. A .
0201
M.F. A .
1009
M.S.
0601
Fashion Design
B.F. A .
SCHOOL OF LIBERAL ARTS AND SCIENCES
Critical and Visual Studies
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
162 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
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
163
Curricula
School of
Architecture
M.Arch. in Architecture
(First-Professional)
SEMESTER 5
SEMESTER 1
ARCH-601 Design Studio 1: Fundamentals
5
ARCH-611 Computer Media 1: Multimedia
3
ARCH-631 Structures I
3
ARCH-651 History and Theory 1: Modern
History
3
Credit subtotal
14
ARCH-805 Design Studio 5: Vertical
Option
5
ARCH-861 Professional Practice
3
History/Theory Elective
3
GAUD Elective
3
Credit subtotal
14
SEMESTER 6
SEMESTER 2
ARCH-806 Design Studio 6: Vertical
Option
5
ARCH-602 Design Studio 2: Context
5
ARCH-612 Computer Media 2: Advanced
Multimedia
3
3
ARCH-632 Structures II
3
All Institute Elective
6
ARCH-652 History and Theory 2:
Architectural Theory
3
Credit subtotal
14
Total credits required
84
Credit subtotal
14
SEMESTER 3
ARCH-703 Design Studio 3:
Urban Mixed Use
5
ARCH-753 History and Theory 3:
Non-Western History
3
ARCH-761 Environmental Controls
3
ARCH-762 Material and Assemblies
Credit subtotal
3
14
SEMESTER 4
ARCH-704 Design Studio 4: CAP
5
ARCH-861 Professional Practice
3
GAUD Elective
Credit subtotal
3
3
14
164 CURRICUL A
M.S. in Architecture
(Post-Professional)
M.S. in Architecture
and Urban Design
(Post-Professional)
M.S. in City and
Regional Planning
SEMESTER 1
ARCH-781 Pro Seminar I
SEMESTER 1
3
GAUD Elective
6
ARCH-803 Summer Design Studio 6:
Vertical Option
5
Credit subtotal
14
SEMESTER 2
ARCH-901 Fall Design Studio
5
ARCH-982 Pro Seminar II
3
ARCH-988 Thesis Research
3
GAUD Elective
3
Credit subtotal
14
SEMESTER 1
UD-803
UD Studio I
5
UD-813
Methods and Computer
Applications
3
UD-993
Urban Design Theory
3
Credit subtotal
11
SEMESTER 2
UD-901
UD Studio II
5
UD-981A
Culmination Project Research
3
UD-991
Urban Design and
Implementation: Case Studies
3
SEMESTER 3
ARCH-912 Thesis
All-Institute Elective
Credit subtotal
All-Institute Electives
5
3
8
36
Credit subtotal
3
14
SEMESTER 3
UD-902
UD Culmination Project
5
All-Institute Elective
3
Credit subtotal
8
33
PLAN-600 Fundamentals: Seminar and
Studio
5
PLAN-602 History and Theory of City
Planning
3
PLAN-603 Urban Economics
3
Elective Credits
3
Credits subtotal
14
SEMESTER 2
PLAN-604 Planning Law
Elective Credits
PLAN-605 Planning Method I
Credits subtotal
3
8
3
14
SEMESTER 3
PLAN-701 Planning Methods II
3
PLAN-810 Studio: Sustainable
Communities, or
PLAN-820 Studio: Land Use and Urban
Design, or
Development
5
Elective Credits
3
Credits subtotal
11
SEMESTER 4
Communities, or
PLAN-820 Studio: Land Use and Urban
Design, or
Development
5
PLAN-891 Directed Research
2
Elective Credits
5
Credits subtotal
12
SEMESTER 5
PLAN-892 Demonstration of Professional
Competence
Elective Credits
Credits subtotal
3
6
9
60
CURRICUL A 165
M.S. in Sustainable
Environmental Systems
M.S. in Historic Preservation
M.S. in Facilities Management
SEMESTER 1
SEMESTER 1
SEMESTER 1
ESM-633A Environmental Law
3
ESM-631
3
Sustainable Communities
MSCI-610 Science of Sustainability
Professional Elective Credits
Credit subtotal
3
5
14
SEMESTER 2
ESM-632
Environmental Economics
3
ESM-633B Environmental Impact Assessment
3
UESM-634A Climate Change and Cities
1
UESM-634B Sustainability Indicators
1
UESM-634C Life Cycle Analysis
1
UESM-635A Solid Waste Management
1
UESM-635B Water Quality Management
1
UESM-635C Urban Energy Management
1
All Institute Elective Credits
Credit subtotal
UESM660A
History/Theory of Preservation
3
FM-621
Computer Applications
3
PR-643B
Architecture and Urban
History I: Europe
3
FM-631
Principles of Facilities
Management
3
PR-641
Documentation/Interpretation
3
FM-633
Building Technology
3
Managerial Accounting and
Finance
3
PR-651
FM-663
Real Estate Development
Credit subtotal
12
SEMESTER 2
3
Concepts of Heritage
3
FM-632
Project Management
3
PR-643A
Architecture and Urban History
II: United States
3
FM-634
Facility Programming and
Design
3
Preservation Elective
3
FM-636
Facility Maintenance and
Operations
3

Elective Credits
3
Credit subtotal
12
Credit subtotal
12
SEMESTER 3
PR-891
Demonstration of Professional
Competence
3
PR-652A
Interventions , Alterations, and
Adaptive Reuse
3
FM-731
Strategic Planning and
Management
3
Preservation Elective
3
FM-733
9
Economic Evaluation of
Facilities
3
Credit subtotal
FM-735
Telecommunications:
Concepts and Strategies
3
FM-771
Legal Issues
PR-840
Preservation Studio
5
PR-670A
Intro to Real Estate
Development
1
5
PR-670B
Real Estate Market Analysis
1
Credit subtotal
12
PR-670C
1
40
Preservation Tax Credit
Projects
Elective Credits
3
2
Elective Credits
SEMESTER 2
Preservation Law and Policy
SEMESTER 4
5
3
12
PR-642A
2
Demonstration of Professional Competence
Credit subtotal
PR-661
14
SEMESTER 3
PLAN-820 Land Use Studio
PR-640
Credit subtotal
11
44
SEMESTER 3
Credit subtotal
3
12
SEMESTER 4
FM-798
Demonstration of Professional
Competence
HMS-697A Thesis Writing I
Elective Credits
4
1
9
Credit subtotal
14
50
166 CURRICUL A
School of Art
M.S. in Art and Design
Education (Initial/
Professional Certification)
M.S. in Art and Design
Education (Professional
Certification)
SEMESTER 1
ADE-506
SEMESTER 1
Literacy and Language
Acquisition in the Art
Classroom
1
ADE-616B Fieldwork in Art and Design
Education (with Special
Populations)
2
ADE-616C The Inclusive Art Room
1
ADE-630
Media and Materials: from
Studio to Classroom
ED-608
Roots of Urban Education
Credit subtotal
ADE-616A Fieldwork in Art and Design
Education
or
Education (with Special
Populations)
ADE-616C The Inclusive Art Room
1
3
ADE-625
Play and Performance: From
Childhood to Pedagogy
3
3
ADE-630
Media and Materials: From
Studio to Classroom
3
10
SEMESTER 2
ADE-522
or
ADE-524
ADE-619
ED-602
Student Teaching:
Saturday Art School
3
Student Teaching:
In the Galleries
Foundations in Art and Design
Education
3
Survey of Art Education
Literature
3
Credit subtotal
9
SEMESTER 3
ADE-521
or
ADE-523
Student Teaching: Saturday Art
School
3
Student Teaching: After School
ADE-620
The Art of Teaching Art and
Design
3
ED-660A
Thesis I
3
Elective
2
Credit subtotal
11
SEMESTER 4
ADE-531A Student Teaching:
In the Public Schools
or
ADE-531B Student Teaching:
With Special Populations
4
ADE-532A Student Teaching Seminar
1
ED-660B
3
Credit subtotal
Elective
2
Credit subtotal
11
SEMESTER 2
ED-602
Survey of Art Education
Literature
3
ED-605
The Teacher in Film and Fiction
3
Elective
3
Credit subtotal
9
SEMESTER 3
ADE-517A Directed Research in Art and
Design Education
or
ADE-517B Directed Research in Art and
Design Education (with Special
Populations)
2
ADE-621
Special Topics in Art and
Design Education
3
ED-660A
Thesis I
3
Credit subtotal
8
SEMESTER 4
ED-660B
Thesis II
8
38
(Plus courses and credits listed under "Certification
Requirements")
3
Elective
3
Credit subtotal
6
Thesis II
2
34
CURRICUL A 167
Advanced Certificate in
M.P.S. in Arts and Cultural
Management
SEMESTER 1
ADE-506
ADE-521
or
ADE-523
SEMESTER 1 (FALL)
Literacy and Language
Acquisition in the Art
Classroom
1
Student Teaching:
Saturday Art School
3
NYSED CERTIFICATION REQUIREMENTS
ACM-625 Leadership and Team Building
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.
ACM-627
Management Communications
2
ACM-631
Behavioral Simulation
1
ACM-641
Management of Arts and
Cultural Organizations
2
Academic Courses
Student Teaching: After School
Course in Child/Adolescent
Development
3
Course in a Foreign Language
3
ACM-645 Art in the Urban Environment
2
Education with Special
Populations
2
ADE-620
The Art of Teaching Art and
Design
3
The courses may be taken at Pratt or transferred
from another accredited post-secondary institution.
ACM-623 Financial Planning and Budget
Management
2
ED-608
Roots of Urban Education
3
Completion of the following workshops taken
with a provider approved by NYSED:
ACM-624 Arts and Cultural Education
2
ACM-632 Organizational Behavior
2
Credit subtotal
12
SEMESTER 2
ADE-522
or
ADE-524
Student Teaching:
Saturday Art School
3
Student Teaching:
In the Galleries
ADE-531A Student Teaching:
In the Public School
or
ADE-531B Student Teaching:
With Special Populations
4
1
ADE-619
Foundations in Art and Design
Education
3
Credit subtotal
11
School Violence Prevention
and Intervention Workshop
0
SEMESTER 3 (SUMMER I AND SUMMER II)
Training in Harassment,
Bullying, Cyberbullying, and
Discrimination in Schools:
Prevention and Intervention
0
ACM-626 Managing Innovation
and Change
Academic Literacy Skills Test
(ALST)
Content Specialty Test (CST)
23
ACM-642 Nonprofit Law and Governance
0
Educating all Students (EAS)
Education Teacher Portfolio
Assessment (edTPA)
9
SEMESTER 2 (SPRING)
Child Abuse Identification
Workshop
Passing scores on the following tests and
assessments:
ADE-532A Student Teaching Seminar
Credit subtotal
Credit subtotal
2
8
2
ACM-633 Negotiating
1
ACM-646 External Relations
2
ACM-652 Directed Research
1
ACM-664A Capstone Planning: Advisement
Credit subtotal
1
7
SEMESTER 4 (FALL)
ACM-621
Strategic Marketing
2
ACM-622 Fundraising for Arts and
Culture
2
ACM-643 Art, Culture, and Social Policy
2
ACM-654 Strategic Technology
Credit subtotal
2
8
SEMESTER 5 (SPRING)
ACM-628 Advertising and Promotion
2
ACM-644 Cultural Pluralism in the U.S.
2
ACM-651
2
Finances and Financial
Reporting for Nonprofit
Managers
ACM-664B Shaping the 21st Century:
Integrative Capstone
2
ACM-671
Managerial Decision-Making
1
DM-643
Intellectual Property Law
1
Credit subtotal
10
42
168 CURRICUL A
M.P.S. in Art Therapy and
Creativity Development and
M.P.S. in Art Therapy with
Special Needs Children
M.P.S. in Art Therapy and
Creativity Development and
M.P.S. in Art Therapy with
Special Needs Children
ACADEMIC YEAR PROGRAM
LOW RESIDENCY PROGRAM
SEMESTER 1
YEAR 1
SEMESTER 4
ADT-641/ Creative Arts Therapy I/
621
Special Ed. I
3
ADT-646/ Group Creative Arts Therapy
626
II/Special Ed. II
3
ADT-645/ Group Creative Arts Therapy I/
625
Special Ed. I
3
ADT-650
3
ADT-661/ Fieldwork Experience and
671
Supervision I/Special Ed. I
2
TECH-634/Materials in Creative Arts
635
Therapy/Special Ed I
3
or
ADT-652
or
ADT-654
Credit subtotal
11
SEMESTER 2
ADT-632/ Research and Thesis/
633
Research and Thesis: Special
Education
3
ADT-642/ Creative Arts Therapy II/
622
Special Ed. II
3
ADT-640
Development of Personality I
3
ADT-647
Art Diagnosis
3
2
Credit subtotal
14
SEMESTER 3
or
ADT-651
or
ADT-653
ADT-630
Advanced Seminar I in Creative
Arts Therapy Adults
3
3
ADT-640
3
Development of the
Personality I
ADT-642/ Creative Arts Therapy II
622
3
ADT-645/ Group Creative Arts Therapy I
625
3
2
TECH-634/Materials in Creative Art
635
Therapy
3
3
3
Credit subtotal
14
SEMESTER 3 (FALL)
53
671
Supervision I
2
Credit subtotal
17
YEAR 2
SEMESTER 4 (SPRING)
ADT-630
Clinical Diagnosis and
Treatment Issues
3
ADT-655
Development of Personality II
3
2
SEMESTER 5 (SUMMER)
Children and Adolescents
3
673
Supervision III/Special Ed. III
2
ADT-688
Family Art Therapy
3
ADT-655
Credit subtotal
674
Supervision IV/Special Ed. IV
ADT-641/ Creative Arts Therapy I
621
SEMESTER 2 (SUMMER)
The Psychology of Intergroup
Relations and Institutional
Process
SEMESTER 1 (SPRING)
672
Supervision II
Developmentally Disabled
Treatment Issues
Elective
672
Supervision II/Special Ed. II
ADT-649
ADT-660
Advanced Seminar II in Creative
Arts Therapy Adults
ADT-632
Research & Thesis
3
ADT-649
Arts Therapy Adults
3
3
or
ADT-651
or
ADT-653
14
ADT-688
Family Art Therapy
3
SEMESTER 6 (FALL)
673
Supervision III
2
Credit subtotal
19
CURRICUL A 169
M.S. in Dance/Movement
Therapy
ACADEMIC YEAR PROGRAM
SEMESTER 4
SEMESTER 1
DT-671
YEAR 3
SEMESTER 7 (SPRING)
674
Supervision IV
2
ADT-647
3
Art Diagnosis
SEMESTER 8 (SUMMER)
ADT-643
Expressive Modalities
3
ADT-646/ Group Creative Arts Therapy II
626
3
ADT-660
Psychology of Intergroup
Relations
3
ADT-650
Arts Therapy Adults
3
or
ADT-652
or
ADT-654
Credit subtotal
17
53
Theory and Practice of Dance
Therapy I
3
DT-673
Studies in Movement Behavior I
3
ADT-641
Creative Arts Therapy I
ADT-645
Group Creative Arts Therapy I
ADT-661
Fieldwork Experience and
Supervision I
Credit subtotal
Therapy II
3
DT-674
Studies in Movement Behavior
II
3
ADT-632
Research and Thesis
3
ADT-642
Creative Arts Therapy II
3
ADT-662
Supervision II
2
ADT-640
3
Credit subtotal
17
SEMESTER 3
or
ADT-651
or
ADT-653
3
ADT-630
Treatment Issues
3
DT-675
Improvisation
3
ADT-663
Supervision III
2
ADT-655
Credit subtotal
3
Arts Therapy Adults
3
3
14
ADT-660
Relations and Institutional
Process
3
ADT-664
Supervision IV
2
14
DT-672
Arts Therapy Adults
Group Creative Arts Therapy II
ADT-650
3 or
ADT-652
3 or
2 ADT-654
SEMESTER 2
ADT-649
ADT-646
Credit subtotal
11
56
170 CURRICUL A
M.S. in Dance/Movement
Therapy
M.P.S. in Design Management
SEMESTER 1
DM-631
Leadership Behavioral
Simulation
1
DM-632
Leadership and Team Building
2
DM-652
Design Management
2
DM-654
Strategic Technology
2
2
DM-661
Financial Reporting and
Analysis
2
Credit subtotal
9
3
SEMESTER 2
LOW RESIDENCY PROGRAM
YEAR 1
YEAR 3
SEMESTER 1 (SPRING)
SEMESTER 7 (SPRING)
ADT-641
Creative Arts Therapy I
3
DT-673
Movement Behavior I
3
ADT-640
3
SEMESTER 2 (SUMMER)
ADT-642
Creative Arts Therapy II
3
ADT-645
Group Creative Arts Therapy I
3
DT-671
Therapy I
3
SEMESTER 3 (FALL)
671
Supervision I
2
Credit subtotal
20
YEAR 2
SEMESTER 4 (SPRING)
ADT-630
Treatment Issues
3
DT-674
Movement Behavior II
3
Arts Therapy
Adults
ADT-655
3
ADT-662
Supervision II
2
3
ADT-632
Research & Thesis
3
DT-672
Therapy II
3
SEMESTER 6 (FALL)
Credit subtotal
SEMESTER 8 (SUMMER)
ADT-646
Group Creative Arts Therapy II
Arts Therapy
DM-622
Advertising and Promotion
2
DM-633
Managing Innovation and
Change
2
DM-641
International Environment of
Business
2
DM-651
Management Communications
2
Credit subtotal
8
ADT-660
Relations
3
ADT-650
or
ADT-652
or
ADT-654
Adults
3
DT-675
Improvisation
3
DM-634
Negotiating
1
Credit subtotal
14
DM-653
2
56
Design Operations
Management
DM-656
Directed Research
1
DM-662
Money and Markets
2
DM-673
Capstone Planning: Advisement
1
Credit subtotal
7
SEMESTER 3
DM-621
Strategic Marketing
2
DM-642
Business Law
2
DM-643
Intellectual Property Law
1
DM-663
Financing: Companies and New
Ventures
2
DM-671
Managerial Decision Making
1
Credit subtotal
8
S EMESTER 5
SEMESTER 5 (SUMMER)
Supervision III
Supervision IV
SEMESTER 4
ADT-649
or
ADT-651
or
ADT-653
ADT-663
ADT-664
2
22
DM-623
Building Entrepreneurial
Courage
2
DM-644
Design Futures: Theory and
Practice
2
DM-655
New Product Management and
Development
2
DM-672
Business Strategy
2
DM-674
Shaping the 21st Century:
Integrative Capstone
2
Credit subtotal
10
42
CURRICUL A 171
M.F.A. in Digital Arts (3-D
Animation and Motion Arts
Concentration)
M.F.A. in Digital Arts
(Interactive Arts
Concentration)
SEMESTER 1
M.F.A. in Digital Arts
(Digital Imaging
Concentration)
SEMESTER 1
SEMESTER 1
DDA-606A Graduate Seminar I
3
3
3
DDA-610
Digital Arts Practicum
3
DDA-610
3
DDA-610
3
DDA-617
Languages
3
DDA-617
Languages
3
DDA-617
Languages
3
DDA-643
Animation Studio
3
DDA-622
Interactive Media I
3
DDA-645
Imaging Studio
3
Studio Elective
3
Studio Elective
3
Studio Elective
3
Credit subtotal
15
Credit subtotal
15
Credit subtotal
15
SEMESTER 2
SEMESTER 2
SEMESTER 2
DDA-606B Graduate Seminar II
3
DDA-585
Interactive Installation
3
3
DDA-643
Animation Studio
3
DDA-587
Art of Electronics
3
DDA-614
3-D Modeling
3
DDA Elective
6
3
DDA-645
Imaging Studio
3
Studio Elective
3
3
Credit subtotal
15
SEMESTER 3
DDA-653
DDA Elective
3
DDA Elective
Studio Elective
3
Studio Elective
3
Credit subtotal
15
Credit subtotal
15
3
SEMESTER 3
6
DDA-660A Thesis I
6
Art History Elective
3
DDA-646
Interactive Arts
3
DDA Electives
DDA Elective
3
DDA Electives
3
3
Credit subtotal
Post-Production
DDA-660A Thesis I
Credit subtotal
15
SEMESTER 4
Credit subtotal
6
SEMESTER 4
Liberal Arts Elective
3
DDA-660B Thesis II
DDA Elective
3
DDA Elective or Internship
3
DDA-660B Thesis II
SEMESTER 3
15
DDA-660A Thesis I
6
6
3
15
SEMESTER 4
DDA-660B Thesis II
6
6
3
3
DDA Elective
3
DDA Elective
3
3
Credit subtotal
15
60
Credit subtotal
15
60
Credit subtotal
15
60
3
172 CURRICUL A
School of Design
M.F.A. in Fine Arts
SEMESTER 1
Studio Major
3
Art Criticism/Analysis/History
3
PHIL-604 Aesthetics
(not open to incoming students
for fall 2015)
3
Studio Electives
6
Credit subtotal
15
SEMESTER 2
SEMESTER 1
DES-618
Typography I
3
DES-620
Visual Communications I
3
3
Studio Major
3
DES-625
Visual Perception
3
DES-680
Digital Design
Liberal Arts
3
Credit subtotal
3
12
Studio Electives
6
Credit subtotal
15
DES-619
Typography II
3
Visual Communications II
3
3
Thesis I
5
DES-621
or
DES-681
Studio Electives
8
Electronic Pre-press
Credit subtotal
16
DES-677
or
DES-683
HA-601
or
HA-662
History of Western Art
SEMESTER 3
FA-650A
M.S. in
SEMESTER 4
FA-601
Thesis Statement I
2
FA-650B
Thesis II
5
Studio Electives
7
Credit subtotal
14
60
SEMESTER 2
Interactive Design I (DD)
3
Motion Design 1 (DD)
2
History of Communications
Design
Credit subtotal
11
SEMESTER 3
DES-624
or
DES-682
Communication Seminar
3
DES-626
or
DES-634
or
DES-640
Corporate Image Planning
DES-636
or
DES-684
Visual Communications III
DES-660
Directed Research
2
Credit subtotal
11
Interactive Design II (DD)
3
Marketing
Design Management
3
Motion Design II (DD)
CURRICUL A 173
M.F.A. in
HD-505
or
HD-506
History of Design
2
Concepts of Design
DES-699A Thesis I
SEMESTER 4
SEMESTER 1
SEMESTER 4
6
DES-710A Graduate Studio: Visual
Language A
3
DES-797
M.F.A. Thesis Production &
Exhibition
1
DES-720A Graduate Studio: Technology A
3
DES-799
M.F.A. Thesis II
3
3
Elective Credits
9
Elective Credits
3
DES-730A Graduate Studio:
Transformation Design A
Credit subtotal
11
DES-760A Graduate Seminar A
3
HD-641
3
SEMESTER 5
DES-699B Thesis II
Credit subtotal
3
3
48
(Courses followed by the notation DD should be
chosen if completing the M.S. program with an
emphasis in Digital Design.)
PREREQUISITE COURSES
Origins of Contemporary
Comm. Design
Credit subtotal
1
DES-795B M.F.A. Thesis Resource B
or
DES-607 Portfolio Development
1
15
SEMESTER 2
DES-741
Cross Disciplinary Studio
3
DES-751
or
DES-640
Design Writing
3
DES-791
Thesis Research
15
62
Design Process & Methodology
3
DES-602
Design Technology
3
3
DES-603
Design Ideation & Visualization
3
DES-604
Typography
Design Procedures
3
Elective Credits
6
DES-676
Computer Graphic Systems
3
Credit subtotal
15
SEMESTER 3
DES-710B Graduate Studio: Visual
Language
3
DES-720B Graduate Studio: Technology B
3
DES-730B Graduate Studio:
Transformation Design B
3
DES-760B Graduate Seminar
3
DES-794A M.F.A. Thesis Resource A
1
DES-794B M.F.A. Thesis Resource B
or
HMS-697A Graduate Thesis Writing
1
DES-796
Credit subtotal
DES-601
Design Management
DES-608
These courses may be required as prerequisite
courses for students not having an appropriate
communications design background.
DES-795A M.F.A. Thesis Resource A
M.F.A. Thesis I
3
Credit subtotal
17
Credit subtotal
3
12
174 CURRICUL A
M.S. in Package Design
M.I.D. in Industrial Design
YEAR 1 (CORE)
SEMESTER 1
DES-618
Typography I
3
DES-620
Visual Communications I
3
SEMESTER 1
DES-625
Visual Perception
3
IND-612A
Electronic Pre-press
3
Industrial Design Technology I
(with Seminar)
3
DES-677
IND-614A
Graduate Color Workshop I
(2-D)
2
IND-672
3-D I
2
Drawing I
2
History of Industrial Design
2
INDC-620 Process/Product Studio
Credit subtotal
11
INDC-622 Interdepartmental Studio
Credit subtotal
12
SEMESTER 2
DES-619
Typography II
3
DES-628
Structural Packaging Design
3
DES-630
Packaging: Graphics I
3
IND-694
or
IND-515
HA-601
or
HD-662
History of Western Art
2
IND-608
History of Communications
Design
Credit subtotal
IND-614B Graduate Color Workshop II
(2-D)
or
Elective (Graphics)
2
IND-673
or
IND-516
3-D II
2
IND-543
or
IND-541
Digital Ideation
IND-615
or
IND-690
Model Making
IND-669
Business of Design for I.D.
DES-631
Packaging: Graphics II
3
DES-660
Directed Research
2
DES-680
Digital Design
3
Credit subtotal
11
SEMESTER 4
Marketing
3
Design Management
DES-699A Thesis I
Credit subtotal
6
9
History of Modern Design
2
Concepts of Design
DES-699B Thesis II
Credit subtotal
3
Solidworks I
2
Industrial Design Workshop I
2
13
5
48
DES-608
Design Procedures
3
DES-676
Computer Graphic Systems
3
SEMESTER 3
Sustainable Production
Methods
IND-660A Directed Research I
3
INDC-626 Design Strategies
INDC-628 Furniture Design
INDC-630 Exhibit Design
INDC-660B Directed Research II
2
Elective
3
Credit subtotal
2
YEAR 2 (RESEARCH)
IND-587
2
INDC-632 Tabletop Design
SEMESTER 5
HD-505
or
HD-506
11
IND-667B Global Research Seminar
or
IND-516
Prototypes II
Prototypes II
Credit subtotal
2
Credit subtotal
INDC-624 Design Methodology
3
3
Elective
Take 3 credits from the industrial design core courses.
IND-612B Industrial Design Technology II
(with Seminar)
Fragrance Packaging Research
Workshop
DES-634
or
DES-640
Prototypes I
SEMESTER 2
DES-629
2
SEMESTER 4
11
SEMESTER 3
IND-667A Global Research Seminar
or
IND-515
Prototypes I
2
YEAR 3 (THESIS)
SEMESTER 5
IND-515
or
IND-658
Prototypes I
HD-668
Thesis Seminar
2
Special Project
2
IND-699A Thesis I
3
Elective
2
Credit subtotal
9
SEMESTER 6
IND-699B Thesis II
2
10
3
Elective
3
Take 3 credits from the industrial design core courses.
Credit subtotal
6
IND-620
Process/Product Studio
IND-622
Interdepartmental Studio
IND-624
Design Methodology
IND-626
Design Strategies
IND-628
Furniture Design
IND-630
Exhibit Design
IND-632
Tabletop Design
3
60
CURRICUL A 175
M.S. in Interior Design
M.F.A. in Interior Design
(closed to incoming students
for fall 2015)
SEMESTER 1
SEMESTER 1
SEMESTER 5
INT-601
(QUAL) Qualifying Design I
6
INT-632
INT-606
(QUAL) Qualifying Architecture
Drawing
2
INT-699A/ Thesis I or Exhibition Design I
671
INT-631
(QUAL) Color and Materials
2
HD-506
HD-609
History of Interior Design
Credit subtotal
Color and Materials II
3–5
Concepts of Design
2
2
Elective Credits
3
12
Credit subtotal
SEMESTER 2
10-12
SEMESTER 6
INT-560
(QUAL) CADD I: AutoCAD
2
INT-641
INT-602
(QUAL) Qualifying Design II
6
INT-604
(QUAL) Qualifying Construction
2
INT-699B/ Thesis II or Exhibition Design II
672
HD-610
History of Interior Design II
2
Elective Credits
Credit subtotal
17
Credit subtotal
Professional Practice
SEMESTER 3
INT-621
Design I
6
INT-623
Construction I
2
INT-625
Presentation Techniques
2
INT-633
Lighting Design I
2
Credit subtotal
16
SEMESTER 4
INT-561
CADD II: 3-D Max
2
INT-622
Design II
6
INT-624
Construction II
3
INT-698
Directed Research (Required
for thesis)
2
Credit subtotal
2
13
INT-711
Interior Design Studio
6
INT-713
Ideation and Representation
3
INT-715
Light, Color, and Material
3
INT-717
Interior Design Theory
Credit subtotal
SEMESTER 2
INT-722
Interior Design Options Studio
6
INT-724
Construction and Fabrication
3
INT-726
Environmental Technology and
Sustainable Elements
3
2
3–5
2–4
9
77-79
A minimum of 48 credits is required for the Master
of Science in Interior Design. The courses followed
by the notation “(QUAL)” represent an additional
20 credits that may be required for applicants whose
undergraduate backgrounds need strengthening in
art and design.
3
15
Theory Elective
3
Credit subtotal
15
SEMESTER 3
INT-731
Interior Design Options Lab
3
INT-799A
Thesis II
6
Elective
3
Elective
3
INT-9401
Internship
Credit subtotal
1
16
SEMESTER 4
INT-799B
Thesis II
INT-641
Professional Practice
2
Elective
3
Elective
6
3
Credit subtotal
14
60
NYSED REQUIREMENTS
*History of Interior Design I and II may be
required for students whose undergraduate
studies did not cover the subject matter. This
will be determined by a review of an applicant’s
transcripts and an interview with the academic
advisor.
176 CURRICUL A
School of
Information and
Library Science
M.S. in Library and
Information Science
M.S. in Library and Information
Science: Library Media
Specialist
SEMESTER 1
LIS-651
Information Professions
3
LIS-652
Information Services and
Sources
3
Elective Credits
3
Credit subtotal
9
SEMESTER 2
LIS-653
3
LIS-654
Information Technologies
3
Elective Credits
3
Credit subtotal
9
SEMESTER 3
Elective Credits
9
Credit subtotal
9
S EMESTER 4
LIS-651
3
LIS-653
Knowledge Organizations
3
LIS-648
Library Media Centers
3
Credit subtotal
9
SEMESTER 2
LIS-652
Resources
3
LIS-654
3
ED-610
Child Development
3
LIS-691
Serving Children and Youth
with Disabilities
3
Credit subtotal
12
SEMESTER 3
Elective Credits
9
Credit subtotal
9
SEMESTER 1
36
LIS-676
Literature and Literacy for
Children
3
LIS-677
Young Adults
3
Credit subtotal
6
SEMESTER 4
LIS-690
Student Teaching: Elementary
3
ED-608
The Roots of Urban Education
3
Elective Credits
3
Credit subtotal
9
SEMESTER 5
LIS-692
Student Teaching: Secondary
3
LIS-680
Instructional Technologies
3
Elective credits
3
Credit subtotal
Total Credits required
9
45
The following academic requirements must be
fulfilled prior to applying for Initial Teaching
Certification. The courses or workshops may be
taken at Pratt or transferred from another postsecondary school or institution.
Course in Child/
Adolescent Psychology
3
One semester of
a foreign language
3
Workshop in
Child Abuse Prevention
0
Workshop in Life Safety and
0
Violence Prevention
0
CURRICUL A 177
M.S./M.F.A. in Library and
Information Science/
Digital Arts
ELECTIVE COURSES—M.S. IN LIS
SEMESTER 1
3
DDA-572
or
DDA-626
Electronic Music and Sound
3
Audio for Digital Media
DDA-600 Digital Arts In Context
3
DDA-610
Fundamentals of Computer
Graphics
3
DDA-616
Design for Interactive Media
3
Credit subtotal
15
SEMESTER 2
LIS-652
3
LIS-653
3
DDA-500
Interactive Studio, or
DDA-585
Interactive Installation
DDA-622
Interactive Media
3
3
12
SEMESTER 3
Required Electives: 6 credits (two 3-credit courses)
related to digital technology and information;
students select two courses from the following:
LIS
Elective Course (Electives
may be selected from lists of
required or recommended
courses.)
3
LIS-608
Human Information Behavior
3
DDA-614
3-D Modeling
3
LIS-632
Conservation and Preservation
3
DDA-660
Thesis I
3
LIS-643
Information Architecture and
Interaction Design
3
LIS-665
Projects in Digital Archives
3
LIS-663
Metadata, Description and
Access3
3
LIS-680
Instructional Technology
3
18
LIS-693
Digital Libraries
3
Note: 6 credits of non-DDA courses required for the
M.F.A. in DA degree are taken in the M.S. LIS program
from list of M.S. LIS electives with as asterisks (See
List).
DDA
Sources
Credit subtotal
Recommended Electives
SEMESTER 5
LIS-651
Electives (See List)
Credit subtotal
SEMESTER 6
LIS
Elective Course
3
LIS
Elective Course
3
Electives may be selected from the above lists of
required or recommended courses.
DDA-587
Physical Computing
DDA-660
3
Recommended Electives: 12 credits (four 3-credit
courses). Note: “SS” indicates summer session.
Besides these elective courses, students may choose
other electives such as Photography Collections,
Film and Media Collections, and Digital Libraries.
LIS-605
Special Topics in Online Database Searching and Services
3
Thesis II
3
LIS-611
Information Policy
3
LIS-654
3
Credit subtotal
17
LIS-618
3
LIS
Course from the list of
“Required Electives”(See List)
3
Special Topics in The Art
World: Services and Sources
LIS-621
Graphics Programming
3
Special Topics in Electronic
Collections and Sources (SS)
3
DDA-620
DDA-625
Video Editing
3
LIS-623
Online Databases Humanities
and Social Sciences
3
LIS-629
Special Topics in Museum and
Library Research
3
LIS-631
Academic Libraries and
Scholarly Communication
3
Credit subtotal
3
“Recommended Electives”
(See List)
3
DDA-645
Digital Imaging Studio
DDA-650
Thesis Research
Credit subtotal
M.S. in LIS
30
M.F.A. in DA
45
ELECTIVE COURSES—M.F.A. IN DA
“Required Electives” (See List)
LIS
Subtotals by Degree:
12
SEMESTER 4
LIS
86
Recommended Electives
DDA-587
Physical Computing
3
DDA-612
Digital Imaging
3
LIS-634
Abstracting and Indexing
3
DDA-614
3-D Modeling
3
LIS-641
Information Systems Analysis
3
3
DDA-620
Graphics Programming
3
LIS-642
3
3
Other Electives
Special Topics in Thesaurus
Design and Construction
LIS-686
Special Topics in Performing
Arts Librarianship
3
LIS-696
Special Topics in Special
Collections Institutes
3
LIS-698
Practicum/Seminar
3
12
DDA-510
Artist Books in the Digital Age
3
DDA-513
3-D Lighting and Rendering
3
DDA-514
Storyboarding and Storytelling
3
DDA-584
ActionScript
3
DDA-624
3-D Computer Animation
3
DDA-630
Advanced Interactive Media
3
DDA-643
Digital Animation Studio
3
178 CURRICUL A
Archives
Museum Libraries
Library and Information
Studies
Four courses are needed in order to obtain
the Advanced Certificate in Museum Libraries.
This certificate is for students who have already
graduated and obtained an MLS, whether from PrattSILS or another accredited library school.
LIS-699
SEMESTER 1
LIS-625
Management of Archives and
Special Collections
3
Credit subtotal
3
SEMESTER 2
LIS Elective See list below
3
1 course is required:
Credit subtotal
3
LIS-698
SEMESTER 3
Seminar and Practicum
LIS Elective See list below
3
LIS Elective from the following courses:
Credit subtotal
3
Curatorial:
SEMESTER 4
LIS-629
Museum Library Research
3
LIS-632
3
LIS-667
Art Librarianship
12
LIS-686
Performing Arts Librarianship
LIS Elective courses:
LIS-688
Map Collections
LIS-632
LIS-689
LIS-650
Principles of Records
Management
Rare Books and Special
Collections
LIS-697
LIS-663
Metadata
Special Topics in Florentine Art
and Culture
LIS-665
LIS-669
Management of Electronic
Records
SEMESTER 2
LIS-686
Performing Arts Librarianship
Digital Technology:
LIS-688
Map Collections
LIS-643
Information Architecture
LIS-689
Rare Books and Special
Collections
LIS-665
LIS-694
Film and Media Collections
LIS-680
Instructional Technologies
LIS-695
Photography Collections
LIS-693
Digital Libraries
LIS-634
Conservation
LIS-697
Special Topics in London/
E-Publishing
LIS-635
Archives Application
LIS-651
Web Design
LIS-655
Digital Preservation
LIS-668
Projects & Moving
SEMESTER 3
LIS-670
Cultural Heritage
LIS Elective from the following courses
LIS-697
Special Topics in Research
Local Histories
Museum Library Education and Outreach:
LIS-697
Special Topics in Cultural
Heritage Conservation
LIS-698
Credit subtotal
3
SEMESTER 1
Credit subtotal
3
3
LIS Elective from the following courses:
Credit subtotal
LIS-675
3
3
Museum and Library Education
Outreach
3
Credit subtotal
3
SEMESTER 4
LIS-698
Credit subtotal
3
3
12
Independent Study
6
LIS Elective Courses (8)
See Concentration Advisor
24
Credit subtotal
30
30
CURRICUL A 179
School of Liberal
Arts and Sciences
M.S. in History of Art
and Design
SEMESTER 1
SEMESTER 1
HA-602
or
HA-650
Theory and Methodology
3
LIS-648
Library Media Centers
3
LIS-676
Children
3
LIS-690
Student Teaching I
3
Credit subtotal
9
Art History (Film/Design
Electives)
Art History (Architecture
Electives)
3
Credit subtotal
9
SEMESTER 2
Materials, Techniques, and
Conservation
LIS-677
Young Adults
3
LIS-680
Instructional Technology
3
SEMESTER 2
LIS-692
Student Teaching II
3
9
HA-602
or
HA-650
Credit subtotal
HA-650
Conservation
18
The following academic requirements must be
fulfilled prior to applying for Initial Teaching
Certification. The courses or workshops may be
taken at Pratt or transferred from another postsecondary school or institution.
3
3
Conservation
Art History (Non-Western
Electives)
3
Elective Credits
3
Credit subtotal
9
Course in Child/
Adolescent Psychology
3
One semester of
a foreign language
3
Art History (Pre-Renaissance
Electives)
Workshop in
Child Abuse Prevention
0
Art History (Renaissance/
Baroque Electives)
3
Workshop in Life Safety and
0
Elective Credits
3
Violence Prevention
0
Credit subtotal
9
SEMESTER 3
3
SEMESTER 4
HA-605
Thesis
3
Art History (Renaissance/
Impressionism Electives)
3
Elective Credits
3
Credit subtotal
9
36
180 CURRICUL A
M.S./M.S. in History of Art
and Design/Library and
Information Science
M.S./M.F.A. in History of Art
and Design/Fine Arts
Theory, Criticism, and History of Art, Design,
and Architecture Requirements
SEMESTER 1
LIS-651
3
LIS-652
Sources
3
HA-602
or
HA-650
3
HA-602
Conservation
2
Credit subtotal
11
SEMESTER 2
LIS-653
3
LIS-654
3
HA-602
or
HA-650
3
3
Studio Major
3
3
SEMESTER 6
3
HA-605
15
3
Studio Elective
3
Studio Major
3
3
2
3
Credit subtotal
11
Elective
3
6
Library Science Elective
6
Credit subtotal
12
Credit subtotal
Credit subtotal
FA-650A
6
6
12
SEMESTER 5
5
6
Credit subtotal
11
SEMESTER 6
Thesis 1
5
Studio Elective
3
3
Elective
3
Credit subtotal
FA-601
Thesis Statement I
FA-650B
Thesis II
5
Studio Elective
3
3
3
Elective
Credit subtotal
3
Credit subtotal
60
14
SEMESTER 4
Thesis
18
SEMESTER 3
SEMESTER 4
Thesis
3
Elective
3
Credit subtotal
Conservation
9
Studio Elective
SEMESTER 2
Conservation
9
Credit subtotal
3
Credit subtotal
HA-650
Electives
SEMESTER 3
HA-605
SEMESTER 5
SEMESTER 1
2
13
6
75
(For the M.S. degree—one elective in each of the
distribution requirement fields: Film/Photo/Design,
Architecture, Non-Western, Pre-Renaissance,
Renaissance through 18th Century, 19th/20th/21st
Centuries)
CURRICUL A 181
M.A. in Media Studies
M.F.A. in Writing
SEMESTER 1
Museum Studies
SEMESTER 1
HMS-650A Methodologies I
3
WR-600A Mentored Studies I
1
HMS-549A Encounters I
1
WR-602A Writing Practices I
3
6
WR-601
4
All Institute Electives
Credit subtotal
10
SEMESTER 2
HMS-549B Encounters II
HMS-650B Methodologies II
Credit subtotal
The Writing Studio
Writing Elective
2
Credit subtotal
10
1
SEMESTER 2
6
WR-600B Mentored Studies II
1
3
WR-601
The Writing Studio
HMS Elective
10
Required core courses:
HA-560
Museology
3
HA-610
Internship
6
HA-610B
Internship
6
A choice of 6 elective credits from:
HA-600I
Materials and Techniques of
Venice, Pratt in Venice Program
3
4
ADE-524
Student Teaching in the Gallery
2
3
LIS-629
Museum and Library Research
3
SEMESTER 3
Writing Elective
2
LIS-632
3
HMS-659A Thesis Workshop
Credit subtotal
10
ACM-621
Strategic Marketing
2
4
6
SEMESTER 3
Credit subtotal
10
WR-601
The Writing Studio
4
30
WR-602B Writing Practices II
3
WR-603A Fieldwork Residency I
1
Writing Elective
2
Credit subtotal
10
SEMESTER 4
WR-601
The Writing Studio
WR-603B Fieldwork Residency II
WR-604A Final Thesis Project
Credit subtotal
ACM-622 Fundraising for the Arts and
Culture
2
ACM-624 Arts and Cultural Education
2
ACM-642 Nonprofit Law and Governance
2
ACM-651
2
Finance and Financial
Reporting for Nonprofit
Managers
4
4
1
9
39
21
182
Architecture Faculty
Vito Acconci
ADJUNCT A S SO CIATE PROFE S SOR
B.A., College of the Holy Cross; M.F.A.,Writers’
Workshop, University of Iowa; his design and
architecture come from another direction: a
background first in writing and then in art. By the
late ’80s his work had crossed over, and he formed
Acconci Studio, whose operations come from
computer thinking and mathematical and biological
models. Acconci Studio treats architecture as
an occasion for activity and making spaces fluid,
changeable, and portable. The Studio is currently
working on a three-story building in Milan, a bridgesystem and park near Delft, and an amphitheater in
Stavanger, and has other projects in Toronto and
Indianapolis.
Nick Agneta, AIA
B.Arch., Cooper Union; R.A., New York State;
member, Queens Chapter American Institute of
Architects; architect and construction manager
in the NYC metropolitan area; awards and honors:
Suffolk County 9/11 Memorial Competition, First
Place; Alabama School of Fine Arts Competition,
Second Place; achieved licensure with New York
State in 1986; has taught at New York University and
New York Institute of Technology and is the technical
director for Nelligan White Architects in New York,
N.Y.; currently teaches professional practice and is
IDP coordinator at Pratt.
Philip Anzalone
VISITING A S SISTANT PROFE S SOR
M.Arch., Columbia University; B.P.S. Architecture,
SUNY Buffalo; director of the Building Technologies
Sequence and director of the Avery Digital
Fabrication Laboratory, Graduate School of
Architecture, Columbia University; registered
architect with experience as a curtain wall
consultant for R. A. Heintges & Associates
and an architectural designer with Greg Lynn
Form; currently a partner of aa64; published
in ArchitectureWeek, ACADIA, ACSA, and the
International Journal of Architectural Computing.
Carlos Arnaiz
ADJUNCT A S SISTANT PROFES SOR
B.A., Philosophy, Williams College; M.Arch.,
Harvard University; an associate partner at Stan
Allen Architect; previously worked for Office dA
in Cambridge, Field Operations and Bumpzoid
Architects in New York, and as a founding principal
for RUF studio in New York. His experience at these
offices has ranged from high-level strategic planning
for cities around the world to project design and
construction documentation on commercial and
residential projects. At Field Operations, he served
as project manager and lead designer on the
transformation of a 650-acre plot of land in the
middle of San Juan, Puerto Rico, into the island’s
largest and most important Botanical Garden. He
led the development of all aspects of the project
including the creation of an expanded river corridor
along one of San Juan’s principal waterways. His
academic research has focused on the ongoing
relationship between ornament and structure in
design. While at Harvard, he collaborated with
Peter Rowe on a number of research projects
investigating innovative solutions in the planning
and management of contemporary urban regions.
He has served on juries at various institutions
in the U.S.A. including Harvard, Princeton, and
the University of Pennsylvania, where he taught
advanced studios in the Landscape Architecture
Program from 2002 to 2004.
Kutan Ayata
M.Arch., Princeton; B.F.A., Architecture,
Massachusetts College of Art, Boston; partner/
co-director of Young & Ayata, a practice dedicated
to both building commissions and experimental
research and setting out to explore novel formal
and organizational possibilities in architecture and
urbanism. Previously, Kutan worked at Reiser +
Umemoto, where he was the lead project architect
for the O-14 Tower in Dubai and performed as
a senior designer in a number of projects and
competition entries; awards: Suzanne Kolarik
Underwood Thesis Prize.
Alexandra Barker
ADJUNCT A S SISTANT PROFES SOR ; C O ORDINATOR,
M.ARCHITECT URE
B.A., Harvard University; M.Arch., Harvard University;
has coordinated the MARCH program since 2001;
grants: (with Catherine Ingraham) NCARB GRANT
to create a seminar integrating practice and the
academy; (with Nico Kienzl) FIPSE/CSDS grant
to integrate sustainable practices into the GAUD
curriculum; is a principal of Barker Freeman Design
Office, a New York practice employing material
research, fabrication technologies, and system
design as generative tools in the development of
multivalent spatial solutions.
Stéphanie Bayard
M.S., Advanced Architectural Design, Columbia
University; Dipl. Arch Paris La Villette; teaches
design studio and urban design seminars; previously
taught at Ohio State and Rensselaer Polytechnic
Institute; founded aa64 with Phillip Anzalone, as an
experimental practice focusing on design, digital
ARCHITECTURE FACULT Y 183
fabrication, and material construction in the United
States and Europe; their work has been published
and exhibited at the AIA NY Center for Architecture.
Karen Brandt
VISITING PROFE S SOR
B.Arch., University of California at Berkeley; M.Arch.,
Harvard University; registered architect and senior
associate at R.A. Heintges & Associates, a firm
specializing in custom building envelope and curtain
wall design.
Meta Brunzema
M.Arch., Columbia University; principal of Meta
Brunzema Architect P.C., an award-winning
architecture and urban design practice that
addresses contemporary spatial, environmental,
and socio-political challenges in innovative ways; the
firm specializes in carbon-neutral design; current
projects include “Park Avenue Market Mile” in N.Y.C.
and “River Pool” in Beacon, N.Y. Brunzema is a
LEED(R) accredited professional.
Robert Cervellione
VISITING INSTRUC TOR
B.Arch., Architecture, Roger Williams University;
M.Arch., Architecture, Pratt Institute; principal of
CERVER Design Studio, a multidisciplinary practice
utilizing leading edge methodologies with advanced
computational systems; actively involved in research
that is focused on the advancement of digital
fabrication and computational geometry; has worked
for influential architects and designers creating
work of the highest quality that garners international
recognition; has also taught at SCI-Arc in Los Angeles
and the University of Michigan.
Steven Chang, AIA
ADJUNCT A S SISTAN T PROFE S SOR
B.Arch., University of California at Berkeley; Eisner
Prize in Architecture; a senior associate at Polshek
Partnership Architects, who has worked as a senior
designer/project architect on numerous cultural
and institutional projects, including the New York
Botanical Garden and the Brooklyn Museum; also has
worked in construction as a carpenter and traveled
extensively while working at architecture offices in
Portugal, Germany, and Korea.
Cristobal Correa
A S SISTANT PROFES SOR
B.S.C.E., Universidad de Chile; M.S.C.E.,
Massachusetts Institute of Technology; associate
principal, Buro Happold, New York office; joined
Buro Happold in 1998 and now manages teams in
the structural engineering division, dealing with,
among other things, tension structures, long-span
structures, and façades; notable projects include
the Crystal Bridges Museum of American Art in
Bentonville, Arkansas; the Arena das Dunas in Natal,
Brazil; and the Roppongi Canopies in Roppongi,
Japan; serves as a member of the board of the
Structural Engineers Association of New York.
Theo David
PROFES SOR
B.Arch., Pratt Institute; M.Arch., Yale University;
practicing architect in New York City and Nicosia,
Cyprus; studied under Paul Rudolph at Yale; tenured
professor, former faculty president, and chair of
graduate architecture; has been awarded the 2009
Cyprus Architects Association Prize in Architecture,
the 2001 Cyprus State Architecture Award, the New
York City Bard Honor Award, NYSAIA Design Award,
and was nominated for the Mies van der Rohe
Award; his work as an architect/educator has been
exhibited and published worldwide.
Manuel De Landa
ADJUNCT PROFES SOR
B.F.A., School of Visual Arts; has authored five philosophy books: War in the Age of Intelligent Machines
(1991), A Thousand Years of Nonlinear History (1997),
Intensive Science and Virtual Philosophy (2002), A
New Philosophy of Society (2006), and Philosophy,
Emergence, and Simulation (2009); also teaches
at the University of Pennsylvania, SCI-Arc in Los
Angeles, and holds the Gilles Deleuze chair at the
European Graduate School in Switzerland.
Deborah Gans
PROFES SOR
B.A., Harvard University; M.Arch., Princeton
University; design work has been published and
exhibited at IFA Paris, RIBA London, the Guggenheim
Museum, and the Venice Biennial; currently engaged
in a community-based project in New Orleans
funded initially by HUD and in a master plan for The
Graham School, Hastings-on-Hudson, New York;
publications include The Le Corbusier Guide, now in
its third edition; The Organic Approach; and, most
recently, Extreme Sites: Greening the Brownfield.
James Garrison
ADJUNCT A S SO CIATE PROFES SOR
B.Arch., Syracuse University; principal, Garrison
Architects.
Erik Ghenoiu
B.A. Geography (cultural), Clark University, M.A. History of Art and Architecture, Harvard University;
M.S. Geography (urban), University of Wisconsin at
Madison; Ph.D. Architecture, Landscape Architecture, and Urban Planning, Harvard University; works
on architecture, design, and urban planning of the
19th and 20th centuries, with particular focus on
Germany and the United States; has taught at Pratt,
Parsons, and the University of Wisconsin at Madison;
has served as a fellow of several research institutes
on both sides of the Atlantic and is currently involved
in founding a new institute in Berlin; currently a
co-editor and faculty coordinator for GAUD’s Tarp
publication.
Jose Gonzalez
VISITING A S SISTANT PROFES SOR
M.S. Advanced Architectural Design, Columbia
University; cofounder and principal, SOFTlab,
a design studio.
Catherine Ingraham
PROFES SOR
B.A., St. John’s College; M.A., Ph.D., Johns Hopkins
University; chair of Graduate Architecture, Pratt
Institute, 1999–2005; editor, Assemblage, 1991–98
and (with Marco Diani) of Restructuring Architectural
Theory; author, Architecture, Animal, Human;
Architecture and the Burdens of Linearity; and over
50 published articles on architectural theory and
history; recipient of New York State Council on
the Arts grant, Canadian Center for Architecture
research fellowship, Graham Foundation grants,
NEA grant, SOM research fellowship, Chicago, and
four MacDowell Colony residencies; winner, Museum
of Women’s History design competition; has given
invited lectures, seminars, and symposia at over 60
national and international universities.
184 ARCHITECTURE FACULT Y
Hina Jamelle
B.A., Denison University; M.Arch., University of
Michigan; co-director and a principal architect at
Contemporary Architecture Practice with Ali Rahim.
architecture practice in New York City; firm has since
received national and international acclaim and has
been published widely; awards include Lucille Smyser
Lowenfish Memorial Prize and the Honor Award for
Excellence in Design, Columbia University.
Robert Kearns
Sulan Kolatan
ADJUNCT PROFES SOR
B.A.E., Penn State University; M.A.E., Penn State
University; educational background emphasized
integration of building engineering disciplines with
architectural design and sustainability; has worked
in construction in Singapore and Germany; joined
Buro Happold’s New York office in 2003 as a graduate
engineer and is currently an associate; his work with
Buro Happold has explored various areas of building
power systems, energy-efficient lighting design, and
alternative energies; experience with international
projects and architects has familiarized him with a vast
array of innovative design and construction practices.
Diploma, Technische Hochschule Aachen Universitat;
M.S., Architecture and Building Design, Columbia
University; founded KOL/MAC Studio along with
William MacDonald, in New York City in 1988.
Kolatan and MacDonald have taught architecture
as visiting professors at Barnard College, Ohio
State University, the University of Pennsylvania,
Parsons School of Design, University of Virginia,
The Institute of Advanced Architectural Studies in
Basel, Switzerland, and Venice, Italy, and Columbia
University. The Kolatan/MacDonald Studio primarily
works with strangely shaped structures, of housing
and apartment blocks. Dubbed “Vertical Urbanism,”
the apartment structures are divided into pods that
structurally conform to the addition and removal of
other pods.
Karel Klein
B.S. Civil Engineering, B.S. Architecture, University
of Illinois at Urbana-Champaign; M.Arch., Columbia
University; co-director of Ruy Klein; investigating
craft, precision, and the evolution of design expertise in the digital age, she continues to foreground
the persistence of the designer in contemporary
culture; publications include GA Houses, The New
York Times Magazine, and Architectural Record;
registered architect in New York State.
Carisima Koenig
VISITING INSTRUCTOR
B.A., Drake University; M.Arch., Iowa State University;
senior associate and LEED-accredited professional
practicing architecture at EYP Architects &
Engineers; specializes in the renovation of modernist
icons; her research interests include the evolving
relationships between architecture, urbanism,
and security from modernism to contemporary
practices; her work also addresses gender, diversity,
and politics in architecture.
Mehmet Ferda Kolatan
University; Arch. Dipl. (with distinction), RWTH
Aachen; founded SU11 architecture+design
with Erich Schoenenberger as an experimental
Craig Konyk
B.Arch., Catholic University; M.Arch., University of
Virginia; principal, Konyk Architecture.
Christopher Kroner
B.S., Architecture Design, University of Virginia;
M.Arch., Columbia; senior designer at Dean/Wolf
Architects in New York City; teaches courses in a
digital design sequence, focusing on fundamental
and advanced techniques in modeling, simulation,
visualization, analysis, scripting, and fabrication;
has taught at Columbia University GSAPP, the City
College of New York, the University of Virginia, and at
the National Building Museum in Washington, D.C.
Sameer Kumar
B.Arch., CEPT, Ahmedabad; M.Arch., University
of Pennsylvania; LEED-accredited professional;
currently at KPF Associates, working on projects
in Hong Kong, China, and India; previously worked
for Heintges as building envelope consultant with
Studio Daniel Libeskind, Santiago Calatrava, Polshek
Partnership, and other New York practices; worked
for FTL Design Engineering Studio and specialized in
long-span, lightweight, and deployable structures; is
a visiting critic at Columbia and Parsons.
Franklin Lee
VISITING INSTRUCTOR
Dipl. and R.I.B.A Part 2, Architectural Association,
London; M.S. Advanced Architectural Design,
Columbia; principal and cofounder, SUBdV in London
with Anne Save de Beaurecueil.
Thomas Leeser
ADJUNCT PROFES SOR
Dipl. Ing. Architect; founder and principal, Leeser
Architecture, an internationally acclaimed studio,
known as a pioneer in design that specializes in the
inclusion of new media and digital technologies in
architecture.
Carla Leitao
University; Architecture School of Lisbon;
architect (licensed in Europe), designer, and
writer; co-founder, AUM Studio (architecture
and multimedia) and Umasideia (architecture and
engineering) in Lisbon; projects include “Visibility”
(UIA Celebration of Cities competition, 2003, Lisbon,
Portugal); “Suture,” a multimedia installation; MAK
Vertical Garden (competition by invitation, 2006);
awards include the Akademie Schloss Solitude
Fellowship, 2005.
Teresa Llorente
B.E., Cooper Union; M.S., Columbia University;
licensed professional engineer in New York State.
John Lobell
PROFES SOR
B.Arch., M.Arch., University of Pennsylvania; interests
include architecture, cultural theory, consciousness,
Buddhism, information theory, and generative
genomics; recipient of several grants, including one
from the Graham Foundation; author of numerous
articles and several books, including Between Silence
and Light: Spirit in the Architecture of Louis I. Kahn
(Shambhala, 2008); consults on metal fabrication
with Milgo/Bufkin; director of research, Timeship.
Peter Macapia
B.F.A., Rhode Island School of Design; M.T.S.,
Harvard University; M.A., Columbia University; M.Phil.,
Columbia University; Ph.D., Columbia University;
his design focuses on problems of computation,
mathematics, the geometry and topology of matter/
energy relations, and problems of urban density;
publications include Log, Monitor, Spread, and The
Cambridge Journal of Architecture; recipient of
grants for research in sustainability and design from
Columbia University and Pratt Institute; has taught and
lectured internationally in New York (Columbia and
Pratt), Los Angeles (SCI-Arc), Paris (ESA, Malaquais),
Mexico City (UNAM), and Tokyo (TUS).
William MacDonald
CHAIR OF GR ADUATE ARCHITEC T URE AND
URBAN DESIGN
M.Sc. Architecture and Urban Design, Columbia
University; B.Arch., Syracuse University; attended
the Architectural Association in London; director,
KOL/MAC, LLC, Architecture + Design, co-founded
with Sulan Kolatan; has taught as professor,
distinguished visiting professor, or visiting chair at
the University of Virginia (as acting chair); Columbia
University; the University of Pennsylvania; Southern
California Institute for Architecture; The Ohio State
University; City University of New York; University of
California at Berkeley; and Pratt Institute; academic
and professional honors and awards include the “40
under 40” award, Progressive Architecture awards,
AIA design awards; represented the U.S. in the U.S.
national pavilion and for the international segment
of the International Architecture Bienniale in Venice;
via KOL/MAC, has collaborated with various leading
companies, including DuPont, AI Implant of Biotech
Industries, Alias, Merck Chemicals, Autodesk,
C-TEK, ARUP AGU, DitlevFilms, Inc.; exhibited at
MoMA, SFMoMA, Cooper-Hewitt National Design
Museum, Centre Georges Pompidou, Barbican Art
Gallery, Architekturmuseum, Mori Contemporary
Art Museum, 1st International Architecture Biennial
in Beijing, VITRA, Yale University, and the FRAC;
publications include The New York Times; The
Washington Post, CNN, Phaidon Press, Rizzoli, GA
Houses, AD Magazine, Architectural Digest, ACTAR,
Domus, Lotus International, Architectural Record;
co-author, Lubricuous Architectures with Kari
Andersen; a comprehensive monograph titled KOL/
MAC WORK BOOK is currently in preparation for
publication.
Radhi Majmuder
B.A., Economics, Columbia University; M.S., Civil
Engineering, Columbia University; M.B.A., Global
Executive, London Business School; vice president
of an internationally recognized and innovative
structural engineering firm in charge of U.S. and
Caribbean operations from its office in New
York; licensed professional engineer with over
18 years of experience; has worked for various
design consultancies that specialize in the design
of buildings, bridges, marine and coastal works,
and industrial and environmental structures; has
directed many projects from the conceptual
planning and proposal stages through the entire
design, engineering, and construction cycle,
including staffing and facilities startup.
Rosalinda Malibiran
B.Arch. Design, University of Florida; M.Arch.,
Columbia University; a visual effects artist working
for Blue Sky Studios, who has worked on feature films
such as Rio, IceAge: Dawn of the Dinosaurs, Horton
Hears a Who, IceAge: The MeltDown, and Robots.
Elliott Maltby
B.A., Philosophy, Kenyon College; Master of
Landscape Architecture, University of California
at Berkeley; interests include how art and design
contribute to the success of the urban experiment;
current research focuses on temporal and
situational spatiality; partner, thread collective,
a multidisciplinary design firm that explores the
seams between building, art, and landscape; a
broadly defined notion of sustainability, existing site
characteristics, and sensory experience further
inform the firm’s design process; has worked for
five years with Mary Miss, one of the most influential
artists in the public realm.
Benjamin Martinson
VISITING INSTRUCTOR
Bachelor of Music, University of Colorado, Boulder;
M.Arch., Pratt Institute; worked for the New York
office of Buro Happold as an intern; spent two years
working for KOL/MAC, LLC, a digital design practice
based in New York and Istanbul; currently is working
on starting his own design firm with small projects in
Portland, Oregon, and Boulder, Colorado.
Signe Nielsen
ADJUNCT PROFES SOR
B.A., Smith College; B.S.L.A., City College School of
Architecture; B.S., Pratt Institute; fellow, American
Society of Landscape Architects; principal, Mathews
Nielsen Landscape Architects PC since 1979; vice
president, N.Y.C. Public Design Commission;
recipient of more than two dozen national
design awards; co-author of three books—High
Performance Infrastructure Guidelines; Cool and
Green Roof; and Sustainable Site Design—and author
of Sky Gardens.
Philip Parker
A S SISTANT CHAIR OF GR ADUATE ARCHITEC T URE
AND URBAN DESIGN, ADJUNCT A S SO CIATE
PROFES SOR
B. Design in Architecture, University of Florida;
M.Arch., Yale University; principal, Phillip Parker
Architects, a practice that spans scales from
furniture and building components to urban parks;
his projects on program, matter, city, and texts
have been exhibited, published, and reside in the
permanent collection of the San Francisco Museum
of Modern Art; he has lectured on architecture
and media and taught design studios and media
theory practice at a number of schools, including
Columbia University GSAPP, as coordinator of core
visual studies; Princeton University; The Ohio State
University; and RISD.
Chris Perry
B.A., Philosophy, Colgate University; M.Arch.,
Columbia University.
186 ARCHITECTURE FACULT Y
David Ruy
Paul Segal
Maria Sieira
A S SO CIATE PROFES SOR
ADJUNCT PROFES SOR
B.A., St. John’s College; M.Arch., Columbia University;
director, Ruy Klein, an award-winning design office
in New York City; firm’s work has been extensively
published and exhibited and the firm is recognized
as one of the leading speculative practices in
architecture today; Ruy has previously held positions
at Columbia, Princeton, and was the director of
research of The Nonlinear Systems Organization
(NSO), a transdisciplinary research organization, at
the University of Pennsylvania; his research examines
design topics at the intersection of architecture,
nature, and technology; the work of his practice has
recently been exhibited at The Museum of Modern
Art, the Rhode Island School of Design, and at Artists
Space, New York City.
B.A., Princeton University; M.F.A., Princeton
University; founding partner of the internationally
published firm, Paul Segal Associates Architects,
LLP, who were recipients of 17 AIA Awards for Design
Excellence; past president of the AIA/NYC and of
the Center for Architecture Foundation; author
of the textbook, Professional Practice: A Guide to
Turning Designs into Buildings (W.W. Norton, 2006);
also an adjunct professor and director of practice at
Columbia’s Graduate School of Architecture; holds
an NCARB certificate and is a licensed architect in
seven states.
B.A., Yale University; M.Arch., University of
Pennsylvania; coordinates the GAUD Housing Studio:
Live, Work, Play and the History/Theory sequence;
teaches architecture design studios that focus on
green urban projects as well as seminars on film and
on installation art; founded Xoguete Architecture in
2007; registered architect in New York; has worked
on the Cidade da Cultura in Santiago de Compostela,
Spain, while at Eisenman Architects in New York
and on the Philadelphia Airport while at DPK&A in
Philadelphia.
Benjamin Shepherd
ADJUNCT PROFES SOR
Richard Scherr
DIRECTOR, FACIL ITIE S PL ANNING, ADJUNC T
PROFE S SOR
B.Arch., Cornell University; M.S. Architecture,
Columbia University; published in the Journal of
Architectural Education; Architectural Record;
Progressive Architecture; Journal of the American
Planning Association; Competitions; Places
Magazine; Space; Octagon Architecture; Indian
Architect and Builder; and Asian Thought and Society;
author of The Grid: Form and Process in Architectural
Design; finalist, Oklahoma City Bombing Memorial
Competition; Eidlitz Traveling Fellowship; registered
architect in New York and Texas.
Erich Schoenenberger
B. Environ. Design, Technical School of Novia Scotia;
M.S. Advanced Architecture and Design, Columbia
University; co-founded (with Ferda Kolatan) su11
architecture+design in New York City in 1999;
received the Swiss National Culture Award for Art
and Design and the ICFF Editors Award for Best New
Designer; 2006 finalist for the prestigious Chernikhov
Prize; 2007 chosen finalist for the MoMA/PS1 YAP
competition.
Henry Smith-Miller
B.S.C., Environmental Science, Northland College;
M.A., Environmental Management, Yale School of
Forestry; LEED-accredited professional and planning
practice leader at international environmental
design consultant firm Atelier Ten, with extensive
experience with urban ecology, renewable energy
systems, and green development assessments;
has managed the development of sustainability
guidelines for a wide range of master plans on
a multitude of sectors including commercial,
university, government, and transportation; he also
teaches core courses on environmental design and
building services at Yale School of Architecture.
B.A., Princeton University; M.Arch, University of
Pennsylvania; former Fulbright scholar in architecture
in Rome, Italy; received the Brunner Award and the
New York Chapter Gold Medal for Excellence in
Design with his partner, Laurie Hawkinson; significant
projects include the Corning Museum of Glass and the
North Carolina Museum of Art Outdoor Cinema and
Amphitheater and Master Plan; recently completed
projects include the Land Ports of Entry at Champlain
and Massena, New York, and a mid-rise, multi-unit
condominium complex in Manhattan; currently the
design architect for the new River Building for the
Hospital for Special Surgery and the Bond Hotel tower,
both in New York City.
Daniel Sherer
Roland Snooks
B.A. Renaissance Studies, Yale University; Ph.D.
History of Art and Architecture, Harvard University;
historian and critic whose research delves into Italian
Renaissance and Baroque architecture from 1400 to
1750; urban history from Antiquity to the Baroque;
modernist receptions of the classical tradition; and
historiography, theory, and criticism of architecture
(with emphases on Tafuri, the School of Venice, and
Colin Rowe); has taught at the Columbia Graduate
School of Architecture, Planning, and Preservation;
the Harvard GSD, University of Toronto, and the Rice
University School of Architecture, among others.
B.Arch., RMIT University; B. App.Sci.Environ.Design,
University of Canberra; M.S. Advanced Architecture
and Design, Columbia University; a design director of
Kokkugia, he has previously directed design studios
and seminars at UCLA, SCI-Arc, Pratt Institute, RMIT
University, and the Victorian College of the Arts;
his current teaching and research interests focus
on emergent design processes involving genetic
and agent-based techniques; his ongoing design
research into emergent design processes has
developed behavioral animation techniques for the
generation of architectural form; design experience
includes working in the offices of Reiser + Umemoto;
Kovac Architecture; Minifie Nixon; and Ashton
Raggatt McDougall.
Michael Szivos
B.Arch., Louisiana State University; M.S. Advanced
Architectural Design, Columbia University; curator of
the GAUD Exihibtion; founder (in 2004) of SOFTlab,
a new media and digital design practice specializing
in the intersection of video, space, interactivity,
and branding through digital media and emerging
production; SOFTlab designed and produced
the portfolio website for the GAUD; SOFTlab has
participated in many group exhibitions and produced
digital video and interactive media for MoMA, The
Metropolitan Museum of Art, Van Alen institute, and
The New York Times, as well as work for various artists,
architects, and designers; recipient of the Honor
Award for Excellence and Award in Visual Studies at
Jeffrey Taras
VISITING INSTRUCTOR
B.A., M.A., University of Michigan Ann Arbor; M.Arch.,
Columbia University; currently a partner at both
Associated Fabrication and 4-pli Design in Brooklyn,
New York; professional focus has been on bridging
the gap between design and digital fabrication.
Maria Ludovica Tramontin
B.S., Civil Engineering, University of Cagliari, (Italy);
M.S., Columbia University GSAPP; Ph.D., University
of Cagliari (Italy); registered engineer in Italy; in
2004, cofounded ASPX, an architectural research
practice based in Italy/UK; the firm’s work has
received several awards, most recently (First Prize)
in a competition for a 600,000-square-foot General
Hospital with a project that engages the latest
trends in renewable energy sources; while at NOX
she worked on built projects: Son-O-house, an
interactive artwork in The Netherlands, and Maison
Folie, a cultural center in Lille.
Nanako Umemoto-Reiser
ADJUNCT PROFES SOR
B.A., Osaka University of Art, Japan; B.Arch.,
Cooper Union; a principal and co-founder of
Reiser + Umemoto, an internationally recognized
multidisciplinary design firm, which has built
projects at a wide range of scales: from furniture
design, to residential and commercial structures,
up to the scale of landscape, urban design, and
infrastructure; she has previously taught at various
schools in the U.S. and Asia, including Columbia
University, the University of Pennsylvania, Hong Kong
University, Kyoto University, and the Cooper Union;
and she has lectured at various educational and
cultural institutions throughout the United States,
Europe, and Asia.
Jason Vigneri-Beane
ADJUNCT A S SO CIATE PROFES SOR; CO ORDINATOR,
M. S., ARCHITECT URE
B.P.S.Arch., SUNY at Buffalo; M.Arch., Iowa State
University; coordinator, M.S. Architecture; media
co-coordinator, M.Architecture; coordinator,
Graduate Architecture in Rome Program; founder
and principal, Split Studio; LEED-accredited
professional, who has lectured, taught, exhibited,
published in the United States, Europe, and Asia.
Aaron White
M.S.Arch., Pratt Institute; B.Arch., M.Arch., University
of Idaho; lives and works in New York City; recipient
of the Stanley Katz Award for design excellence while
at Pratt; a co-founder of Out-fo Design (outfodesign.
com), whose work centers on issues of speculative
fabrication, new forms of urbanism, material
intelligence, and information systems.
John Christopher Whitelaw
VISITING INSTRUCTOR
B.S., Georgia Institute of Technology; M.Arch.,
Columbia University; co-coordinator of digital media;
director of research and development at Evans &
Paul, a global leader in the production of custom
architectural interiors; he has lectured and taught
in the United States and Europe; his work seeks
to accelerate the bridging between computation
and construction; while at Evans & Paul, he has
constructed a number of high profile projects for
a list of architects, including DS+R, Herzog 7 de
Meuron, Richard Meier, Asymptote, and KOL/MAC.
188
Urban Design Faculty
Vito Acconci
B.A., College of the Holy Cross; M.F.A.,Writers’
Workshop, University of Iowa; his design and
architecture come from another direction: a
background first in writing and then in art. By the
late ’80s his work had crossed over, and he formed
Acconci Studio, whose operations come from
computer thinking and mathematical and biological
models. Acconci Studio treats architecture as
an occasion for activity and making spaces fluid,
changeable, and portable. The Studio is currently
working on a three-story building in Milan, a bridgesystem and park near Delft, and an amphitheater in
Stavanger, and has other projects in Toronto and
Indianapolis.
Carlos Arnaiz
B.A., Philosophy, Williams College; M.Arch.,
Harvard University; an associate partner at Stan
Allen Architect; previously worked for Office dA
in Cambridge, Field Operations and Bumpzoid
Architects in New York, and as a founding principal
for RUF studio in New York. His experience at these
offices has ranged from high-level strategic planning
for cities around the world to project design and
construction documentation on commercial
and residential projects. At Field Operations, he
served as project manager and lead designer on
the transformation of a 650-acre plot of land in the
middle of San Juan, Puerto Rico, into the island’s
largest and most important Botanical Garden. He
led the development of all aspects of the project
including the creation of an expanded river corridor
along one of San Juan’s principal waterways. His
academic research has focused on the ongoing
relationship between ornament and structure in
design. While at Harvard, he collaborated with Peter
Rowe on a number of research projects investigating
innovative solutions in the planning and management
of contemporary urban regions. He has served on
juries at various institutions in the U.S.A. including
Harvard, Princeton, and the University of Pennsylvania,
where he taught advanced studios in the Landscape
Architecture Program from 2002 to 2004.
Stéphanie Bayard
M.S., Advanced Architectural Design, Columbia
University; Dipl. Arch Paris La Villette; teaches
design studio and urban design seminars; previously
taught at Ohio State and Rensselaer Polytechnic
Institute; founded aa64 with Phillip Anzalone, as an
experimental practice focusing on design, digital
fabrication, and material construction in the United
States and Europe; their work has been published
and exhibited at the AIA NY Center for Architecture.
Meta Brunzema
M.Arch., Columbia University; principal of Meta
Brunzema Architect P.C., an award-winning
architecture and urban design practice that
addresses contemporary spatial, environmental,
and socio-political challenges in innovative ways; the
firm specializes in carbon-neutral design; current
projects include “Park Avenue Market Mile” in N.Y.C.
and “River Pool” in Beacon, N.Y. Brunzema is a
LEED(R) accredited professional.
Jose Gonzalez
University; cofounder and principal, SOFTlab, a
design studio.
Mehmet Ferda Kolatan
University; Arch. Dipl. (with distinction), RWTH
Aachen; founded SU11 architecture+design
with Erich Schoenenberger as an experimental
architecture practice in New York City; firm has since
received national and international acclaim and has
been published widely; awards include Lucille Smyser
Lowenfish Memorial Prize and the Honor Award for
Excellence in Design, Columbia University.
Sulan Kolatan
ADJUNCT PROFES SOR
Diploma, Technische Hochschule Aachen Universitat;
M.S., Architecture and Building Design, Columbia
University; founded KOL/MAC Studio along with
William MacDonald, in New York City in 1988.
Kolatan and MacDonald have taught architecture
as visiting professors at Barnard College, Ohio
State University, the University of Pennsylvania,
Parsons School of Design, University of Virginia,
The Institute of Advanced Architectural Studies in
Basel, Switzerland, and Venice, Italy, and Columbia
University. The Kolatan/MacDonald Studio primarily
works with strangely shaped structures, of housing
and apartment blocks. Dubbed “Vertical Urbanism,”
the apartment structures are divided into pods that
structurally conform to the addition and removal of
other pods.
URBAN DESIGN FACULT Y 189
Carla Leitao
Elliott Maltby
University; Architecture School of Lisbon; architect
(licensed in Europe), designer, and writer; cofounder, AUM Studio (architecture and multimedia)
and Umasideia (architecture and engineering)
in Lisbon; projects include “Visibility” (UIA
Celebration of Cities competition, 2003, Lisbon,
Portugal);”Suture,” a multimedia installation; MAK
Vertical Garden (competition by invitation, 2006);
awards include the Akademie Schloss Solitude
Fellowship, 2005.
B.A., Philosophy, Kenyon College; Master of
Landscape Architecture, University of California
at Berkeley; interests include how art and design
contribute to the success of the urban experiment;
current research focuses on temporal and
situational spatiality; partner, thread collective,
a multidisciplinary design firm that explores the
seams between building, art, and landscape; a
broadly defined notion of sustainability, existing site
characteristics, and sensory experience further
inform the firm’s design process; has worked for
five years with Mary Miss, one of the most influential
artists in the public realm.
William MacDonald
CHAIR OF GR ADUATE ARCHITEC T URE
AND URBAN DESIGN
M.Sc. Architecture and Urban Design, Columbia
University; B.Arch., Syracuse University; attended the
Architectural Association in London; director, KOL/
MAC, LLC, Architecture + Design, co-founded with
Sulan Kolatan; has taught as professor, distinguished
visiting professor, or visiting chair at the University
of Virginia (as acting chair); Columbia University;
the University of Pennsylvania; Southern California
Institute for Architecture; The Ohio State University;
City University of New York; University of California at Berkeley; and Pratt Institute; academic and
professional honors and awards include the “40
under 40” award, Progressive Architecture awards,
AIA design awards; represented the U.S. in the U.S.
national pavilion and for the international segment of the International Architecture Bienniale in
Venice; via KOL/MAC, has collaborated with various
leading companies, including DuPont, AI Implant of
Biotech Industries, Alias, Merck Chemicals, Autodesk,
C-TEK, ARUP AGU, DitlevFilms, Inc.; exhibited at
MoMA, SFMoMA, Cooper-Hewitt National Design
Museum, Centre Georges Pompidou, Barbican Art
Gallery, Architekturmuseum, Mori Contemporary Art
Museum, 1st International Architecture Biennial in
Beijing, VITRA, Yale University, and the FRAC; publications include The New York Times; The Washington
Post, CNN, Phaidon Press, Rizzoli, GA Houses, AD
Magazine, Architectural Digest, ACTAR, Domus, Lotus
International, Architectural Record; co-author,
Lubricuous Architectures with Kari Andersen; a comprehensive monograph titled KOL/MAC WORK BOOK
is currently in preparation for publication.
Benjamin Martinson
VISITING INSTRUCTOR
Bachelor of Music, University of Colorado, Boulder;
M.Arch., Pratt Institute; worked for the New York
office of Buro Happold as an intern; spent two years
working for KOL/MAC, LLC, a digital design practice
based in New York and Istanbul; currently is working
on starting his own design firm with small projects in
Portland, Oregon, and Boulder, Colorado.
Signe Nielsen
ADJUNCT PROFES SOR
B.A., Smith College; B.S.L.A., City College School of
Architecture; B.S., Pratt Institute; fellow, American
Society of Landscape Architects; principal, Mathews
Nielsen Landscape Architects PC since 1979; vice
president, N.Y.C. Public Design Commission; recipient of more than two dozen national design awards;
co-author of three books—High Performance
Infrastructure Guidelines; Cool and Green Roof; and
Sustainable Site Design—and author of Sky Gardens.
Philip Parker
A S SISTANT CHAIR OF GR ADUATE
ARCHITECT URE AND URBAN DESIGN,
B. Design in Architecture, University of Florida;
M.Arch., Yale University; principal, Phillip Parker
Architects, a practice that spans scales from
furniture and building components to urban parks;
his projects on program, matter, city, and texts
have been exhibited, published, and reside in the
permanent collection of the San Francisco Museum
of Modern Art; he has lectured on architecture
and media and taught design studios and media
theory practice at a number of schools, including
Columbia University GSAPP, as coordinator of core
visual studies; Princeton University; The Ohio State
University; and RISD.
David Ruy
B.A., St. John’s College; M.Arch., Columbia
University; director, Ruy Klein, an award-winning
design office in New York City; firm’s work has been
extensively published and exhibited and the firm
is recognized as one of the leading speculative
practices in architecture today; Ruy has previously
held positions at Columbia, Princeton, and was
the director of research of The Nonlinear Systems
Organization (NSO), a transdisciplinary research
organization, at the University of Pennsylvania; his
research examines design topics at the intersection
of architecture, nature, and technology; the work
of his practice has recently been exhibited at The
Museum of Modern Art, the Rhode Island School
of Design, and at Artists Space.
Erich Schoenenberger
VISITING INSTRUCTOR
B. Environ. Design, Technical School of Novia Scotia;
M.S. Advanced Architecture and Design, Columbia
University; co-founded (with Ferda Kolatan) su11
architecture+design in New York City in 1999;
received the Swiss National Culture Award for Art
and Design and the ICFF Editors Award for Best New
Designer; 2006 finalist for the prestigious Chernikhov
Prize; 2007 chosen finalist for the MoMA/PS1 YAP
competition.
Nanako Umemoto-Reiser
ADJUNCT PROFES SOR
B.A., Osaka University of Art, Japan; B.Arch., Cooper
Union; a principal and co-founder of Reiser +
Umemoto, an internationally recognized multidisciplinary design firm, which has built projects at a wide
range of scales: from furniture design, to residential and commercial structures, up to the scale of
landscape, urban design, and infrastructure; she has
previously taught at various schools in the U.S. and
Asia, including Columbia University, the University of
Pennsylvania, Hong Kong University, Kyoto University,
and the Cooper Union; and she has lectured at various
educational and cultural institutions throughout the
United States, Europe, and Asia.
190
City and Regional Planning Faculty
Moshe Adler
Mike Flynn
George Jacquemart, P.E.
VISITING A S SO CIATE PROFE S SOR
Ph.D., University of California, Los Angeles; Adjunct
Associate Professor, Columbia University.
University of Vermont; M.S.C.R.P, Pratt Institute;
Director of Capital Planning, NYC Department of
Transportation.
M.S.U.P., Stanford University; principal, BFJ Planning.
Caron Atlas
M.A., University of Chicago; B.A., University of
Chicago; Director, Arts Democracy Project.
Eddie Bautista
M.S.C.R.P., Pratt Institute; Executive Director, New
York City Environmental Justice Alliance.
Michael Freedman-Schnapp
M.S.U.P, New York University; Director of Policy,
NYC City Council.
Adam Friedman
M.S.C.R.P., Pratt Institute; consultant, Pratt Center
for Community Development.
B.A, Haverford College; J. D., Benjamin Cardozo
School of Law; Certificate in Strategic Planning In
Non-Profit Management, Harvard Business
School; Executive Director, Pratt Center for
Community Development; founding executive
director, New York Industrial Retention Network.
Jessica Braden
Mindy Fullilove
Jennifer Becker
M.A. Geography and Planning, University of Toledo;
B.A., University of Toledo; Director, Pratt Center for
Spatial Analysis Visualization Initiative.
M.S. Nutrition, M.D., Columbia University; CoDirector, Columbia University Community Research
Group; Professor, Columbia University.
David Burney
Moses Gates
M. S., University of London; Dip. Arch., Heriot Watt
University, Edinburgh; Dip. Arch., Kingston University,
London; former Commissioner, NYC Department of
Design and Construction.
Joan Byron
B.Arch., Pratt Institute; Urban and Regional Policy
Fellow, Harvard University; Director of Policy, Pratt
Center for Community Development.
M.U.P., Hunter College; Director, CHAMP,
Association for Neighborhood Housing
Development.
Daniel Hernandez
M.Arch., University of California; B.S. California State
University; Director of Planning Practice, Jonathan
Rose Companies.
Nicholas Klein
Ph.D. candidate, Rutgers University; Masters in
Urban Spatial Analytics, University of Pennsylvania;
Researcher, Alan M. Voorhees Transportation Center,
Edward J. Bloustein School of Planning and Public
Policy, Rutgers University.
Raj Kottamasu
Master of City Planning with Urban Design Certificate,
Massachusetts Institute of Technology; Certificate in
Film, Video and New Media, Art Institute of Chicago;
principal, Raj Kattamasu Video and Design.
Frank Lang, R.A.
M.Arch., University of Pennsylvania; B.Arch., Columbia
University; Director of Housing, St. Nick’s Alliance.
Matthew Lister
M.S., Real Estate Development, Massachusetts
Institute of Technology; Master of Suburb and
Town Design, University of Miami; Project Manager,
Jonathan Rose Companies.
Alan Mallach
B.A., Sociology, Yale University; Senior Fellow, Center
for Community Progress; Senior Fellow, Metropolitan
Policy Program, The Brookings Institution.
CIT Y AND REGIONAL PL ANNING FACULT Y 191
Elliott Maltby
Stuart Pertz
Petra Todorovich
M.L.A., University of California at Berkeley; principal,
Thread Collective.
M.Arch., Princeton University; B.Arch., Princeton
University; Ecole des Beaux Arts, Fontainebleu,
France; former member, New York City Planning
Commission; founding chair, Pratt Institute
Graduate Urban Design Program.
M.S.C.R.P., Rutgers University; former Director of
America 2050, Regional Plan Association; Senior
Officer of Outreach, Amtrak.
Michael Marrella
M.C.P., Certificate in Urban Design, Massachusetts
Institute of Technology; Director, Waterfront and
Open Space Planning, NYC Department of City
Planning.
Jonathan Martin, Ph.D
Ph.D., Cornell University; M.R.P., Cornell University;
B.S.D., Arizona State University; Associate, Buckhurst,
Fish and Jacquemart, Planning Consultants.
William Menking
PROFE S SOR
Doctoral Candidate, The Graduate School of the City
University of New York; M.S.C.R.P., Pratt Institute;
M.S., University College, London; B.A., University of
California at Berkeley; editor in chief, The Architect’s
Newspaper.
Steven Romalewski
John Shapiro, AICP
Ph.D., M.S., Computer Science, New York
University; Quantitative Research Analyst Two Sigma
Investments; Co-Founder, Cherub Improv.
Chair, Graduate Center for Planning and the
Environment; M.S.C.R.P., Pratt Institute; formerly
principal, Phillips Preiss Shapiro Associates, Planning
Consultants.
Ronald Shiffman, FAICP, FAIA
PROFES SOR
M.S.C.R.P., Pratt Institute; B.S.Arch., Pratt Institute;
founder, Pratt Center for Community Development.
M.S.C.R.P, Pratt Institute; B.A., Simon Bolivar
University; formerly Senior Planner, Pratt Center
M.Arch., Rhode Island School of Design; Certificate,
Urban Design, University of Pennsylvania; M.S.C.R.P.,
University of Pennsylvania; B.Arch., Clark University;
Urban Designer, FX Fowle Architects.
B.L.Arch., City College of New York; B.A., Smith
College; B.S., Pratt Institute; principal, Mathews
Nielsen Landscape Architecture.
M.Arch., Columbia University; Vice President, Project
for Public Spaces.
Ben Wellington
Toby Snyder
ADJUNCT PROFES SOR
M.S., Columbia University; Director, CUNY Mapping
Service, Center for Urban Research at The Graduate
Center/CUNY.
Mercedes Narciso
Signe Nielsen
Meg Walker
Daniel Steinberg
Doctoral Candidate, Urban Planning, Columbia
University; B.A., University of Chicago.
Larisa Ortiz Pu-Folkes
Samara Swanston
VISITING A S SISTAN T PROFE S SOR
M.C.P., Massachusetts Institute of Technology;
principal, Larisa Ortiz Associates.
J.D., St. John’s University; counsel to the Environmental Protection Committee, NYC City Council.
Juan Camilo Osorio
Lacey Tauber
M.S., University of Massachusetts; B.Arch.,
Universidad Nacional de Columbia; Director of
Research, NYC Environmental Justice Alliance.
M.S., City & Regional Planning, M.S., Historic
Preservation, Pratt Institute; Legislative Director,
NYC City Councilmember Reynoso.
Andrew Wiley-Schwartz
Former Assistant Commissioner,
NYC Department of Transportation; consultant at
Bloomberg Associates.
Edward Perry Winston, R.A.
M.A., Harvard University; M.Arch., Rice University;
Senior Architect, MAP Architects.
Ayse Yonder, Ph.D
PROFES SOR
Ph.D., University of California at Berkeley; M.C.P.,
University of Pennsylvania; Diploma for Architecture,
Istanbul Technical University.
192
Systems Faculty
Chelsea Albacher
Carter Craft
Katie Kendall
VISITING A S SISTING PROFES SOR
M.S., Tufts University; B.A., the New School for Social
Research; sustainability planner, Vita Nuova.
M.U.P., New York University; co-founder,
Metropolitan Waterfront Alliance; managing member,
Outside New York.
L.L.M., Vermont Law School; J.D., Brooklyn Law
School; B.A., Wittenberg University; general counsel,
Mayor’s Office of Environmental Coordination for the
City of New York.
Bridget Anderson
M.P.A., Columbia University; B.A., Macalaster College;
Director, NYC Department of Sanitation Bureau of
Waste Prevention, Reuse and Recycling.
Alec Appelbaum
M.B.A., Yale University; B.A. English, Yale University;
green economy correspondent, The Faster Times.
Jen Becker
M.S.C.K.P., Pratt Institute; B.A., University of
Wisconsin at Madison.
Michael Bobker
M.S. Energy, New York Institute of Technology;
director, Building Performance Lab, CUNY Institute
for Urban Systems.
Carlton Brown
B.Arch., Princeton University; C.O.O, Full Spectrum.
Damon Chaky, Ph.D.
A S SISTANT PROFES SOR, DEPARTMEN T
OF M ATHEM ATICS AND SCIENCE
Ph.D., Rensselaer Polytechnic Institute.
Adam Friedman
B.A., Haverford College; J.D., Benjamin Cardozo
School of Law; Certificate in Strategic Planning In
Non-Profit Management, Harvard Business School;
executive director, Pratt Center for Community
Development; founding executive director, New York
Industrial Retention Network.
Ben Gibberd
Elliott Maltby
M.L.A., University of California at Berkeley; B.A.,
Kenyon College; principal, Thread Collective.
Paul Mankiewicz, Ph.D.
VISITING A S SO CIATE PROFES SOR
Ph.D., City University of New York; founding director,
Gaia Institute.
M.A., Edinburgh University; author: New York Waters:
Profiles from the Edge (Globe Pequot Press, 2007),
and The Little Black Book of New York (Peter Pauper
Press, 2006).
Michael Marella
Michael Haggerty
Gita Nandan
Director of Waterfront & Open Space Planning, NYC
Department of City Planning.
M.U.P., Harvard University, B.A., Bard College.
M.Arch., University of California at Berkeley;
principal, Thread Collective.
Tom Jost
M.U.D. Urban Design, Pratt Institute; B.A. Economics,
Lehigh University; senior urban strategist, Parson
Brinckerhoff.
Gavin Kearney
VISITING A S SISTING PROFES SOR
J.D., University of Minnesota; B.A., Lawrence
University; director, Environmental Justice program,
New York Lawyers for the Public Interest.
Carolyn Schaeberle
M.S.I.D., Pratt Institute; B.S., Engineering Science,
Smith College; Assistant Director, Pratt’s Center for
Sustainable Design Strategies.
David Seiter
M.L.A. Landscape Architecture, University of
Pennsylvania; B.A. Art History, Vassar College;
principal, Future Green Studio.
SUSTAINABLE ENVIRONMENTAL SYSTEMS FACULT Y 193
Ronald Shiffman, FAICP, FAIA
PROFE S SOR
M.S.C.R.P., Pratt Institute; B.S. Arch., Pratt Institute.
Jaime Stein
C O ORDINATOR, SUSTAINABL E
ENVIRONMENTAL SYSTEMS
M.S., Pratt Institute; B.S., Millersville University.
Ira Stern
M.S.C.R.P., Pratt Institute; regional manager, Bureau
of Water Supply for the New York City Department of
Environmental Protection.
Gelvin Stevenson, Ph.D.
Ph.D. Economics, Washington University; B.A.,
Carleton College; director, Clear Skies Solar.
Samara Swanston
J.D., St. John’s University; counsel to the
Environmental Protection Committee, New York
City Council.
Evren Uzer, Ph.D.
Ph.D., B.A. Urban Planning, Istanbul Technical
University; Founder of socially engaged art collective
“roomservices” and design interventions initiative
“imkanmekan.”
Edward Perry Winston
M.A., Harvard University; M.Arch, Rice University;
B.A., Princeton University; Senior Architect, MAP
Architects.
Catherine Zidar
M.S.C.R.P., Pratt Institute; B.S., University of
Colorado at Boulder; Executive Director, Newtown
Creek Alliance.
194
Facilities Management Faculty
Lennart Andersson
Harriet Markis
Martin McManus
CHAIR, ADJUNCT A S SO CIATE PROFES SOR
M.Arch., Savannah College of Art and Design; M.B.
Engr., Wasa Gymnasium, Stockholm, Sweden;
associate, The LiRo Group, New York, NY.
B.S., Rensselaer Polytechnic Institute; M.Eng., Cornell
University; member of IFMA, CMAA, ASCE, ACI, SECB,
and SEONY; partner at Dunne & Markis Consulting
Structural Engineers, PLLC since 1990; 30 years
experience as a structural designer in a variety of
projects; licensed to practice structural engineering
in the states of New York, New Jersey, Connecticut,
Delaware, New Hampshire, and Rhode Island.
B.B.A., Accounting, Pace University; CPA; financial
principal and registered representative with NASDl;
member of the NYS Society of CPAs; American
Institute of CPAs.
Matthias Ebinger
M.S., Construction Management, New York University;
LEED; Dpil.Ing.FH, Konstanz University of Applied
Science; development cooperation and consulting,
German Foundation for International Development;
public administration, University of South Africa; PMP,
American Project Management Institute.
William Henry
B.Arch., New York University; Advanced Information
Systems Institute Training, Massachusetts Institute
of Technology; president and CEO of Millennium
II Consulting Group, Inc. which he founded in
1997; 30 years prior experience in the information
technologies (IT) industry; managing principal of
HENREY Consultants, Inc., an IT services firm he
co-founded in 1994; employed at Bristol-Myers
Squibb Company 1987–1994; appointed director of
corporate telecommunications in 1989.
Stephen LoGrasso
B.S., New York Institute of Technology; 25 years
experience in facility and construction management;
has provided services for various clients including
Goldman Sachs, CitiGroup, McGraw-Hill, and Hertz.
Mary Matthews
PROFES SOR EMERITA
B.A., Concentration in Sociology and Education
Management, Emmanuel College; M.S. Social Work,
Boston College; M.B.A. Candidate, NYU Stern
School of Business; 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 departments at Pratt Institute.
Gerald F. McGowan
M.B.A., Management, New York University; ALM
Media, Inc., director, Real Estate and Purchasing;
professional affiliations: IFMA, CoreNet.
Russell Olson
B.Arch., M.S. Urban Environmental Systems, Pratt
Institute; awarded IFMA 2002 Educator of the Year
Award; president and CEO of R.O.I. Consulting
Group; specializes in the technology aspects
associated with design, construction, and facilities
management; responsible for providing staff, as well
as business and technology consulting for numerous
Fortune 500 companies.
John Osborn
B.A., Political Science and Economics, SUNY-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.
FACILITIES MANAGEMENT FACULT Y 195
Edward Re
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).
Norman Rosenfeld
B.Arch., Pratt Institute, 1956; Norman Rosenfeld
Architects LLC.
Audrey L. Schultz
Ph.D., Built Environment, Concentration in
Lean Facilities Management, The University of
Salford, 2014; M.S. Architecture, Concentration in
Construction Management, Virginia Polytechnic
Institute and State University, 2002; FMP; Member
IFMA, Lean Construction Institute, ASC, CIB.
Marjorie St. Elin
B.S., Construction Management, Pratt Institute;
LEED-AP; assistant project manager, Turner
Construction Co.
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, CUNY Hunter; member,
American Economic Association and International
Institute of Public Finance.
196
Historic Preservation Faculty
Lisa Ackerman
Jeanne Houck, Ph.D.
Lacey Tauber
M.B.A., New York University; M.S., Pratt Institute;
B.A., Middlebury College; C.O.O., World
Monuments Fund.
Ph.D., New York University; founder, History Works.
M.S., Pratt Institute; B. Journalism, University of
Texas at Austin; interim academic coordinator, Pratt
Institute Historic Preservation.
Eric Allison, Ph.D., AICP
Ph.D., Columbia University; M. Phil., Columbia
University; M.S., Pratt Institute; B.A., Shimer College;
chair, National Council for Preservation Education;
author of Historic Preservation and the Livable City
(Wiley, 2011).
Carol Clark
M.S., Columbia University; B.A., University of
Michigan; assistant commissioner, N.Y.C. Department
of Housing Preservation and Development.
Pat Fisher-Olsen
M.S., Pratt Institute; B.A., Thomas Edison State
College; coordinator, Historic Preservation Certificate
Program, Bucks County Community College.
Bill Higgins
M.S., Columbia University; B.A., Boston College;
partner, Higgins & Quasebarth Historic Preservation
Consultants.
Alison Hirsch
Ph.D. Architecture, University of Pennsylvania; M.L.A.,
University of Pennsylvania, M.S. Historic Preservation,
University of Pennsylvania; B.A., Wesleyan University;
Founder, Foreground Design Agency.
Anne Hrychuk, Ph.D.
B.A., University of Alberta; M.A., New York University;
Ph.D., New York University.
Ned Kaufman, Ph.D.
ADJUNCT PROFES SOR
Ph.D., Yale University; heritage conservation
consultant; formerly director of preservation,
Municipal Art Society; author: Place, Race, and Story:
Essays on the Past and Future of Historic Preservation
(Routledge, 2009).
Jon Meyers
M.B.A., Columbia University; B.A., Dartmouth
College; vice president and director of real estate,
Governor’s Island Preservation and Education
Corporation.
Norman Mintz
M.S., Columbia University; B.A., Industrial Design,
Pratt Institute; design director, 34th St. Partnership;
founder, New York Main Street Alliance.
Theodore Prudon, Ph.D, FAIA
ADJUNCT PROFES SOR
Ph.D., Columbia University; M.A., Columbia
University; M.S., Columbia University; M.S., University
of Delft, the Netherlands; partner, Prudon &
Partners, LLP; president, DOCOMOMO U.S.; author:
Preservation of Modern Architecture (Wiley, 2008).
Vicki Weiner
M.S., Columbia University; B.A., Drew University;
director of planning and preservation, Pratt Center
Kevin Wolfe
M.Arch., Columbia University; M.A., Clark University;
B.L.A., City College of New York; B. A., Holy Cross
College; principal, Kevin Wolfe Architect.
197
Art and Design Education Faculty
Lisa Baumwell
B.S. Psychology, Union College; M.A. Counseling and
Guidance, New York University; Ph.D. Developmental
Psychology, New York University. Dr. Baumwell is a
research affiliate at New York University’s Center for
Research on Culture, Development, and Education.
Her work focuses on the relational and environmental factors influencing the development of
at-risk children, and the refinement of intervention
programs for families with infants and toddlers. She
has authored journal articles, chapters, and entries
regarding the impact of psychosocial circumstances
on children and families.
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.
Lisa Capone
Shari Fischberg
VISITING A S SO CIATE INSTRUC TOR
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 art-making, she has taught a range of
courses in a variety of private and public educational
venues, including the afterschool teaching
practicum with children living in shelters. Her most
recent exhibition took place at the Oklahoma City
Museum of Art 2012 in Fusion/A Century Of Glass. In
2011 she received a Pratt Faculty Development Fund
Award for her ongoing series Beauty + The Beast.
Mary Elmer-Dewitt
B.A., New York University; M.S., Art and Design
Education, Pratt Institute. An elementary school art
educator and mentor, Elmer-Dewitt taught with
Studio in a School for seven years and is currently a
facilitator with the Arts Achieve, a Federal i-3 research
project investigating the role of assessment in
ADJUNCT INSTRUCTOR
Shari Fischberg
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 Art 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.
Borinquen Gallo
B.F.A., 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
198 ART AND DESIGN EDUCATION FACULT Y
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 20thcentury Harlem. She serves on Pratt’s Middle States
Steering Committee and is actively engaged in efforts
to improve teaching and learning in higher education.
Theodora Skipitares
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.
Amy Brook Snider
PROFE S 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.
Aileen Wilson
PROFES SOR
M.A., Chelsea School of Art, London; Ed.D., Art/Art
Education, Teacher’s College, Columbia University,
New York; she was a recipient of a Fulbright specialist
grant, 2011, 2012 ; recent projects include Building
Space with Words, a multimedia, interactive
installation, March 2009, NYU-Poly; a curatorial
project, Neo-Nomads: What Travels With You? at
BRIC Rotunda Gallery, January–February, 2011, both
with Anne-Laure Fayard. In February 2013 she
co-curated with Tara Kopp the group exhibition
Studio Pedagogy: The Imperative of Teaching at
Gallery Bergen, NJ.
199
Arts and Cultural Management Faculty
Catherine Ashcraft
Jeffrey Klein
JoJo Spiker
Catherine Cacho-Leary
Klein gives workshops for Volunteer Lawyers for
the Arts.
M.P.S. Design Management, Pratt Institute;
Consultant, Proof Integrated Communications;
Practicum Professor, Boston University Center for
Digital Imaging Arts (CDIA).
B.A., Dance, The George Washington University;
M.B.A., Public Administration, Keller Graduate
School of Management; Cacho-Leary worked in
the Finance Department at Dia Art Foundation and
served as financial and administrative consultant
for QIIQ Productions, a literacy-based youth
theater organization. She also worked as a budget
analyst at Brooklyn Academy of Music and was
instrumental in restructuring and advancing the
internal operations of the Finance Department.
After earning her undergraduate degree in dance,
she studied at The Alvin Ailey American Dance
Center. She is the founder of Community Arts
Works, an arts management company that provides
arts management services and brings a broader
understanding of business to emerging performing
arts organizations.
Tyra Nicole Dumars
M.P.S. Design Management, Pratt Institute; Associate
Creative Director, Intermedia.net.
Richard Green
PROFE S SOR
Former director of new products and joint ventures,
Citibank-Diners Club; consultant specializing in
developing organizational change strategies and the
improvement of internal team processes.
Mary McBride
PROFES SOR AND CHAIR OF ARTS AND CULT UR AL
MANAGEMENT
Denise Tahara
Ph.D., New York University; Partner, Strategies for
Planned Change, an international consulting group
specializing in creating excellence by design; visiting
professor international universities including Esade,
Spain; Koc University, Turkey; ISG, France; European
University, Russia; former director, Management
Decision Lab, Stern School of Business, New York
University.
Ph.D., New York University Robert F. Wagner
Graduate School of Public Service; CPA, M.B.A, New
York University Leonard N. Stern School of Business;
Program Director, Health Policy and Management
MPH Program, New York Medical College School of
Health Sciences and Practice.
Susan Schear
Schear is the founder and president of ArtIsIn,
L.L.C. ArtIsIn focuses on business development,
management, facilitation, consulting, and coaching
services to arts and cultural organizations.
Christopher Shrum
M.A., Public Administration, New York University;
Shrum is the Director of Community Services
for Eastern Maine Development Corporation in
Bangor, Maine. His background includes community
economic development, healthcare, tourism,
and the arts. He served as a fellow at the National
Endowment for the Arts in policy, planning,
and research, focusing his attention on public
participation patterns in the arts.
Kelly Kocinski Trager
J.D., Brooklyn Law School; Attorney and Founder,
the Law Office of Kelly Kocinski Trager, P.C.
Alicia Whiteman
M.P.S. Design Management, Pratt Institute; Client
Development Manager, GCS, Marc Jacobs.
200
Creative Arts Therapy Faculty
Claudia Bader
Kimberly Bush
Ted Ehrhardt
LCAT, LP, NCPsychA, ATR-BC; M.P.S., Pratt
Institute, licensed creative arts therapist, licensed
psychoanalyst; executive director emerita, Institute
for Expressive Analysis (2002–2008); board member
1993–2002, IEA; courses: Art Diagnosis; Symbolism
in Art Therapy; Alchemy, Symbolism, and Creativity;
Dream Analysis; Mandala; MARI certification,
Projective Drawing Institute Certification; private
practice, Manhattan.
LCAT, ATR-BC; B.A., Sarah Lawrence College; M.F.A.,
Parsons the New School of Design; Adv. Cert.,
Pratt Institute; Adv. Cert., Westchester Institute
for Psychoanalysis and Psychotherapy; has been
working creatively with children, teachers, and
parents for over 20 years. She is a visual artist, a
NYS licensed Creative Arts Therapist, and Certified
Child Life Specialist. In addition, she is completing
her training as psychoanalytic candidate at the
Westchester Institute for Training in Psychotherapy
and Psychoanalysis.
LCAT, BC-DMT, CMA; M.S. Hunter College; faculty,
Laban-Bartenieff Institute of Movement Studies;
Director: Creative Arts Therapies department and
dance/movement therapist, Woodhull Medical and
Mental Health Center; private practice in NYC.
Jean Davis
LCAT, BC-DMT; B.A., Hofstra University; M.S., Hunter
College, City University of New York; certified group
psychotherapist; founder/director, Psychiatric
Rehabilitation Therapy-North General Hospital;
approval committee, American Dance Therapy
Association; administrative, clinical, consulting,
supervisory, and teaching experience in multiple
psychiatric facilities.
Joachim Boenig
LCAT, ATR.
Shannon Bradley
LCAT, ATR-BC; M.S. Art Therapy and Creativity
Development from Pratt Institute; Bradley currently
works at Interfaith Medical Center, and maintains
a private practice in Manhattan where she has
experience working with anxiety, depression,
trauma, life transitions, addiction, eating disorders,
mental and medical illness.
Corinna Brown
LCAT, BC-DMT; B.A.; M.A., State University of New York
at Albany; M.S., Hunter College City University of New
York; Certified Alcoholism Counselor; Certificate in
Neo-Reichian Psychotherapy; current vice president
and former editor of the New York State Chapter of
the American Dance Therapy Association newsletter;
ADTA Research Subcommittee; experience in
addictions, adults with multiple sclerosis, adult
inpatient and outpatient psychiatry, geriatrics, and
men with AIDS/HIV; private practice.
LCAT, ATR-BC; M.P.S., Pratt Institute; private
practice; former director, Transitional Living
Community-Brooklyn Bureau of Community Service;
former clinical director, Greenwich Village Youth
Council; postgraduate training in group therapy,
environmental psychology, and gestalt therapy;
published in Art Therapy: Journal of the American Art
Therapy Association and The Arts in Psychotherapy.
Christina Devereaux
Ph.D., LCAT, LMHC, BC-DMT; B.A., Kent State
University; M.A., University of California Los Angeles;
Ph.D., Santa Barbara Graduate Institute; Board of
Directors, chair of Public Relations, and Newsletter
Editor, American Dance Therapy Association; past
president, Southern California Chapter, ADTA;
former Executive Board member, California Coalition
for Counseling Licensure; experience in trauma,
domestic violence, attachment in child development,
family work, and prenatal and perinatal psychology.
Alison Gigl-George
LCAT, ATR-BC.
Valerie Hubbs
VISITING INSTRUCTOR
Melissa Klay
ADJUNCT INSTRUCTOR
Ph.D., LCAT, ATR-BC; B.A., Stephens College; M.P.S.,
Pratt Institute; Ph.D., Pacifica Graduate Institute;
has worked with children, adolescents, and adults
in inpatient and outpatient settings. Between 1998
and 2001 she attended the Institute for Expressive
Analysis and participated in a number of courses in
play therapy and sandplay therapy. Currently, has a
private practice and works with adolescents at St.
Luke’s Hospital Center.
CREATIVE ARTS THERAPY FACULT Y 201
Fred Landers
Maria Romani de Goes
Jean Seibel
VISITING INSTRUCTOR
VISITING INSTRUCTOR
LCAT, ATR; M.P.S., Pratt Institute; One-year training
in family therapy, Roberto Clemente Center;
Postgraduate training in group psychotherapy,
Eastern Group Psychotherapy Society; Co-founder,
Art of Parenting since 2008; private practice;
provides group and individual psychotherapy;
special interest in migration and acculturation as well
as parenting;
LCAT, BC-DMT.
Ph.D., LCAT, RDT; Landers is a licenced creative
arts therapist who publishes on the relationship
between play (as it appears in a Developmental
Transformation Drama Therapy Session) and violent
behavior outside of session. He has worked with
sexually abused children and adolescents as well as
combat veterans with PTSD and violent behavior as a
result of military service. Ha has developed a form of
activism called Urban Play that involves mutual play
with people in public places, and has taught drama
therapy in South Korea, Thailand, China, Japan, New
Zealand, Uganda, Kenya, Canada, and the U.S.
Sara Rothstein
VISITING INSTRUCTOR
LCAT, LP, ATR.
LCAT, ATR; M.P.S., Pratt Institute, Creative Arts
Therapy and Creativity Development; licensed
and registered creative arts therapist; earned a
certificate of completion from Eastern Group
Psychotherapy Society; in private practice
co-founded and co-facilitates Art of Parenting,
providing individual and group work and
psychotherapy for parents with young children and
their families.
Julie Miller
Madeline Rugh
Judith R. Levy
LCAT, LMFT, LP, ATR-BC.
Judith Luongo
CHAIR
LCSW, LCAT, BC-DMT; M.A./M.S., Hunter College
Dance Therapy Master’s Program and the Hunter
School of Social Work; maintains a private practice in
dance/movement and verbal psychotherapy and is
co-director of the New York Center for the Study of
Authentic Movement; teaching Authentic Movement
and DMT nationally and internationally in China.
Deborah Rice
LCAT, LMHC, ATR; B.S., University of Pittsburgh,
Psychology and Studio Arts; M.P.S. Pratt Institute,
Creative Arts Therapy and Creativity Development;
Faculty, Pratt Institute’s Creative Arts Therapy
Department; Private Practice; Clinical Supervisor,
Counseling In Schools; Former Clinical Supervisor,
Artistic Noise.
Ph.D., ATR-BC; M.A., University of Michigan at
Ann Arbor; B.F.A., Columbus College of Art and
Design; Ph.D., University of Oklahoma; specializing
in providing healing art experiences to disabled
children and older adults and developing
programming at the interface of art, ecology and
spirituality; uses the arts to serve as the container
and primary vehicle for expressing synthesized
knowledge and for addressing the health and healing
needs of the individual or group.
Dina Schapiro
LCAT, ATR-BC; M.P.S., Pratt Institute; Faculty in
Creative Arts Therapy Department since 2003
in both the Academic Year and Low Residency
programs, teaching Dynamics of Art Materials, Family
therapy and supervision courses; Coordinator,
Fieldwork/Practicum for the Art Therapy
department placing and coordinating all art therapy
students in internships; faculty, Private Practice in
Sag Harbor and NYC, specializing in eating disorders,
addictions, and anxiety.
Linda Siegel
DIRECTOR OF GR ADUATE ART THER APY PRO GR AM ;
LCAT, ATR-BC; Certificate in Child and Adolescent
Psychotherapy, Brooklyn Institute for Psychotherapy
and Psychoanalysis; Certificate in Parent Infant
Psychotherapy, Ani Bergaman Parent Infant Training
Program in Parent Infant Psy; previous director of Art
and Creative Therapy Program at New Directions, outpatient substance abuse program; co-founder, Park
Slope Counseling Center since 1990; exhibiting artist.
Jennifer Frank Tantia
VISITING INSTRUCTOR
Ph.D., LCAT, BC-DMT; M.S., Pratt Institute; Ph.D.,
The Chicago School for Professional Psychology;
advanced training in somatic experiencing; past PR
chair, New York Coalition of Creative Arts Therapies;
past program director, New York State Chapter,
ADTA; current research committee, United States
Body Association for Body Psychotherapy; published
in the U.S.A. Body Psychotherapy Journal and
several ADTA national and state chapter newsletters;
national and international conference presenter;
private practice: leading authentic movement
groups and specializing in trauma and somatic
disorders; areas of research interest: embodied
epistemology and dance/movement therapy and
somatic psychology pedagogy.
Laurel Thompson
Ph.D., LCAT, ATR-BC, BC-DMT; M.P.S., Pratt
Institute; Ph.D., Union Institute & University;
board member, American Dance Therapy
Association; chair of Education, Research &
Practice; Education Committee, American Art
Therapy Association; board member, USA Body
Psychotherapy Association; editorial board for
Arts in Psychotherapy, Art Therapy: The American
Journal of Art Therapy, and Body, Movement and
Psychotherapy; numerous publications and extensive
presentations, credentialed dance movement
therapist, credentialed art therapist, focusing
trainer; private practice specializing in eating
disorders, dissociative disorders, and trauma.
202 CREATIVE ARTS THERAPY FACULT Y
Susan Tortora
Ph.D., LCAT, BC-DMT.
Elissa White
LCAT, BC-DMT; Charter member and past president
of American Dance Therapy Association (ADTA) and
other board positions since 1964. Former co-editor
and editorial board member of the American Journal
of Dance Therapy. Co-founder of the Dance Therapy
Program at Hunter College, CUNY; author, articles on
dance therapy and Lab analysis, extensive teaching
and presenter of Marian Chace theory and practice.
Joan Wittig
DIRECTOR OF GR ADUATE DANCE /MOVEMEN T
THER APY PRO GR AM; A S SO CIATE PROFE S SOR
LCAT, BC-DMT; B.S., University of Wisconsin at
Madison; M.S., Hunter College, City University of New
York; worked for New York City Health and Hospitals
Corporation for 16 years, including seven years as
director of the Creative Arts Therapy Department
at Woodhull Medical and Mental Health Center. She
teaches and presents widely, serves on the Approval
Committee for the American Dance Therapy Association, is a member of the New York State Board
for Mental Health Professionals, and has a private
practice in Manhattan; co-director of the New York
Center for Authentic Movement; co-director, teacher,
IICAT program developing DMT in Bejing, Shanghai,
and Hong Kong, China.
Eva Teirstein Young
LCAT, ATR-BC; M.F.A., School of the Art Institute of
Chicago; M.P.S. Creative Arts Therapy, Pratt Institute; graduate, The William Alanson White Institute’s
Child and Adolescent Psychoanalytic Psychotherapy
program; has worked with children, adolescents,
and families at the New York Foundling Hospital and
Bellevue Hospital; creative arts therapy consultant to
the Young Dancemakers Company and has a private
practice in NYC.
203
Design Management Faculty
Laurence DeGaetano
Richard Green
Jo Ann Stonier
PROFES SOR
M.B.A., New York University; Financial Officer, Met
Life Financial Services; member, American Institute
of Certified Public Accountants.
Former director of new products and joint ventures,
Citibank-Diners Club; consultant specializing in
developing organizational change strategies and the
improvement of internal team processes.
J.D., St. John’s University; Senior Vice President,
Global Privacy & Data Protection Officer, MasterCard
Worldwide; former Chief Privacy Officer, American
Express Company.
Mary McBride
Marvin Waldman
PROFES SOR AND CHAIR OF DESIGN MANAGEMENT
Ph.D., New York University; Partner, Strategies for
Planned Change, an international consulting group
specializing in creating excellence by design; visiting
professor at international universities including
Esade, Spain; Koc University, Turkey; ISG, France;
European University, Russia; former director,
Management Decision Lab, Stern School of Business,
New York University.
M.B.A., Baruch College; President, The Shadow
Group, an advertising group specializing in strategy
for not-for-profit companies.
Dyanis DeJesús
M.P.S. Design Management, Pratt Institute; Partner/
Creative Director, Prototipo.Media; former Associate
Creative Director, Leo Burnett Milan
Tyra Nicole Dumars
M.P.S., Design Management, Pratt Institute;
Associate Creative Director, Intermedia.net
Roger Dunbar
Ph.D., Cornell University; Professor of Management,
New York University, Stern School of Business
Administration.
Scott Fiaschetti
VP, Insights & Strategy, Questus, Inc.
Larry Gibbs
Jacqueline McCormack
M.P.S., Pratt Institute; Communications Director,
Federal Reserve Bank of New York; former Chief
of Staff to New York State Banking Commissioner;
former Director of Communications and Employee
Engagement, TD Waterhouse.
James Murray
M.P.S., Pratt Institute; Vice President of Design/
Product Development/Visual Merchandising, Simon
Pearce; former Design Director, Bed, Bath and Beyond.
Denise Tahara
Ph.D., New York University Robert F. Wagner
Graduate School of Public Service; CPA, M.B.A., New
York University Leonard N. Stern School of Business;
Program Director, Health Policy and Management
MPH Program, New York Medical College School of
Health Sciences and Practice.
Kelly Kocinski Trager
J.D., Brooklyn Law School; Attorney and Founder,
The Law Office of Kelly Kocinski Trager, P.C.
204
Digital Arts Faculty
Peter Patchen
Justin Berry
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.
Digital Arts
Carla Gannis
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.
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.
Thomas Bone
Professional digital and traditional animator and
cartoonist with over 14 years of professional work
experience in film, television, illustrations, web,
advertising, and merchandising productions.
Liubomir Borissov
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.
DIGITAL ARTS FACULT Y 205
Edward Darino
Kenneth Hughes
VISITING INSTRUCTOR
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.
Marianna Ellenberg
M.A., Slade School of Art; B.A., Wesleyan University;
2009 LMCC Swing Space residency; exhibitions:
The N.Y. Underground Film Festival, 2007, The
Collectif Jeune Cinéma, 2003, LA Freewaves, 2006;
exhibitions: The Pleasures Seekers, Chashama
Gallery, NYC, 2009, Hysteria, UC Long Beach, 2008.
Mike Enright
B.F.A., The University of the Arts; M.F.A., California
Institute of the Arts; curated national and
international animated shorts and features for the
Philadelphia Film Society (2002–08); also produced
animated campaigns for the Philadelphia Film
Festival and The Philadelphia International Gay and
Lesbian Film Festival; scenic painter for theater,
broadcast, and museum installations, 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
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.
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,
206 DIGITAL ARTS FACULT Y
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.
Ramsey Nasser
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
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
Jamal Sullivan
VISITING INSTRUCTOR
VISITING INSTRUCTOR
Digital Arts
Michael O’Rourke
PROFES 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 BirkinaFaso, 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.
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
207
Fellowship. Based in Brooklyn, she teaches in the
graduate program in digital arts at Pratt Institute, and
at Bennington College in Vermont.
Bryan Zanisnik
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.
208
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, NY; 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, Hong Ik University, Seoul,
Korea; Jerome Foundation Grant Residency, St.
John’s University; other professional: master kiln
builder; art fabricator, Polich Art Works, Newburgh,
NY; 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, NJ; Miyo Oto, San
Francisco; Flushing Council of the Arts and Sciences,
Flushing, NY; Craze Gallery, London;
www.karenbachmanndesigns.com
for the Arts, New York, NY; Josée Bienvenu Gallery,
New York, NY; Tyler Estate, New York, NY; Musée
d’Art Américain Giverny, Giverny, France; awards
and residencies: S.J. Wallace Truman Fund Award,
National Academy, New York, NY; 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 D.C.
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
Lisha Bai
B.A., Washington University, St. Louis; M.F.A, Yale
University; exhibitions: National Academy, New York,
NY; MCLA Gallery 51, North Adams, Mass.; Bravin
Lee Programs, New York, NY; Zone Chelsea Center
B.F.A., East Carolina University; M.F.A., Virginia
Commonwealth University; recent exhibition and
curatorial projects: Location One New York; P.S.1,
New York; public arts projects: MTA Arts for Transit,
BACA, and PACC; special projects manager, P.S.
1 Center for Contemporary Art; Teme Celeste
magazine; national and international exhibitions;
recipient of Pollock-Krasner fellowship;
lisabateman.tumblr.com/post/3622546208
Michael Brennan
ADJUNCT INSTRUCTOR
M.F.A., Pratt Institute, 1992; B.A., University of
Florida, 1987; exhibited with minusspace, 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
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
FINE ARTS FACULT Y 209
Mona Brody
Nanette Carter
Grayson Cox
ADJUNCT A S SO CIATE PROFES SOR, CO ORDINATOR
FOR DR AWING
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, NJ;
The Montclair Art Museum, NJ; Pleiades Gallery,
NY; group exhibitions: Southwest Minnesota State
University Art Museum, Marshall; Kunstlerhaus,
Graz, Austria; awards: Geraldine Dodge Foundation
Grant; National Association for the Advancement of
Psychoanalysis, NY; Printmaking Fellowship, Rutgers
Center for Innovative Print and Paper; collections:
Museum of Modern Art Library, New York; The
Montclair Art Museum, Montclair, NJ; 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., Cooper Union,
1964; since 1971: numerous solo and group exhibitions here and abroad; represented by Nancy
Hoffman Gallery nancyhoffmangallery.com; awards:
Gottlieb Foundation, Elizabeth Foundation, PollockKrasner 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.
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 City; had solo show in Miami in October
2012 and will exhibit in Sao Paolo, Brazil in 2013 and
Havana, Cuba in 2014; www.nanettecarter.com
Cammi Climaco
B.F.A., Kent State University, Ohio; M.F.A., Cranbrook
Academy of Art, Mich.; Pilchuck Glass School,
Seattle; solo exhibitions: Lump Gallery, Raleigh, NC.;
Garden Fresh, Chicago, Ill.; 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
David Cohen
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., The 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
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
Peggy Cyphers
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, P.S.1/ New York
Studio Award; Ingor Foundation Award; represented
by E. M. Donahue Gallery, NY; Solo Press, NY; 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,
NY, and the recent Tattoo Parlor, at California State
University at Fullerton, Santa Anna; group exhibitions
include New Museum of Contemporary Art; Whitney
Museum of Contemporary Art/Champion, NY;
Carnegie Museum of Art, Pittsburgh; awards: National
Endowment for the Arts Fellowship, New York Foundation for the Arts Fellowship; author of: “Painting
210 FINE ARTS FACULT Y
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
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) P.S.1, New York;
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); Georges Bataille’s Story of the Eye
(The Institute for Cultural Inquiry, Calif.).
Brad Ewing
M.F.A., Rhode Island School of Design; Teaching
Certificate, Brown University; B.F.A., Cornish College
of the Arts; exhibitions: IPCNY, New York, NY; Temple
University, Rome, Italy; 193c Gallery, Brooklyn; professional activities: director and printer, The Grenfell
Press, New York, NY; Printer, Sienese Shredder
Editions, New York, NY; director and printer, Marginal
Editions, New York, NY; printer for artist Philip Taaffe.
New York, NY.
Patrick Fenton
M.F.A., Stanford University; B.A., University of
California at Los Angeles; Partner and co-founder
of Swayspace, Brooklyn, a custom design studio with
an emphasis on custom printing, letterpress, book
design, interface design, and identity design. Recent
exhibitions include International Print Center, Art
Directors Club, and Governors Island, in New York.
Featured in Made in New York: Handcrafted Works by
Master Artisans.
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 Heidel-
berg 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, now playing at
film festivals; www.allenframe.net
Linda Francis
ADJUNCT PROFES SOR
M.A., B.F.A., Hunter College; selected solo
exhibitions include Hal Bromm Gallery, Gallerie
Gislain Mollet-Vieville, PS 1, Damon Brandt Gallery,
Gallerie Per Sten, Wm. Paterson U., 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
Hunter College, Rogalund Kunstmuseum, Sydney
Non Objective, Vassar College, 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 Porcelain Work, Cross
Mackenzie Gallery, 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, NY, Michael Fujita,
New Work, Red Star Studios, Kansas City, Gyeonggi
International CeraMIX Biennale International
Competition, Icheon, Republic of Korea, Strangely
Familiar, NCECA, University of South Florida, School
of Art, Pretty Young Things, Lacoste Gallery, Midsummer Eve, Meredith Gallery, Correlations, Red Star
Studios, Small Favors V, Philadelphia, Of This Century,
The Clay Studio; Conversations, Coincidences, and
Motivations: The Alfred Experience, Snyderman
Gallery, Philadelphia, Pa.; www.michaelfujita.com
Joseph Fyfe
B.F.A., University of the Arts, Philadelphia College
of Art; selected solo exhibitions: JG Contemporary, NYC; Ryllega Gallery, Hanoi, Vietnam; Cynthia
Broan Gallery, NYC; selected group exhibitions
include “Intersections,” Meyer School of Art; “Paint/
Not Paint,” Paul Sharpe Contemporary Art, NYC;
“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
Nancy Grimes
Shirley Kaneda
PROFES SOR
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: New York Public Library; Kresge Museum of
Art; Brooklyn Museum; National Museum of Women
in the Arts; Colegio de Arquitectos de Estado de
Jalisco, Guadalajara, Mexico; Library of Congress;
publications: Frayed Edges (Ediciones Vigia, Matanzas, Cuba, 2001); Facing Eviction and Don’t Lose
Heart, ISCA; www.annegilman.com
B.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
B.F.A., Parsons 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 Rousilion-Languedoc, France;
Centre d’Art d’Ivry, Paris; publications include: Art
in America, Art News, Contemporary, The New York
Times, Time Out; Beauty and the Contemporary
Sublime by Jeremy Gilbert Rolfe; What is Abstraction
by Andrew Benjamin; Talking Painting: Dialogues with
12 Contemporary Abstract Painters by David Ryan;
awards: Guggenheim Memorial Foundation Grant,
Pollock Krasner Foundation Grant, NEA Regional Fellowship, and The Elizabeth Foundation; contributing
editor for BOMB Magazine and has published articles,
catalogue essays, and reviews for various publications
and journals since 1989; www.shirleykaneda.com
Jonathan Goodman
B.A., Columbia University; M.A., University of
Pennsylvania; freelance writer and editor, various
publications, including Art in America, ARTnews,
Drawing, and Art Asia Pacific.
David Gothard
B.F.A., Pratt Institute; freelance illustrator providing
conceptual images for major national and international publications such as The Wall Street Journal,
Newsweek, Time Magazine, The Los Angeles Times
and The New York Times; www.davidgothard.com
Toni Greenbaum
M.A., Hunter College; B.A., City College of New York;
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 NYC and Southern Exposure in
San Francisco; recipient of New York Foundation for
the Arts fellowship in 2011; has a solo show upcoming
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, NY; Max Protetch, New York, NY; Islip
Art Museum, East Islip, NY; Ronald Feldman Gallery,
New York, NY; Brooklyn Museum; Centre of Attention, London; publications: Contemporary Magazine;
The New York Times, Village Voice; Elle magazine;
founder and director of Momenta Art, Brooklyn, NY;
www.ericheist.com
Martine Kacynski
M.F.A., Parsons School of Design; B.F.A., Liverpool Polytechnic, England; exhibitions: Sculpture
Space, Utica, NY; Mary Dinaburg Studios, NY; Affinity
Archives, Dublin, Ireland; Jessica Murray Projects,
Brooklyn; Kent Gallery, NY; Art and Idea, Mexico City;
Davis Anderson Gallery, Buffalo, NY; public sculpture:
Socrates Sculpture Park, NY; The Rosen Sculpture
Park, North Carolina; Lipe Art Park in Syracuse, NY;
recipient of a New York Foundation for the Arts Fellowship; represented by Dinaburg Arts in New York;
www.martinestudio.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; Library of
Congress, Washington, DC; 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 The Museum of Modern Art focusing
on photography; also worked for six years as curator
and head of acquisitions for the Dreyfus Mellon
Fund; since completing her Ph.D. 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; currently teaches in the Fine
Arts department of Pratt Institute; most recently,
participated as a panelist at “Younger than Pontius
Pilate” at The National Academy Museum; recipient
of a Marie Walsh Sharpe residency (2005–2006) 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; exhibitions
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 2001–2002 for NURTUREart Non-Profit Inc.; from 2005–2009 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 Borgenicht-Brandt;
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,
Austria; Berlin, Germany; and Torino, Italy, among
others; recipient of a 2001 grant from the PollockKrasner 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, N.Y.; Center for Creative Photogaphy, Tucson; Galerie Francoise Paviot,
Paris; Galerie Anita Beckers, Frankfurt; Westfalischer
Kunstverein, Munster, Germany; Fotomuseum,
Munich; Frankfurter Kunstverein, Frankfurt; Stadtgalerie Saarbruchen; Musee de l’Elysee, Lausanne;
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 N.Y.C.;
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,
Art News; 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 NY; 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 Parson’s School of
Design, New York; curator/coordinator of the crossinstitutional 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,
NY, Spike Gallery, NYC, Rogue Space, NYC, Froelick
Gallery, Portland, Oregon; Bernabe Somoza Fine
Art, Houston, Texas; Karin Clarke Gallery, Eugene,
Oregon; curated “Artists Registries: Pierogi Flat
Files;” publications: Berlin Journal, Tin House Magazine, 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 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 The Museum of Modern Art, 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: P.S.1/MoMA Project Room, New York;
Mattress Factory, Pittsburgh; Esso Gallery, New
York; AC Projects, New York; KX Galerie, Hamburg;
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, NY;
Contemporary Museum, Baltimore, Md.; 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,
N.Y.C.; “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 L.A.; 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,
L.A; visiting artist: the Victorian College of Art, Melbourne, Australia; publications include Monoprinting
(Jackie Newell, A & C Black, Great Britain); WaterBased 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 MoMA PS1, 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 recently 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 during 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 Donn’e 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, NYU, 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; co-curator with artist
Margaret Evangeline in upcoming “One-to-One” exhibition of contemporary work at The Rose Art Museum;
selected exhibitions curated include: “Inadmissible,”
HP Garcia Gallery New York; “BROOKLYN!” Palm
Beach ICA; “ClenchClutchFlinch,” Paul Rodgers, New
York; “Paradise 8,” Exit Art, New York; “Plural Speech,”
White Box; “PopSurrealism,” Aldrich Museum; “Open
Salvo,” White Box, 1998; “Bypass,” KunstmuseumBonn, 1997; “Nancy Spero: Retrospective,” New
Museum of Contemporary Art; extensive service
as resident and guest critic: RISD, Art OMI, Parsons
School of Art; including lectures at Reykavik 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, NY, 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, NY; “Preview,” Howard Scott Gallery, New York,
NY; “The Fanelli Show,” OK Harris Gallery, New York,
NY, “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), NYC; The Newark Museum, NJ;
The Everson Museum of Art, NY; The Houston Museum
of Fine Arts, Texas, 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, NYC; curated by Rachel
Churner, The Death Affect, Artblog Artblog, NYC; 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, Pa.; BANG, Power Plant Productions,
Philadelphia, Pa.; Jumbalaya, Elkins Tyler Galleries,
Philadelphia, Pa.; Four from Philly, Cedar Crest College, Allentown, Pa.; www.bethanypelle.com
Sheila Pepe
William Richards
Mary Beth Rozkewicz
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,
Massachusetts; 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;
MoMA PS1, 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.
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,
NY; 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, NY; Brooklyn Museum; Virginia Museum
of Fine Arts, Richmond; Art Institute of Chicago;
Pennsylvania Academy of the Fine Arts, Phila.;
San Francisco Museum of Modern Art; Kunsthalle,
Nuremberg, Germany; Salas de Exposiciones de
Bellas Artes, Madrid, Spain; NEA Grant and CAPS
Grant; awarded a gold medal by the Society of
Illustrators, 1968; Represented by Nancy Hoffman Gallery, NY, 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, D.C.; recipient of grants from the National Endowment for
the Arts and the Creative Artists Public Service
Program, New York.
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.
Catherine Redmond
Art Students League of New York, 1974; Harpur
College, SUNY, 1965; Cornell University, 1962; Art
Students League of NY; selected solo and group exhibitions at David Findlay Jr., N.Y.; M B Modern, N.Y.;
Albright Knox Art Gallery, Buffalo; Butler Institute
of American Art; Babcock Galleries, N.Y.; Cleveland
Museum of Art; Jerry Soloman Gallery, Los Angeles;
Jan Cicero Gallery, Chicago, Ill.; collections include:
Art Students League of N.Y., Butler Museum of
American Art, Citibank of N.Y., Cleveland Clinic Foundation, Dreyfus Corporation, Luther College Museum,
Progressive Corporate Collection, and Reading Public
Museum; www.catherineredmond.com
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
Howard Rosenthal
M.F.A., Pratt Institute; B.F.A., Rhode Island School
of Design; recipient of grants from the National
Endowment for the Arts and the Corporation for
Public Broadcasting; commissions from Snug Harbor
Cultural Center in New York and Crosby Gardens
in Toledo, Ohio; his work has been the subject of
one-person exhibitions in New York, Los Angeles,
San Francisco, Boston, San Diego, and Tokyo, and
has been included in group exhibitions throughout
the United States and Europe; a documentary film
about his work has been broadcast nationwide by
the Public Broadcasting System, and can currently
be viewed on YouTube by typing in his name; 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.
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, Long Island City,
New York; 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, Argentina; Finesilver Gallery, San Antonio,
Texas; Weatherspoon Art Museum, Greensboro,
North Carolina; Galeria Animal, Santiago de Chile,
Chile; White Columns, New York; Dumbo Arts Center,
New York; Centre de Recherche Imaginaire et
Creation, Chambery, France; awards: Guggenheim
Foundation, Pollock-Krasner 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,
Argentina; 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 and Artist’s Space in New York City;
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 City, Bad Girls at New York
City’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, Ill., the Hirshhorn
Museum and Sculpture Garden, Washington, D.C.,
the Virginia Museum of Art, Richmond, Va., the
Whitney Museum Philip Morris Gallery, New York,
NY, 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 D.C., Rapture
at the Barbican Museum, London, England, New
Material as New Media at the Fabric Workshop and
Museum, Philadelphia, Pa., 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, NY;
“Obituaries to Prayer Flags,” Pace University Gallery;
Catskill Mountain Foundation Gallery, Hunter, NY;
“Timeless Tasks,” Teahouse Gallery, Rochester, NY;
“DRESS,” Hudson Opera House, Hudson, NY; “Mind/
Full, Working with artists,” 910 Art Gallery, Denver,
Colo.; www.carlashapiro.com
Sarah Shebaro
Gerald Siciliano
PRIN TMAKING TECHNICIAN, VISITING INSTRUCTOR
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
second-hand 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
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
NY 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
symposium 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
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,
DC (2009), the Fabric Workshop and Museum in
Philadelphia (2006), and Projects at The Museum
of Modern Art in New York (2004); other venues
include the New Museum of Contemporary Art, the
Museum of Arts and Design in NYC, 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 City;
site-specific permanent installations have been
commissioned by the U.S. General Services Administration Art in Architecture Award, New York City’s
Percent for the Arts, and MTA Art for Transit; numerous awards, including the New York Foundation for
the Arts Fellowship in Architecture/ Environmental
Structures (2008) and Sculpture (2003), PollockKrasner 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
Robbin Silverberg
B.A., Sculpture and Art History, Princeton University;
founding director of Dobbin Mill, a hand-papermaking studio, and Dobbin Books, a collaborative
artist book studio; artwork is divided between artist
books and installations; the work conceptually
focuses on word cognition and interlinearity, with
an emphasis on process and paper as activated
substrate; has exhibited and taught extensively
in the U.S., Canada, South Africa, South Korea,
Mexico, and Europe; her artwork is found in numerous collections, such as the Museum Meermanno,
The Hague, Bibliotheque 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
Tim Spelios
Irvin Tepper
PROFE S SOR
ADJUNCT PROFES SOR
M.F.A., Painting, New York University; B.F.A., Graphic
Arts and Illustration/Fine Arts, Pratt Institute;
1965,1966: Drawing, Wagner Coll. 1969-1971: Ptg
Workshop, Art Alliance of Cent. Pa. 1975: Visualization
Workshop, Wainwright Center, Rye, NY; 1984:
painting, Richmond Coll., London 1987-91: painting
and drawing, ATI, Stocton State College, NJ; 1990:
Art Institute of Chicago, Oxbow, MI; 1992, 1998:
Painting: MS Art Colony 2000; 2001: U. of Rio Grande,
grad. Children’s Bk Illus., Visualization, Drwg; 1962 to
present: Pratt – Undergrad: painting, drawing, figure
drawing, sculpture Illus. and Symbolic Imagery; Sr.
Ind. Proj. Grad: Drawing seminar, MFA Thesis Ptg.
2007: Walter Gropius Master Artist, Huntington Mus.
of Art. WV; 22 solo exhibitions and over 100 group
exhibitions around the U.S.; collections: Rutgers
U., U. of MS; NY Stock Exch; PAFA, Lauren Rogers
Museum, Laurel MS; Library of Congress; Kassel
Documenta Archiv; Koln Ludwig Mus; Stuttgart
Staatsgalerie, Huntington Mus. of Art, WV; Author:
The Pen & Ink Book (Watson-Guptill); Circus Train
(Abrams); The Train a work in series, Watercolor
Mag., Sp. 2006; illustrated 27 children’s books, (Hon.
Men. Orbis Pictus Award 2007); editorial illustrator
for Time, Newsweek, Harper’s, NY Times; Watergate
courtroom artist for Newsweek; www.josasmith.com
B.F.A. University of Illinois at Urbana-Champaign,
1978; Brooklynite Spelios takes photos, assembles
collage, plays drums, cuts up sounds, makes sculpture, 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 D.C.; 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
Caroine Cox, co-founded and ran Flipside Gallery
from 1996-2001, showing a wide range of innovative
art forms; www.timspelios.com
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
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 The Museum of Modern Art, 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 Biblioteque Nationale, Paris, and the Tate
Gallery, London.
Joseph Stauber
M.F.A., SUNY Purchase; B.F.A., Pratt Institute; master
printer and chromiste at Brand-X Editions, NY 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; 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, Kansas; Sungkok Art Museum, Seoul,
Korea; Facere Gallery, Seattle; Wexler Gallery,
Philadelphia; CraftLand, Providence; Quirk Gallery,
Richmond, Virginia; Velvet da Vinci Gallery, San
Francisco; Sienna Gallery, Lenox, Masachusetts;
Luke & Elroy Gallery, Pittsburgh; State Museum of
Pennsylvania, Harrisburg.
Christopher Verstegen
NON-ACADEMIC ST UDIO AND G AL L ERY
SUPERVISOR, VISITING INS TRUC TOR
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, NY;
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 artist-inresident at The Banff Centre in Alberta, Canada, and
Camac Centre D’Art in Marnay-sur-Seine, France;
www.emilyweiner.com
Dina Weiss
Martha Wilson
ACTING A S SISTAN T 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 mediums with works in the Viewing Program slide
registry at The Drawing Center; exhibition venues
include the James Gallery at CUNY Graduate Center,
NY; San Diego Contemporary Museum of Art, Calif.;
Mixed Greens Gallery, NY; City Without Walls,
Newark, NJ; Hudson Valley Contemporary Center
for Art, Peekskill, NY; The LAB, San Francisco, Calif.;
Untitled Space, New Haven, Conn.; Art in General,
New York City; artworks included in selected public
collections at the Brooklyn Museum and the New
York Public Library; www.dinaweiss.com
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 in Nova Scotia, and further developed her
performative and video-based practice after moving
in 1974 to New York City, 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, video, online and performance
art, further challenging institutional norms, the roles
artists play within society, and expectations about
what constitutes acceptable art mediums;
www.marthawilson.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, Oregon, 2002; B.A., American Studies,
Literature, University of California, Santa Cruz, 1995;
www.rachelwiecking.com/home.html
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
PROFES SOR
B.F.A., M.F.A., Pratt Institute; exhibitions: Brooklyn
Museum; Riverside Museum; Alan Stone Gallery,
New York; Royal Mark.
219
Communications Design Faculty
Santiago Piedrafita
Barry Berger
CHAIR, A S SO CIATE PROFE S SOR
M.S., Communications Design, Pratt Institute;
B.I.D., Universidade Estadual do Rio de Janeiro,
Brazil. Before joining Pratt, Piedrafita was associate
professor in the Department of Graphic and Industrial
Design at the College of Design, North Carolina State
University, teaching at both undergraduate and
graduate levels. From 2006 to 2012, he served as head
of the department. Piedrafita chaired the Design
Department at MCAD, Minneapolis College of Art and
Design, from 2004-2006. He was senior designer at
the Walker Art Center’s Design Department. At the
Walker, he designed a diverse array of exhibitions,
communications, and publications for the museum’s
multidisciplinary curatorial and institutional
departments. In New York, he worked in renowned
studios such as the Museum of Modern Art’s in-house
Design Department, J. Abbott Miller’s Design/Writing/
Research, and Chermayeff & Geismar Inc. Presently a
solo practitioner, from 2002 to 2012 Piedrafita worked
under the name TWO, a studio focusing on identity
and editorial design projects for various design,
architecture, and art-related cultural institutions.
B.I.D., Pratt Institute; founder, owner, and creative
director of Barry David Berger + Associates, Inc.,
established in 1977, specializing in merchandising,
packaging, product design, graphic design,
and commercial interiors; Fulbright Grant
recipient, member of AIGA, IDSA, and APDF; had
previously taught at Pratt for many years before
taking a sabbatical.
Chava Ben-Amos
Jennifer Bernstein
PROFE S SOR
B.A., Bezalel Art Academy in Jerusalem, Israel;
served two years in the Israeli Army, then returned
to school and began her design career upon
graduation; won several awards, including one for
a Holocaust memorial postage stamp, and moved
to the U.S. in 1964, produced posters for Broadway
productions; served as art director at several
prestigious New York design firms before founding
her own studio.
Warren Bernard
A S SISTANT CHAIR, ADJUNCT A S SISTANT
PROFES SOR
B.A., Hampton University; M.S., Pratt Institute;
currently freelances with Dwight Johnson Design while
maintaining his established clients; has worked with
Time Magazine and Vibe; several start-up magazines
have solicited his help in development; has designed
book covers for labels such as BET Books and Simon &
Schuster Inc.; creates corporate identities including
Abyssinian Development Corporation; has written for
the AIGA’s Journal of Graphic Design; honored by Pratt
as a Distinguished Student.
B.A., Brown University; M.F.A., Yale; has worked for the
New York firms Wechsler & Partners and Balsmeyer
& Everett Inc.; while senior designer at Balsmeyer
Everett, originated the concepts and design for title
sequences for such feature films as Fargo, Girl 6,
The First Wives Club, and Waiting To Exhale; in 1998,
established her own New York–based firm Level
Design Group to focus on design for print and motion;
clients include The New York Foundation for the Arts,
Deutsche Bank, P.O.V. on PBS, The Nature Conservancy,
and MetLife; film work has been featured at The
Sundance Film Festival, “New Directors, New Films”
at MoMA, The New York International Documentary
Film Festival, and on PBS; work has been published in
The New York Times, Type In Motion, I.D. Magazine, and
in Zed, The Virginia Commonwealth University Design
Journal; work has won Best of Category in the I.D.
Magazine Design Annual and a 2008 Create Award; has
been on the faculty at UArts since 2000, and has also
taught at NYU and SVA.
Eric Bintner
B.F.A., Missouri State University; M.F.A., Cranbrook
Academy of Art; Eric is an animator, artist, designer,
developer and musician; has worked for the past four
years as a freelance motion graphics designer and
interactive developer in New York; client list includes
JPMorgan, Macys.com, The Rockefeller Group,
Cushman & Wakefield, and Opie & Anthony.
Jean Brennan
B.A., University of California, Santa Cruz; B.F.A., M.S.,
Pratt Institute; upon graduation from the Graduate
Communications Design program went to work as a
broadcast designer at Lee Hunt Associates, working
with clients such as PBS, Oxygen, and Arte; continued
with the LHA team after they were acquired by
Razorfish in late 1999; in 2002, became the Nick Jr.
Art Director, where she worked on in-house graphics
for the 2–5 age programming of Nickelodeon;
currently freelances as an art director in broadcast,
online, and print projects.
220 COMMUNICATIONS DESIGN FACULT Y
Tom Delaney
Senior Design with Muts&Joy& Design and Identity
Consultants; has extensive experience in the
packaging design industry, including Senior Creative
Director at EastWest Creative, Design Director at
Deskey Associates, and designer for Charles Biondo
Design Associates and ESPRIT de Corps.
and Creativity magazines; as a professor at Rutgers
University at Newark, heads the graphic design
program, teaches design and the history of design,
and is the director of The Design Consortium, a
student/teacher run design studio that focuses on
non-profit, community-based projects.
Dennis Dugan
VISITING PROFES SOR
Antonio DiSpigna
B.F.A., M.S., Pratt Institute; designer at Bonder
and Carnase; Lubalin Smith and Carnase; in 1973,
opened Artissimo, Inc.; in 1978 joined Herb Lubalin
Associates as vice president and partner; in 1980
opened Tony Di Spigna, Inc.; has designed numerous
typefaces, most notably Serif Gothic and exclusive
typefaces for PBS Channel WNET 13, The Coca Cola
Co., and The Louis Dreyfus Corp.; in 2007, became
co-founder and design director of THINSTROKE,
INC., a complete service design firm.
B.S., Creighton University; Ph.D., Brown University;
has extensive experience in economic analysis,
market assessments, and business and intellectual
property valuations; is currently president of
Management and Economic Strategy Analysis, Inc.
and senior VP of Intellectual Capital Growth, Inc.;
has served as chair of the Department of Economics
at the University of Notre Dame, and has been an
Economic Policy Fellow at The Brookings Institution;
has conducted research and taught graduate
and undergraduate courses in economics at
Georgetown, American, and Polytechnic Universities.
Thomas Dolle
Tyra Nicole Dumars
PROFE S SOR
ADJUNCT PROFES SOR, C CE
VISITING INSTRUCTOR
B.F.A., Rhode Island School of Design; principal,
Tom Dolle Design, a strategic design, marketing, and
branding firm in New York; clients have included
Citibank, Dun & Bradstreet, ESPN, Charles Schwab,
Northern Trust, RH Donnelly, Verizon, Reed Elsevier,
and Time Warner; Tom Dolle Design is now focusing on
branding, communications, and packaging for retail,
arts, and non-profit organizations; recent projects
include the Getty Trust, Doe Fund, Baruch College,
Foundation Center, and National Urban Fellows.
B.F.A., Northwestern State University; M.P.S., Pratt;
design editor at Northwestern State University;
brand designer at Plattform Advertising; founder
and design strategist at tyra.nicole LLC, where her
clients include American Cancer Society, Chimp
Haven, ACE, Colgate-Palmolive, Extra Space Storage
and NAACP.
Ned Drew
B.F.A., M.F.A., Virginia Commonwealth University;
founding partner and creative director of the
New York-based design firm, BRED and co-editor
of Design Education in Progress: Process and
Methodology, Volumes 1, 2, and 3, an academic book
series dedicated to the study of design pedagogy; in
2005, co-authored BY ITS COVER: Modern American
Book Cover Design; work has appeared in Graphic
Design Referenced, Typographic Design: Form and
Communication, Graphic Design Solutions and US
Design 1975–2000 among others; work has been
recognized by the AIGA, the Type Directors Club, The
Art Directors Club, and the American Association of
Museums; work has appeared in Graphis, Print, HOW,
David Frisco
B.A., University of Illinois at Chicago; M.F.A., Yale
University; co-director of Design Corps, a studio
course that encourages the relationship between
design practice and design education, where
Communications Design students provide probono design work for non-profit organizations; in
his independent studio practice, has completed
work for a variety of clients in the art, architectural,
cultural, and non-profit sectors including Pratt
Institute, Pace/MacGill Gallery, The College Art
Association, Yale School of Architecture, TASC: The
After-School Corporation, and the films Lumo, Fully
Awake: Black Mountain College, The Situation, Chop
Shop, and Man Push Cart.
Kevin Gatta
PROFES SOR
B.A., Rhode Island College; M.S., Pratt Institute;
Pietrasanta Italian Studies Program, Providence
College; design director, Gatta Design & Co.,
specializing in corporate communications, identity,
and branding; design experience: the Pushpin
Group, 1981–88; David Pocknell’s Company (Pushpin
UK), 1984; Herb Lubalin Associates, 1979–81;
author of Foundations of Graphic Design TE (Davis
Publications, 1994); co-author of Foundations of
Graphic Design, Communicating Through Graphic
Design (Davis Publications, 1990, 2009); Distinguished
Teacher Award, 1997.
J. Roger Guilfoyle
ADJUNCT PROFES SOR, CCE
B.A., Creighton University; has appeared on design
and packaging panels in the U.S., Mexico, and
Japan; has lectured before small and large design
groups, including Carnegie-Mellon and Cooper
Hewitt National Design Museum; has worked under
grants from the NEA, the NEH, and the New York
State Council on the Arts; his work has appeared in
newspapers and magazines, including ID, Interiors,
and USAir; has been on the Pratt faculty since 1968.
J. Graham Hanson
B.F.A., Iowa State University; Graham Hanson,
previously with Vignelli Associates, is principal
of Graham Hanson Design, an internationally
recognized multidisciplinary design agency active in
all areas of strategic design. The firm collaborates
with a diverse group of corporate clients and cultural
institutions on a wide variety of integrated design
projects. Long-time corporate clients include Saks
Fifth Avenue, American Express, Dun and Bradstreet,
and Macklowe Properties, a New York real estate
developer. The firm works on a number of exhibition
projects for museums and cultural organizations in
the United States and abroad.
William Hilson
Originally trained in architecture, but turned to
graphic design and illustration for professional focus;
introduced desktop publishing to some of the largest
ad agencies in NYC; as creative director to the HiFi
Color Project, helped introduce the new HiFi Color
printing techniques; was first to design and print using
COMMUNICATIONS DESIGN FACULT Y 221
an experimental 7-colorant process, the first to use
Pantone´s Hexachrome™ in a commercial application,
and also the first designer to print using frequencymodulated (“stochastic”) screening systems.
Michelle Hinebrook
A S SISTANT CHAIR, ADJUNC T A S SISTAN T
PROFE S SOR
B.F.A., College for Creative Studies; M.F.A.,
Cranbrook Academy of Art; has exhibited nationally
in galleries and museums in New York, Washington
D.C., Detroit, San Francisco, Chicago, and abroad
in Copenhagen, Denmark; maintains a studio at
XØ Projects Inc., Brooklyn; currently teaches and
lectures at various institutions around the U.S.
Allen Hori
B.F.A. University of Hawaii; M.F.A. Cranbrook
Academy of Art; Fulbright recipient to study in the
Netherlands; principal at Bates Hori, New York,
a graphic design and visual research studio; his
work has earned recognition from New York Type
Directors Club, AIGA, American Center for Design,
I.D. Magazine, Emigré, Eye, IDEA, and has appeared
in many domestic and foreign exhibitions and
publications; named an I.D. Top Forty Influential
Designer; has lectured widely at design schools
and professional symposia; currently a critic at Yale
University School of Art; 2008 Frank Stanton Chair in
Graphic Design at Cooper Union.
Thomas Klinkowstein
M.S., Syracuse University; President and Creative
Director of Media A, LLC, an internationally
recognized design and consulting group with clients
such as Condé Nast, IBM and NASA; has spoken to
over 100 business, political and academic groups;
previously was a professor in the graphic design
department at the West Brabant Art and Design
College in the Netherlands. His work has been shown
in art centers, museums and galleries throughout the
world, including the Centre Pompidou in Paris and
the Venice Biennale in Italy.
Gusty Lange
B.F.A., Denison University; M.S., M.P.S., Pratt
Institute; has had several professions which have
come together in her teaching in the Graduate
Communications Design Department since 1985;
her psychology background as an art therapist
and design background as a graphic designer have
unified her teaching of Visual Perception (focusing
on perception, creative process, and archetypal
symbolism in design and creativity development), as
well as advising thesis students to develop their own
vision and critical thinking.
Eunsun Lee
B.F.A., School of Visual Arts; M.S., Pratt Institute; in
2004, founded CMYK+WHITE, Inc., a multidisciplinary
studio focusing on design solutions for interiors,
fashion, print, and motion graphics; long-time
corporate clients include Estée Lauder, Reader’s
Digest Association, Inc., Hearst Magazines, Condé
Nast, Hollywood Life, Fairchild Fashion Group and
Meredith; previously worked as a senior art director
at Glamour magazine, where her team directed photo
shoots and developed the visual style of the magazine.
Alex Liebergesell
B.F.A., Kent State University; M.F.A., Yale University;
principal, QNA Design, New York, providing web,
brand, and communications solutions for corporate
and institutional clients; previously held teaching
appointments in graphic design at University of
Akron and State University of New York at Purchase.
Brenda McManus
B.A., Rutgers University; M.S., Pratt Institute;
founding partner and creative director of the
design firm BRED; previously design manager for
Prudential Retirement, senior designer for Skouras
Design, and designer for Leibowitz Communications,
Inc.; has been recognized by Print, Graphis and
HOW Magazine and the Art Directors Club, the
Type Directors Club, the University and College
Designers Association, the Museum Publications
Design Competition, and the Creativity Design
Competition; work has been included in the TDC46
Awards Exhibition, Summit AIGA/NY Exhibition, the
37th ADCNJ Awards Show, the UCDA Conference
Exhibition and the American Association of Museum
Design Exhibition; has also taught at Rutgers
University and F.I.T.
Scott Menchin
Pratt Institute; Arts Students League; as art director
worked for HOW Magazine and Seven Days; as
illustrator worked for Intel, Sun Microsytems,
Toyota, Time, Newsweek, Esquire, Wired, GQ, Fast
Company, Bloomberg, Saveur, Rolling Stone, The
New York Times, The Washington Post and The Boston
Globe; work has appeared in American Illustration,
Print Magazine, The Society of Illustrators and The
Society of Publication Designers; his first illustrated
children’s book, Taking a Bath with the Dog and Other
Things That Make Me Happy, won the Christopher
Award and was voted “A Best Book of the Year” by
The Bank Street College.
Kelli Miller
B.F.A., College for Creative Studies; M.F.A.,
Cranbrook Academy of Art; independent art director
and designer working in motion, digital media, and
print design; work has run the gamut of independent
print publications to startup websites to network
branding; has worked on projects for Nickelodeon,
Sundance Channel, Disney, TV Guide Network, PBS,
Coke, Wrigley, Reuters, IFC, and MTV; as design
director for Interbrand, has worked as art director
for Thornberg and Forester and as art director at
College for Creative Studies; artwork has been
shown, performed, and screened internationally; has
taught undergraduate classes at Pratt and College
for Creative Studies; has lectured at Cooper Union,
SVA, Portland State University, SUNY at Purchase,
Maryland Institute College of Arts, and College for
Creative Studies.
Katya Moorman
B.A., SUNY at Purchase; M.F.A., Cranbrook Academy
of Art; co-founder and principal partner of
Studio2k, a design and video studio that blurs the
boundaries between art and design, materiality,
and the ephemeral nature of technology; published
and received awards from both Output06 design
annual and I.D. Magazine; widely shown at PS122 and
Williamsburg Art Nexus in New York City, as well as in
Detroit, Durham, Toronto, and the Sarai New Media
Center in India.
222 COMMUNICATIONS DESIGN FACULT Y
Ann Morris
B.A., M.A., Hunter College of CUNY; creative director,
design: Ann Morris; worked for 16 years in corporate
America as creative director of TV Guide’s Advertising
and Marketing Department; her own graphic design
business has included a variety of clients: The New
York Philharmonic at Lincoln Center, The Museum
of the City of New York, Columbia University, The
New York City Opera, Elizabeth Arden, The Alan
Guttmacher Institute, Dunhill Tailors, The Learning
Annex, Dino Di Laurentiis Productions, and Stanley H.
Kaplan Educational Centers.
Gala Narezo
B.A., Yale University; B.F.A., Art Center College
of Design; photographer, art director, NGO
representative, and co-founder of What Moves
You?, a company that creates platforms for social
issues through design, story, and art; has exhibited
work internationally and recently had a book
of photographs published in Mexico City, titled
Locales, Portraits of the Colonia Roma; has been
an NGO representative with the United Nations for
Designmatters, locating opportunities for design
students to collaborate on a UN issue, building bridges
to connect the world of design and social impact.
Eric O’Toole
ADJUNCT A S SISTAN T PROFE S SOR, C CE
B.I.D., Pratt Institute; Principal, Exhibit A Design
Group; oversees all aspects of design and
development work produced by his design firm for a
broad array of cultural institutions and national parks
across the country; his firm is the recipient of several
awards for design excellence from professional
design and museum organizations for his exhibition
design work.
Alan Rapp
M.F.A. Design Criticism, School of Visual Arts; B.A.
English, Loyola Marymount University; editor, writer,
and book developer, a former senior editor at
Chronicle Books, San Francisco, where he acquired
and developed dozens of titles in the art, architecture, design, and photography lists; former managing
editor of the New City Reader, whose office operated
on the gallery floor of the New Museum in fall 2010,
and former U.S. editor of DomusWeb International in
2011; has taught at Parsons the New School of Design
and leads a graduate thesis seminar at RISD; currently,
he operates a visual book consultancy and packager,
ARstudio, where he works with authors, visual artists,
photographers, and designers to develop visual book
projects and bring them to publication.
Marc Rosen
B.F.A., Carnegie Mellon University; M.S., Pratt
Institute; president, Marc Rosen Associates.
Ashish Shah
M.S., Pratt Institute; B.F.A., M.S., University-Baroda,
India; multimedia art director for Burnett Group,
NYC; previously worked in India as a partner/creative
director for Third Eye Advertising, senior graphic
designer for Solution One, and visualizer for Adroit
Advertising and Marketing; awards include Neenah
Paperworks Letterhead Competition, Gold Award,
HOW International Design Award, Gujarat State Lalit
Kala Award for Photography; professional affiliation
with Usability Professionals’ Association, New York
City Chapter.
Andrew Shea
B.A., University of Pittsburgh; M.F.A. Maryland
Institute College of Art; founding partner at MANY,
a multidisciplinary graphic design studio; his
book, Designing for Social Change: Strategies for
Community-Based Graphic Design was published by
Princeton Architectural Press in 2012; has also written
about design for numerous publications, including
Core77, AIGA, Design Observer, Entrepreneurial
Magazine, Designer’s Review of Books, and GOOD;
solo and collaborative design work has been featured
by Print, Fast Company, HOW, Communication Arts,
Adbusters, and Metropolis Magazine, among others;
he regularly speaks about design.
Ryan Waller
B.F.A., Rhode Island School of Design; M.F.A.,
Yale; joined Pratt after returning from a research
fellowship in Switzerland on a Fulbright Award, École
Cantonale d’Art de Lausanne, and Federal Office of
Culture, Bern; received the Mark Whistler Memorial
Prize at Yale; a Design Distinction Award from I.D.
Magazine; an ADC Young Guns Award; and was
recognized by Print magazine’s “20 Under 30”—the
20 best artists and designers under the age of 30,
selected each year; clients have included The New
York Times, Bloomberg, Virgin Records, Yale School
of Art, Hunter-Gatherer—NYC & Co., Mother NY—
Condé Nast, Art Director’s Club, Nike, MTV, Damiani;
has taught at Pratt and held workshops at CalArts,
RISD, and Yale.
Pirco Wolfframm
ADJUNCT A S SO CIATE PROFES SOR, C . C . E.
M.F.A., California Institute of the Arts; C.C.E. in
Visual Communication, Hochschule für Gestaltung,
Offenbach (Germany); has gathered varied
experiences to become a versatile “designist”; has
lived and worked in Frankfurt, London, New York,
and Bangkok; list of clients ranges from corporate
juggernauts to niche cultures; while her passion and
expertise lie in brand and identity development, has
applied her research-based methodology across
all media to projects from small scale to complex in
scope; recipient of a Faculty Development Grant and
her work as well as her writings about design have
been published and exhibited internationally.
Alisa Zamir
PROFES SOR
B.A., Central School of Arts and Crafts—London;
B.F.A., M.S., Pratt Institute; Executive Vice President
and Design Director at Taylor and Ives, Inc. since
1981; having worked as a design professional in Israel,
London, and America, she has over four decades of
experience as a designer of annual reports, corporate
literature and corporate identity programs; graduated
from the Central School of Arts and Crafts in London
and earned her post-graduate degree from Pratt
Insititute, where she has been a professor in the
Graduate Design Department since 1971.
223
Industrial Design Faculty
Harvey Bernstein
Gina Caspi
Kevin Crowley
VISITING PROFES SOR
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 NY Times,
Forbes, Journal, Business Week, Metropolis, and the
Design Encyclopedia of MoMA.
B.A., Graphic Design, Hofstra University; M.I.D.,
Pratt Institute; Caspi has been a professor in both
Foundation 3-D and Graduate Industrial Design since
1986; was the first recipient of the Rowena Reed
Kostellow Award, given for excellence in teaching
three-dimensional design; participated in the
Premio Internazionale di Scultura Gioia Lazzerini in
Pietrasanta, Italy, where she was awarded a prize
for her bronze and ruby sculpture, Torre di San
Francesco.
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.
Gihyun Cho
Meri Bourgard-Rohrs
A.A., Suffolk Community College; B.A., Hunter
College; M.F.A., Painting, Pratt Institute; teacher
at Pratt Institute since 1985; faculty member in the
Fashion Design, Industrial Design, Interior Design,
and Architecture departments; worked as a graphic
designer and illustrator for a variety of publications;
studied and worked in a variety of media with such
artists as Charles Reid, Jean Dobie, Louise Giles,
Daniel Greene, Barbara Necchis, Jim Jensen, Frank
Mason, Frank Webb, Lawrence Goldsmith, and
Nathan Goldstein; featured in The New York Times,
Arts & Antiques and more; has exhibited her work in
galleries around the North East as well as Europe.
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.
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).
224 INDUSTRIAL DESIGN FACULT Y
Steve Diskin
Patrick Fenton
Bruce Hannah
CHAIR
VISITING INSTRUCTOR
PROFES SOR
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.
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, collaborating with
technology companies, non-profit 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.
B.I.D., Pratt Institute; his Hannah Desk System for
Knoll named Design of the Decade by IDSA (1990);
named first designer in residence at the CooperHewitt, National Design Museum (1992); awarded
the Bronze Apple by IDSA for conference, Universal
Design (1993); authored Access by Design with
George Covington (John Wiley and Sons, 1996);
received National Design Education Award from the
IDSA (1998); Federal Design Achievement Award for
exhibition Unlimited By Design (2000) named one of
12 most influential exhibitions by Metropolis magazine
(2006); authored Becoming a Product Designer (John
Wiley and Sons, 2004).
Peter Erickson
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. He teaches
model-making processes at Pratt.
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.
Colin Gentle
B. Eng., University of Connecticut; has worked with
firms like SolidWorks Corporation, Martha Stewart
Living Omnimedia, CADD Edge Inc., SA Baxter
Architectural Hardware, and Hutzler Manufacturing;
comprehensive background in 3-D CAD modeling
technology, rendering expertise, and mechanical
processes; serves as ProductSpark’s lead designer,
where he is instrumental in developing new product
lines, and providing SolidWorks 3-D CAD consulting
services; work has been published in a variety of
publications, including Array Magazine, House
Beautiful, Dwell, Interior Design, Forbes Life, and
CNBC; Certified SolidWorks Professional and a
Certified SolidWorks Instructor.
Mark Goetz
ADJUNCT PROFES SOR
B.I.D., Pratt Institute; design faculty since 1993.
Goetz has taught Sophomore ID Studio, and has
taught the Graduate Furniture Design Studio
since 1997. He has organized several exhibitions of
student work at the International Contemporary
Furniture Fair, Cologne Furniture Fair, as well as
industry-sponsored projects with companies such
as Herman Miller and Wilsonart. Goetz is also the
owner of TZ Design, an industrial design firm founded
in 1988, which specializes in furniture for the retail,
hospitality, and contract furniture industry.
Kate Hixon
ADJUNCT A S SO CIATE PROFES SOR, C CE
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.
Jay Levy
B.Arch., Pratt Institute; M.Arch., Columbia University;
Levy began his professional career working for 12
years under two men influential in 20th-century
art and design: the New York architect, Charles
Gwathmey, and the esteemed Japanese sculptor,
Isamu Noguchi. In 1996 Jay Levy Architects was
established. The firm specializes in residential design
and has been widely published. Other personal
pursuits include painting, sculpture, and as an
educator at Pratt Institute, the study of abstract
visual relationships.
INDUSTRIAL DESIGN FACULT Y 225
Jong S. (Mark) Lim
B.F.A., Seoul National University; M.F.A., Pratt
Institute; Jong S. Lim (a.k.a. Mark Lim); “Glomar
Explorer” ship project; First Place Award, Orange
County Engineering Council (1977/1978); engineering
specialist at Holmes and Narver Inc.; manager of
industrial design research and development and
author of design patents (U.S. and Europe) at the
Conair Corporation; has exhibited at Gallery Korea,
and Hyundai Art Gallery.
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.
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 biologybased 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.
Katrin Mueller-Russo
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 as 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.
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.
Jeanne Pfordresher
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.
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 for 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
the 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 Internship courses; infuses
strategic design process with the student’s unique
vision, resulting in clear and direct presentations.
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 the 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
PROFES SOR
B.A., University of Toledo; M.I.D., Pratt Institute;
teaches transportation design, color theory,
three-dimensional design, and drawing; director
of Pratt Transportation Design Program; received
grants from the 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.
226 INDUSTRIAL DESIGN FACULT Y
Irvin Tepper
M.F.A., University of Washington; B.F.A., Kansas
City Art Institute; Tepper’s works are 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. Tepper’s
work is the subject of a book, titled When Cups
Speak: Life with the Cup—A Twenty-Five Year Survey
(Silver Gate, 2002).
William Jeffrey Tolbert
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.
Tanya Van Cott
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, he 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.
B.Arch., Pratt Institute; M.I.D., Pratt Institute; an
award-winning architect and industrial designer,
who received both degrees from Pratt Institute,
she has dedicated her career to interdisciplinary
design, seeking out projects that span her interests
in psychology, theory, structure, color, detail,
materiality, and especially whimsy, to create unique
design solutions; established her own architecture
and design practice after working as a project
architect with Pentagram Design, NYC; recently
completed her first work of fiction, a novel written
for every man and especially every woman, called
Woman Be Cool; writing and performing the spoken
word publicly has led to a renewed interest in
teaching, where all her fascinations and training
come together.
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; former associate
professor and director of Prodiseño, School of Visual
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.
Henry Yoo
B.B.A., University of Wisconsin at Madison; M.I.D.,
Pratt Institute; Yoo 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.
227
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.
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.
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.
Tania Branquinho
Ike Cheung
B.F.A., New York School of Interior Design; M.Arch.,
Pratt Institute
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.
Harvey Bernstein
ADJUNCT PROFES SOR
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
228 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.
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.
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).
Wendy Cronk
David C. Foley
Annie Coggan
B.A., Bennington College; M.Arch., Southern
California Institute of Architecture.
James Conti
B.F.A., Youngstown State University; M.F.A.,
Ohio State University; principal, Jim Conti
Lightworks; clients include the NYC 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, cofounder 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.
Carol Crawford
VISITING PROFES SOR
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.
B.A., University of Pittsburgh; M.A., University of
Illinois, Chicago; M.Arch., University of Notre Dame;
RA; registered architect with expertise in the luxury
retail and residential markets, whose studio, UR
Design, also provides urban design services for urban
and rural communities.
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.
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 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 229
currently collaborating with Cooper Joseph Studios
on retail and residential design as their interior
design principal.
Architecture with her Lightning House design in 1994
and has been published several times in Abstract, the
Columbia University annual design publication.
John Heida
Komal Kehar
B.S., University of Montana; B.Arch., California
College of the Arts.
B.A., Concordia University; M.Arch., Parsons School
of Design; project manager, SPaN LLC, New York, N.Y.
Moira Henry
Poonam Khanna
B.S., University of Illinois at Urbana-Champaign;
M.Arch., Southern California Institute of
Architecture.
B.A., Brown University; M.Arch., Parsons New School
of Design; M.S., Columbia University.
Claudia Hernandez
Margaret Kirk
VISITING ASSISTANT PROFESSOR
B.Arch., Syracuse University; M.Arch., Pratt Institute.
B.Arch., California State Polytechnical; M.S.,
Columbia University; Plain Space Inc., Architecture
and Design.
Adam Koogler
Lindsey Homer
M.S., M.Arch., University of Cincinnati.
Katerina Kourkoula
B.A., Bates College; M.S., Pratt Institute.
Ben Howes
B.S.2, The Bartlett School of Architecture; B.Arch.,
M.Arch., The Cooper Union.
B.Arch., Pratt Institute; M.S., Stevens Institute of
Technology.
Eric Kachelhofer
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.
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
Viñoly; represents Atelier Christian de Portzamparc
in New York for U.S. projects; held the winning entry
for the international theoretical competition Unbuilt
Archana Kushe
Academy of Architecture, India; M.Arch., Ohio
State University.
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.
Scott Larrabee
B.F.A., University of Michigan; M.S., Pratt Institute.
Chelsea Limbird
B.A., Brown University; M.Arch., Rhode Island School
of Design.
Jason Livingston
B.A., University of Miami; M.F.A., New York University;
LC; IES; IALD; principal, Studio T+L, LLC and an
accomplished lighting designer in architecture and
theater with over 20 years of experience; projects
range from offices and libraries to historic buildings
and unique installations; his work has been profiled
in Lighting Design + Application and Lighting & Sound
America; awards include a Lumen Citation and an
International Illumination Design Award; he was a
2010 finalist in the ESTA Rock Our World Awards.
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.
Anthony Mekel
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.
Francine Monaco
B.Arch., University of Cincinnati; RA; registered
architect in New York, Pennsylvania and New Jersey,
whose work includes projects in the United States
and Europe; more than 25 years experience in
architecture as well as interior design; her early
work as a project architect for a highly respected
architectural firm designing homes and apartments
was followed in 1989 by a position as project
architect for the in-house design department of the
Guggenheim Museum; as a member of the museum’s
planning team her focus was in orchestrating several
design projects of the museum’s expansion in New
York City; she designed and supervised the creation
of administrative office space within newly excavated
space at the original Frank Lloyd Wright museum
building; over the years, she has pursued a mixture of
residential and non-residential work; her increasing
focus on the intersection between architecture and
interior design led her to establish D’Aquino Monaco
in 1997 with Carl D’Aquino; she was inducted into the
Interior Design Hall of Fame in 2007.
Robert Nassar
B.F.A., Syracuse University; principal, Robert Nassar
Design, New York, N.Y.
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., University of California at Berkeley;
Certificate of Architecture, Harvard University;
principal designer, SpatialDesignStudio, Inc. in NYC; has engaged in design projects in both the East and
West ranging from product design, exhibition design,
interior design, to architectural services; recently
published project includes Japan Brand “Unfolding”
exhibition with Japanese Ministry of Trade at
Felissimo Design House in Manhattan.
Jon Otis
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.
Andrew Pettit
B.Arch., Pratt Institute; RA; principal, Andrew L. Pettit,
Architect; firm’s work encompasses many residential
and renewal projects from single family homes and
brownstone restorations to multi-family dwelling
complexes; projects completed or in process include
renovated lofts, commercial offices, and custom
residences as well as industrial adaptive re-use
projects and restaurants, a 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. 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.,
Christian Rietzke
Diplom-Ingenieur, University of Applied Sciences,
Münster, Germany; M.Arch., Pratt Institute; project
manager, McKay Architecture/Design; has designed
several single family residences located in the area
of New Paltz, N.Y., informed by the principles of
sustainability and has managed the construction
of several full building conversions in Lower
Manhattan and Newark, 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.
INTERIOR DESIGN FACULT Y 231
Mary-Jo Schlachter
Sarah Strauss
Madeleine Taylor
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 through
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.
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 Rincón,
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.
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.
Keena Suh
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.
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.
Hazel Siegel
B.A., University of Illinois at Urbana-Champaign;
M.Arch., Columbia University; RA; architect,
Reddymade Design, New York City; professional
experience includes a broad range of architecture and
interior projects including affordable housing, highend 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.
Yutaka Takiura
B.F.A., Skidmore College; M.F.A., Hunter College,
City University of New York; 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 such as Marcel Breuer and
becoming known as a specialist in modern design of
the 20th century.
Andrew Simons
B.F.A., Carnegie Mellon University; partner,
Emphasis Design.
Karin Tehve
A S SISTANT CHAIR, ADJUNCT A S SO CIATE
PROFES SOR
Jack Travis
B.Arch., Arizona State University; M.Arch., University
of Illinois at Urbana-Champaign; RA; since
establishing his namesake design studio in 1985, has
completed proposals or has been involved in over
100 projects of varying scope and size; to date, the
firm has completed several residential interiors
projects for such notable clients as Spike Lee,
Wesley Snipes, and John Saunders of ABC sports;
commercial and/or retail interiors clients have
included Giorgio Armani, Cashmere Cashmere, and
the Sbarro family of the famed pizza parlors; Travis
encourages 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.
Kevin Walz
William Watson
B.A., Princeton University; M.Arch., University of Texas at Austin; principal, Castro Watson, whose work
includes residential and design build projects as well
as winning entries to design competitions; Speak Up
for Small Farms, Stored Potential Competition, in
Omaha, Nebraska, was the winning entry in 2010.
Henry Weintraub
B.A., University of Michigan at Ann Arbor; M.Arch.,
Harvard University; professional work has included
residential, town house renovations to rooftop
additions, to office and gallery renovations for offices
such as Ennead, Spivak Architects, and Daniel Rowen
Architects.
Alexandra Giffith Winton
B.A., Smith College; M.A., Bard Graduate Center
for Studies in the Decorative Arts.
Corey Yurkovich
B.Arch., Kent State University; M.S., Harvard
University; a New York-based designer working
at the intersection of architecture, exhibition
design, product and furniture development, and
brand environments; has a wide variety of design
and production experiences—from initial creative
strategy through to construction management and
hands-on fabrication—which have provided him the
opportunity to work closely with a range of clients
and collaborators; currently seeks to integrate
traditional craft-based production methods with
advanced digital fabrication to produce projects and
experiences that are conceptually rich, rigorously
designed, and efficiently constructed.
Michael Zuckerman
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 Bell
House, 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.
233
Library and Information Science Faculty
Selenay Aytac
John N. Berry III
Anthony Cucchiara
VISITING PROFES SOR
Ph.D., Information Science, Long Island University,
C.W. Post Campus; M.B.A., Business and Total
Quality Management, Isik University; B.L.S., Istanbul
University.
M.S., Library Science, Simmons College; B.A., History,
Boston University.
M.L.S., Pratt Institute; M.B.A., Long Island University
at Brooklyn; B.A., St. Francis College; Archivist and
Associate Librarian for Distinctive Collections and
Information Services, Brooklyn College, CUNY.
Virginia Bartow
M.L.S., Columbia University; B.A., William Smith
College; curator of the George Arents Collection and
head of Special Collections Cataloging, The New York
Public Library.
Carrie Banks
M.L.S., Queens College, City University of New York;
Supervising Librarian, Child’s Place for Children with
Special Needs, Brooklyn Public Library.
Johanna Bauman
M.A., Ph.D., Art History, University of Virginia; B.A.,
History, George Mason University; Visual Resources
Curator, Pratt Institute.
Jason Baumann
M.F.A., City College of New York; B.A., Eugene Lang
College The New School for Liberal Arts; Special
Assistant to the Director, NYPL Research Libraries.
Helen-Ann Brown-Epstein
M.L.S., B.S., University of Maryland at College Park;
M.S., University of Pennsylvania; Education and
Outreach Head, Weill Cornell Medical Library.
Charles Cuykendall Carter
VISITING INSTRUCTOR
Deirdre Donohue
M.L.S., Pratt Institute; B.A., State University of New
York at New Paltz; Librarian, International Center of
Photography.
M.S.L.I.S., Long Island University; M.F.A., Creative
Writing, New York University; B.A., English, Emory
University; Bibliographer, The Carl H. Pforzheimer
Collection of Shelley and His Circle, New York Public
Library.
Emily Drabinski
Anthony Cocciolo
Terence Fitzgerald
Ed.D., Ed.M., M.A., Communication, Computing
and Technology in Education, Teachers College,
Columbia University; B.S., Computer Science,
University of California at Riverside; research
interests are in the uses of emerging information
and communications technologies (ICTs) to enhance
libraries and education, especially in the social,
cognitive and affective dimensions of learning and
knowledge construction in digital environments;
former head of technology for the Gottesman
Libraries at Teachers College, Columbia University.
M.S.L.I.S., Pratt Institute; B.A., English, Iona College.
M.L.S., Syracuse University; M.A., Composition
& Rhetoric, Long Island University; B.A., Political
Science, Columbia University.
Nancy Friedland
M.L.S., Rutgers University; M.A., New York University;
B.A., University of Massachusetts at Amherst; Head,
Butler Library Media Center, Butler Library, Columbia
University.
Barbara Genco
M.L.S., Pratt Institute; B.A., Canisius College;
Director, Collection Development, Brooklyn
Public Library.
234 LIBRARY AND INFORMATION SCIENCE FACULT Y
Tula Giannini
Jennifer Hoffman
Irene Lopatovska
DEAN OF THE SCHO OL OF INFORMATION AND
L IBR ARY SCIENCE
Ph.D., Higher Education, University of North Texas;
M.L.S., University of North Texas; M.A., Art History;
University of North Texas; B.A., Fine Art & English
Literature, Hardin-Simmons University.
Ph.D., Information Science, Rutgers University;
M.L.S., University of North Texas; B.S., Kiev
State University.
David Alan Hollander
Ph.D., Bryn Mawr College; M.L.S., Rutgers
University; M.M., B.M., Manhattan School of Music;
an interdisciplinary researcher, Dr. Giannini is a
leading scholar in French woodwind instruments
and cultural heritage in the digital world across
libraries, museums and archives. Recent publications
include: 22 articles in Groves Music Online (2013);
the book Great Flute Makers of France, published in
Japanese in 2007, described in Choice as “a model
of archival research for all graduate students”;
“Core Competencies for Art Museum Librarianship,”
ARLIS; and “Frédéric Triebert, Designer of the
Modern Oboe,” Pendragon. She is writer and project
director for two current IMLS grants partnering
with leading NYC cultural institutions (see www.
brooklynvisualheritage.org and www.nyarc.org/
content/imls-funds-pratt-and-nyarc-partnership).
J.D., Fordham University; M.L.S., Pratt Institute;
Law and Legal Studies Librarian, Princeton
University Library.
Jennifer Hubert-Swan
M.L.S., Wayne State University; B.A., English, Olivet
Nazarene University; Library Department chair, Little
Red School House and Elisabeth Irwin High School.
Sarah Jewell
M.L.S., Pratt Institute; B.A., Mt. Holyoke College;
Advanced Certificate in Library and Information
Studies, Pratt Institute.
Joshua Hadro
M.L.S., Pratt Institute; B.A., Philosophy, Columbia
University; executive editor, digital products, Library
Journal and The Horn Book.
M.L.S., Columbia University, Advanced Certificate
in Library and Archives Conservation, Columbia
University; B.A., Barnard College; head of
conservation, Columbia University Libraries.
Jessica Lee Hochman
Ph.D., Philosophy and Education, and Cultural Studies,
Teachers College, Columbia University; Diversity
Fellow 2001–2003 M.A., Instructional Technology and
Media in the Program of Scientific Foundations.
Craig MacDonald
Ph.D., Information Studies, Drexel University; M.S.,
Applied & Mathematical Statistics, Rutgers University;
B.A., Statistics, The College of New Jersey.
Susan L. Malbin
VISITING INSTRUCTOR
M.L.I.S., Rutgers University; B.S., Biology; The
College of New Jersey.
Jesse Karp
David Marcinkowski
VISITING INSTRUCTOR
M.L.S., Pratt Institute; B.A., Journalism, New York
University; early childhood and interdimensional
librarian, Little Red School House and Elisabeth
Irwin High School.
M.A., Media Studies, The New School; B.A.,
Philosophy and Religion, Kean University; associate
professor, Associate Degree Program, Pratt Institute;
associate director of Computing Services, Pratt
Institute, Manhattan campus.
Matthew Knutzen
Alexis Hagadorn
M.L.S., University of Arizona; B.A., English, Willamette
University; consultant, Scholastic Book Clubs.
Ph.D., Comparative History, Brandeis University;
M.L.S., State University of New York at Albany; B.A.,
History, Barnard College; director of library and
archives, American Jewish Historical Society.
Sharareh Goldsmith
Laura Lutz
M.F.A., Abstract Cartography and Artists’ Books,
Pratt Institute; B.A., Geography, University of
California at Berkeley; geospatial librarian, New
York Public Library.
Hillias Martin
M.L.S., Pratt Institute; B.A., English and Drama,
University of Georgia; assistant director for young
adult programs, New York Public Library.
Elizabeth Kroski
Seoud M. Matta
DEAN EMERIT US
M.S.L.I.S., Long Island University at Post; B.A.,
Anthropology, Mount Holyoke College; Manager
of Information Systems, New York Law Institute.
D.L.S., Columbia University.
Tonya Leslie
M.A., Education, New York University; B.A.,
Education, State University of New York at New Paltz.
Abigail Meisterman
VISITING INSTRUCTOR
M.L.S., Queens College, City University of New
York; B.A., Dance and English, Rutgers University;
metadata specialist, New York Public Library.
LIBRARY AND INFORMATION SCIENCE FACULT Y 235
Matthew Miller
Caroline Romans
Brooke Watkins
VISITING PROFES SOR
M.S.L.I.S., Pratt Institute; M.S., History of Art,
Pratt Institute; B.A., History of Art, The Ohio State
University.
M.L.S., Drexel University.
M.L.S., Certificate in Museum Studies, Pratt Institute;
M.F.A., Creative Writing, Brooklyn College, City
University of New York; B.A., English Literature and
Creative Writing, Ohio University; librarian, General
Research Division, Steven A. Schwarzman Building,
New York Public Library.
Jacob Nadal
M.L.S., Indiana University at Bloomington; director
of library and archives, Brooklyn Historical Society,
Lisa Norberg
M.L.S., Indiana University; B.A., Political Science,
University of Wyoming; dean, Barnard Library and
Academic Information Services.
Maria Cristina Pattuelli
Ph.D., University of North Carolina at Chapel Hill;
advanced degree (master’s equivalent) in Cultural
Heritage Studies, University of Bologna, Italy;
advanced degree (master’s equivalent) in Philosophy,
University of Bologna, Italy.
Slava Polishchuk
M.F.A., B.A., Brooklyn College, City University of
New York; conservator, Library Archives and Special
Collections, Brooklyn College Library, City University
of New York.
Deborah Rabina
Ph.D., Rutgers University; areas of specialization
include reference resources (general, legal,
government), information law and policy,
government and NGO information sources and
scholarly communications; research focuses on
two major areas: how democratic micro and macro
organizations form and harbor information policies
that stem from and support their perception of
democracy, and the role of evolving patterns of
scholarly communications in academic and research
environments.
Charles Rubenstein
PROFES SOR
Ph.D., Polytechnic Institute NY; M.L.S., Pratt
Institute; M.S., Polytechnic Institute Brooklyn;
B.S., Richmond College, CUNY; visiting professor
of engineering at the Institute for Research and
Technology Transfer, Farmingdale State College
(SUNY); elected to the IEEE Board of Directors
serving as Director Elect in 2008–2009 and then
as Director 2010–2011.
Christopher Weller
VISITING INSTRUCTOR
M.L.S., Pratt Institute; B.A., Area Studies – Asia, Trinity
College; consultant in information architecture, UX
design and linked data, Chris Weller Consulting.
Margaret Smith
Kevin B. Winkler
M.S.L.I.S., Syracuse University; M.A., Evolutionary
Biology, Rice University; B.A., Physics & Studio Art,
Rice University.
M.L.S., Columbia University; M.A., Hunter College,
City University of New York; B.A., San Diego State
University.
Kenneth Soehner
M.L.S., M.A., Columbia University; B.A., New York
University; chief librarian, Arthur K. Watson Library,
The Metropolitan Museum of Art.
Chris Alen Sula
Ph.D., Certificate in International Technology and
Pedagogy, The Graduate Center, City University of
New York; M.Phil., Philosophy, The Graduate Center,
City University of New York; B.A., Philosophy and
English, Augustana College.
Elise Taylor-Swee
M.S.L.I.S., Pratt Institute.
Jeremiah Trinidad-Christensen
M.L.S., Long Island University; B.A., Geography,
University of Washington.
Kyle Triplett
VISITING INSTRUCTOR
M.S.L.I.S., Pratt Institute; B.S., Political Science, Grand
Valley State University; rare books librarian, New York
Public Library.
236
History of Art and Design Faculty
Lisa A. Banner
Agnes Berecz
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.
Thomas Beachdel
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 recently completed
his 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).
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 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,
HISTORY OF ART AND DESIGN FACULT Y 237
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., Ph.D., Yale,
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-in-Venice 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 2013—Contractual Lecturer at The
Metropolitan Museum of Art with a focus on the
African art galleries.
Marilyn Kushner
VISITING PROFES SOR
B.A., University of Wisconsin at Milwaukee; 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.
238 HISTORY OF ART AND DESIGN FACULT Y
Anca Lacs
Elizabeth Meggs
Joyce Polistena
VISITING INSTRUCTOR
ADJUNCT PROFES SOR
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.
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
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.
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
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.
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.
William Lorenzo
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.
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.
Evan Neely
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.
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
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).
HISTORY OF ART AND DESIGN FACULT Y 239
Ann Schoenfeld
Sarah Wilkins
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
Purchase; nominator, Joan Mitchell Foundation
for Painting and Sculpture; curator, Get Close,
Marymount Manhattan College gallery; published
in Arts Magazine, I.D., Eye.
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.
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.
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.
240
Media Studies Faculty
Donald Andreasen
M.F.A., New School; Don earned his Masters of Fine
Arts degree in Playwriting from the Actors Studio,
New School University. 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
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
Emily P. Beall
Melissa Buzzeo
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.
Diana Cage
Philip Carroll
VISITING INSTRUCTOR
Pamela Casey
Jonathan Beller
VISITING INSTRUCTOR
PROFE S SOR
Lis Cena
B.A., Columbia University; Ph.D., Duke University;
Interests: Media Theory, Marxism, Critical Race
Theory, Cinema, Media Archaeology, Decolonization,
Aesthetics and Politics, Feminism, Third Cinema,
Philippine Culture and Politics.
Caterina Bertolotto
Laurea in Pedagogia, University of Turin, Italy;
Caterina Bertolotto, a graduate of the University
of Turin, Italy, has received eight certificates in
different language teaching methodologies in both
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
(including many remarkable Pratt scholars). His
consuming interests include his two babies, poetry,
contemporary art, and African art.
Priya R. Chandrasekaran
VISITING INSTRUCTOR
Youmna Chlala
Diane Cohen
VISITING INSTRUCTOR
Ellen Conley
M.S., Wagner College; B.A., Penn State; 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
MEDIA STUDIES FACULT Y 241
Amanda Davidson
Elizabeth Fow
ADJUNCT INSTRUCTOR ; T U TOR
Don Doherty
B.A., University of Waikato, New Zealand; M.F.A.,
Brooklyn College.
VISITING INSTRUC TOR; T U TOR
B.A., Hunter College, City University of New York;
M.A., 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,
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., State University of New York at Stony Brook;
M.phil., City University of New York Graduate Center;
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.
Helen Easterly
Rachid Eladlouni
VISITING A S SISTANT PROFE S SOR; L EC T URER,
INTENSIVE ENGL ISH
Laura Elrick
VISITING INSTRUC TOR; L EC T URER, IN TENSIVE
ENGL ISH; T U TOR
B.A., 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 holds
a B.A. in Rhetoric and Communication from the
University of Southern California and 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.
VISITING INSTRUCTOR
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.
John Gendall
Kwame Heshimu
VISITING INSTRUCTOR
VISITING INSTRUCTOR ; T U TOR
Sacha E. Frey
Daniel Gerzog
PROFES SOR
Daniel Gerzog (B.A. ‘53, M.A. ‘54, A.B.D. ‘58, NYU)
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 MFA 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
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., U.C. 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, 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.
242 MEDIA STUDIES FACULT Y
Dexter Jeffries
Ira Livingston
ADJUNCT INSTRUCTOR
PROFES SOR
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.
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
B.A., Loyola College University of Montreal.
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 Politics 2004
She has taught at Cal Arts, NYU, and UCLA.
David D. Kim
Tracie Morris
May Joseph
PROFES SOR, GLOBAL ST UDIE S
Sean Kelly
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
PROFES SOR
Ph.D., New York University; M.F.A., 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. She holds an M.F.A. in poetry from Hunter
College and a Ph.D. in Performance Studies from
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.
Rosemary Grebin Palms
PROFES SOR
B.A., College of St. Teresa (MN), English; M.A., University
of Texas at Austin, English; Ph.D., University of Texas at
Austin, American Literature; Rosemary Grebin Palms
was born in Minnesota; she has been a New Yorker
since 1970 and on the Pratt faculty since 1973.
Kristin A Pape
Jean-Paul Pecqueur
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 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.
MEDIA STUDIES FACULT Y 243
Evan Rehill
Eric Rosenblum
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).
ENGL ISH
Sharon Snow
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
B.A., Penn State; 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.
Sydney Scott
Sydney Scott is a Ph.D. Candidate in Media Studies
and holds an MA in Communication Studies. Her
philosophies: “Life may be painful, but learning
doesn’t have to be”; “Whoever walks away with the
most candy wins”; and “Love is far more pragmatic
than it’s cracked up to be” (stolen from Ally McBeal).
Her interests include art, theater, comedy, TV/film,
Seinfeld, Knicks, Yankees, bagels, black coffee, pizza,
black and white cookies and anything else that’s
totally New York.
Matthew Sharpe
Heidi Singer
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
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.
Yijue Sun
Holly Tavel
VISITING INSTRUCTOR
Barbara Turoff
Ph.D., New York University; Laurea, Universita di
Bologna.
Suzanne Verderber
B.A., Dartmouth College; Ph.D., University 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 NYU, UC Berkeley, and Hunter College.
Elizabeth Williams
M.F.A., Columbia University; B.A., Middlebury College.
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.
244
Writing Faculty
Youmna Chlala
Youmna Chlala is a writer, an artist, and the founding
editor of Eleven Eleven {1111} Journal of Literature
and Art. She is the author of the poetry manuscript
The Paper Camera, and recipient of the 2009
Joseph Henry Jackson Award. Chlala’s prose and
poetry has appeared widely, including in Guernica,
Bespoke, CURA, XCP: Journal of Cross-Cultural
Poetics, MIT Journal of Middle Eastern Studies, and
in the book Nation, Gender, and Belonging: Arab
and Arab American Feminist Perspectives. She has
exhibited at the Institute of Contemporary Arts
London, Rotterdam International Film Festival,
Camera Austria, MOCAD, and San Jose Museum of
Art and participated in the Performa Biennial and
roaming Tehran Biennale. Recent solo exhibitions
include the Cultuurcentrum, Belgium, and Art
In General, New York. Chlala has been awarded
residencies and fellowships from the Henie Onstad
Art Centre Norway, Headlands Center for the Arts,
Hedgebrook, CAMAC: Center for Art and Technology,
Fine Arts Work Center Provincetown, Triangle Arts
Fund, European Cultural Foundation, and GoetheInstitut Cairo. She holds an M.F.A. in Creative Writing
from the California College of the Arts.
www.youmnachlala.com.
Laura Elrick
Laura Elrick is the author of three books of poetry,
including Propagation (Kenning Editions, 2012),
Fantasies in Permeable Structures (Factory
School, 2005), and sKincerity (Krupskaya, 2003).
Her psychogeographically inspired research and
performance works include the oppositional
cartography Blocks Away, exhibited at The Skybridge
Art & Sound Space in 2010, and the video-poem
Stalk, commissioned by the Positions Colloquium
in Vancouver in 2008 and exhibited in the Social-
Environmental Aesthetics Series at Exit Art (New
York, 2009) and the Rustbelt Sightsound Collision at
the SPACES gallery (Cincinnati, 2013). A sound work,
5 Audio Pieces for Doubled Voice, was commissioned
by New Langton Arts for the Performance Writing
Series in San Francisco in 2005. Her work also appears
in several anthologies, including Viz. Inter-Arts
Intervention: A Trans-Genre Anthology (forthcoming),
Against Expression: An Anthology of Conceptual
Writing, and Eco Language Reader, and has been
translated into Spanish, French, Italian and Norwegian.
James Hannaham
James Hannaham, author of the novel God Says
No (McSweeney’s), has published stories in One
Story, Fence, Open City, The Literary Review, and
BOMB. For over 20 years, he has contributed
reviews and profiles, etc. to the Village Voice and
other publications, including Spin, Out, and Details.
He co-founded the performance group Elevator
Repair Service and worked with them from 1992 to
2002, and he has collaborated with Ralph Lemon,
Kara Walker, Diller+Scofidio, The Wooster Group,
Clarinda Mac Low, and others. More recently he has
exhibited text-based visual art at Samsøn Projects in
Boston, Rosalux Gallery in Minneapolis, 490 Atlantic
in Brooklyn, and at the Center for Emerging Visual
Artists in Philadelphia. His upcoming second novel is
entitled Delicious Foods. He has also taught creative
writing at The New School and Columbia University.
www.jameshannaham.com.
Christian Hawkey
Christian Hawkey has written two full-length poetry
collections: The Book of Funnels (Wave Books,
2005) and Citizen Of (Wave, 2007); four chapbooks:
Hour Hour (Delirium Press, 2005), Petitions for
an Alien Relative (Hand Held Editions, 2009), Ulf
(Factory Hollow Press, 2010), and Sonette mit
Elizabethanischem Maulwurf (Hochroth Verlag,
2010); and the cross-genre book Ventrakl (2010,
Ugly Duckling Presse). A new book, Sonne from
Ort, a collaborative bilingual erasure made with
the German poet Uljana Wolf, appeared in 2013
(kookbooks verlag, Berlin). In 2006, he received a
Creative Capital Innovative Literature Award. In 2008
he was a DAAD Artist-in-Berlin fellow. He translates
contemporary German poetry, as well as the late
short prose of the Austrian writer Ilse Aichinger,
and his own work has been translated into over a
dozen languages. He is an officer of the Office of
Recuperative Strategies.
Samantha Hunt
Samantha Hunt’s novel about Nikola Tesla, The
Invention of Everything Else was a finalist for the
Orange Prize and winner of the Bard Fiction Prize.
Her first novel, The Seas, won a National Book
Foundation award for writers under 35. Hunt’s work
has been published in The New Yorker, McSweeney’s,
The New York Times, Tin House, A Public Space,
Cabinet, Blind Spot, The London Times, and in a
number of other fine publications. Her books
have been translated into ten languages. She has
performed with Jim Jarmusch and Luc Sante at
All Tomorrow’s Parties, at Los Angeles’s Hammer
Museum and REDCAT, with the National Theater
of the United States of America (NTUSA) at PS122,
in the PEN/Faulkner Reading Series, at Seattle’s
Bumbershoot Festival, and as part of BAM’s Next
Wave Festival. Her work has been performed on
WBEZ’s This American Life and on WNYC’s Selected
Shorts program. A novel titled Mr. Splitfoot and a
collection of short fictions titled Beast and Other
Stories are forthcoming. www.samanthahunt.net.
WRITING FACULT Y 245
Rachel Levitsky
Rachel Levitsky is the author of a novel, The Story of
My Accident Is Ours (Futurepoem, 2013), two books
of poetry, Under the Sun (Futurepoem, 2003) and
Neighbor (Ugly Duckling Presse, 2009) and a number
of chapbooks including Renoemos (Delete, 2010).
She is a member of the Belladonna* Collaborative,
a feminist avant-garde hub for interventions in
writing, reading, engaged discourse, and activism. In
2010 with Christian Hawkey, she started The Office
of Recuperative Strategies, a mobile research unit
variously located in Amsterdam, Berlin, Boulder,
Brooklyn, Cambridge, New York City, and Leipzig. She
lives in Brooklyn.
Tracie Morris
Tracie Morris is a poet, performer and scholar. She
holds an M.F.A. in poetry from Hunter College,
a Ph.D. in Performance Studies from New York
University and has trained at The Royal Academy of
Dramatic Art (RADA). Her latest poetry collection is
Rhyme Scheme (Zasterle Press, 2012) with several
books and recordings forthcoming. Tracie frequently
tours as a sound poet/vocalist around the country
and internationally and collaborates often with
other experimental artists. She is Professor of
Performance and Performance Studies at Pratt
Institute in Brooklyn. www.traciemorris.com.
Anna Moschovakis
Anna Moschovakis is the author of two books of
poetry, You and Three Others Are Approaching a Lake
and I Have Not Been Able to Get Through to Everyone,
and the translator of several novels from the French,
most recently The Jokers, by Albert Cossery. She is a
longtime member of the Brooklyn-based publishing
collective Ugly Duckling Presse.
Mendi Obadike
Mendi Lewis Obadike is an artist and scholar who
works across media. She is the author of Armor
and Flesh (Lotus Press), which won the Naomi Long
Madgett Prize, Phonotype (writings on audio art),
and the forthcoming books Big House / Disclosure
and Four Electric Ghosts (1913 Press). Mendi
collaborates with her husband Keith Obadike.
Their 2001 work Blackness for Sale has been widely
cited in the press and in new media art surveys.
Recent installations include Big House / Disclosure,
American Cypher (Studio Museum in Harlem &
Samek Art Gallery of Bucknell University), and
African Metropole (MoCADA & Pascal Gallery of
Ramapo College). Other conceptual media artworks
have been commissioned by and exhibited at the
Whitney Museum, the New Museum, Yale University,
Electronic Arts Intermix and the New York African
Film Festival, among other institutions. Their albums
include The Sour Thunder, an Internet Opera (Bridge
Records, 2004) and Crosstalk: American Speech
Music (Bridge Records, 2008). Mendi has been
awarded a Rockefeller Media Arts Fellowship and a
postdoctoral fellowship in Race and Ethnicity from
Princeton University, as well as fellowships from the
Cave Canem Foundation for Poetry and the New
York Foundation for the Arts. Mendi is a poetry editor
at Fence Magazine and an Assistant Professor in
Humanities and Media Studies at Pratt Institute. She
earned a B.A. in English from Spelman College and
a Ph.D. in literature from Duke University.
www.obadike.com.
Thad Ziolkowski
Thad Ziolkowski is the author of Our Son the Arson, a
collection of poems, the memoir On a Wave, which
was a finalist for the PEN/Martha Albrand Award in
2003, and Wichita, a novel. In 2008, he was awarded
a fellowship from the John S. Guggenheim Memorial
Foundation. His essays and reviews have appeared
in The New York Times, Slate, Bookforum, Artforum,
Travel & Leisure, Interview magazine and Index.
Since 2001, he has been coordinator of the Writing
Program at Pratt Institute.
246
Liberal Arts Faculty
Andrew W. Barnes
Laura Elrick
DEAN OF THE SCHOOL OF LIBERAL ARTS AND
SCIENCES
VISITING INSTRUCTOR ; L ECT URER,
IN TENSIVE ENGL ISH; T U TOR
Gloriana Russell
A S SISTANT TO THE DE AN
Erich Kuersten
ACADEMIC ADVISEMEN T CO ORDINATOR
Intensive English
Natasha Dwyer
A S SISTANT TO THE DIREC TOR
Rachid Eladlouni
COMPU TER-ASSISTED L ANGUAGE LEARNING (CALL)
COORDINATOR; LECT URER, INTENSIVE ENGLISH
B.A. Ibn Tofail University (Morocco);
M.A. Hunter College.
Cynthia Elmas
L EC T 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 eight years. In addition to ESL, she is also a dancer
who performs regularly in the New York area.
B.A., Arts Rhetoric and Communication, University
of Southern California; Laura Elrick teaches in
the English and Humanities Department and the
Intensive English Program. She has published
contemporary literature and politics, and regularly
performs her work nationally. She holds a B.A. in
Rhetoric and Communication from the University
of Southern California and 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 CO 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).
Thomas Healy
L EC T URER, INTENSIVE ENGL ISH
M.A., University of Ireland; Thomas has an M.A.
in English Literature from the National University
of Ireland, 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.
Helen McNeil
L ECT URER, INTENSIVE ENGL ISH
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
M.A. in TESOL from New York University in 1998 while
teaching in their intensive English program. She has
also taught at 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.
Jennifer Ostrega
L ECT URER, INTENSIVE ENGL ISH
B.A., Theater Arts, Rutgers University; M.A., English
as a Second Language, Hunter College; Publications:
“Using Role Play as a Metacognitive Tool for Writing,”
NYS TESOL Idiom Magazine Winter 2007–2008. Conferences: 2008 National TESOL conference, “English
for Artistic Purposes;” 2007 NYS TESOL Applied
Linquistics Conference and NYS TESOL Technology
Conference; Corporate: Facilitator and Consultant
of “Social Dynamics Workshops Through Improvisational Theater;” Pfizer Inc., Columbia University;
Awards: National Endowment of the Arts, Southern
Council, and PSNBC grants for Writing/Performance.
LIBERAL ARTS FACULT Y 247
Nancy Seidler
Caterina Bertolotto
Diane Cohen
DIRECTOR, INTENSIVE ENGL ISH
VISITING INSTRUCTOR
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!
Laurea in Pedagogia, University of Turin, Italy;
Caterina Bertolotto, a graduate of the University
of Turin, Italy, has received eight certificates in
different language teaching methodologies in both
Italy and in New York, as well as a Distinguished
University Teaching Award from The New School.
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
Humanities and
Media Studies
Donald Andreasen
M.F.A., New School; Don earned his Masters of Fine
Arts degree in Playwriting from the Actors Studio,
New School University. 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.
Jonathan Beller
PROFE S SOR
Warren Burdine
Melissa Buzzeo
Diana Cage
Philip Carroll
Ellen Conley
M.S., Wagner College; B.A., Penn State; 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.
VISITING INSTRUCTOR
Maria Damon
Pamela Casey
CHAIR, HUMANITIES AND MEDIA S T UDIE S
VISITING INSTRUCTOR
Amanda Davidson
Lis Cena
Don Doherty
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
(including many remarkable Pratt scholars). His
consuming interests include his two babies, poetry,
contemporary art, and African art.
Priya R. Chandrasekaran
VISITING INSTRUCTOR
Youmna Chlala
B.A., Hunter College, City University of New York;
M.A., 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,
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, INTENSIVE ENGL ISH
M.phil., City University of New York Graduate Center;
Ph.D., City University of New York Graduate Center;
248 LIBERAL ARTS FACULT Y
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.
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.
Rachid Eladlouni
Amy Guggenheim
Helen Easterly
VISITING A S SISTANT PROFE S SOR; L EC T URER,
INTENSIVE ENGL ISH
Laura Elrick
ENGL ISH; T U TOR
B.A., University of Southern California; Laura Elrick
teaches in the English and Humanities Department
and the Intensive English Program. She has published
contemporary literature, culture, and politics, and
regularly performs her work nationally. She holds
a B.A. in Rhetoric and Communication from the
University of Southern California and 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
John Gendall
Daniel Gerzog
PROFE S SOR
Daniel Gerzog (B.A. ‘53, M.A. ‘54, A.B.D. ‘58, NYU)
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 MFA program.
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
Kwame Heshimu
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., U.C. 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, 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
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.
May Joseph
PROFES SOR, GLOBAL ST UDIES
Sean Kelly
VISITING INSTRUCTOR
B.A., Loyola College University of Montreal.
David D. Kim
Tracie Morris
Rosemary Grebin Palms
PROFES SOR
PROFES SOR
Ph.D., New York University; M.F.A., 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. She holds an M.F.A. in poetry from Hunter
College and a Ph.D. in Performance Studies from
B.A., College of St. Teresa (MN), English; M.A.,
University of Texas at Austin, English; Ph.D.,
University of Texas at Austin, American Literature;
Rosemary Grebin Palms was born in Minnesota; she
has been a New Yorker since 1970 and on the Pratt
faculty since 1973.
Cecilia Muhlstein
Jean-Paul Pecqueur
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.
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 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.
Elizabeth Knauer
Christoph Kumpusch
Krystal Languell
Rachel Levitsky
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 Politics
2004. She has taught at California Institute of the
Arts, New York University, and the University of
California at Los Angeles.
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.
Toni H. Oliviero
PROFES SOR
A.B., English, Brown University; Ph.D., English and
American Literature, Brown University
Kristin A Pape
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
VISITING INSTRUCTOR
Eric Rosenblum
Sharon Snow
ENGL ISH
VISITING INSTRUCTOR
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
B.A., Penn State; 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.
Sydney Scott
Sydney Scott is a Ph.D. Candidate in Media Studies
and holds an MA in Communication Studies. Her
philosophies: “Life may be painful, but learning
doesn’t have to be”; “Whoever walks away with the
most candy wins”; and “Love is far more pragmatic
than it’s cracked up to be” (stolen from Ally McBeal).
Her interests include art, theater, comedy, TV/film,
Seinfeld, Knicks, Yankees, bagels, black coffee, pizza,
black and white cookies and anything else that’s
totally New York.
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
Maîtrise, University of Paris VIII; has made numerous
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.
Yijue Sun
Christopher Vitale
Ph.D., New York University; his areas of
Elizabeth Williams
M.F.A., Columbia University; B.A., Middlebury College.
Thad Ziolkowski
PROFES SOR
Travel & Leisure, and the Village Voice; among other
Matthew Sharpe
Holly Tavel
VISITING INSTRUCTO r
Heidi Singer
Barbara Turoff
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).
Ph.D., New York University; Laurea, Universita di
Bologna.
Suzanne Verderber
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, ecologicallyaware design and architecture.
Barbara Charton
Richard Leigh
Gerson Sparer
VISITING PROFES SOR
PROFES SOR
B.A., Brooklyn College; M.S., Pratt Institute; M.L.S.,
Pratt Institute; Adv. Cert., Pratt Institute; Barbara
Charton is still doing chemistry and extending it in
several new directions—into art conservation and
environmental studies.
B.A., Oberlin College; Ph.D., Columbia University;
P.E. (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.
B.S., Brooklyn College; M.S., Courant Institute; Ph.D.,
Courant Institute.
A S SISTANT TO THE CHAIR
Joel Levitt
James Wise
Aman Gill
ADJUNCT PROFES SOR
Eleonora Del Federico
PROFE S 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.
Margaret Dy-So
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.
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).
Oscar Strongin
Ph.D., Columbia University; Independent Consulting
Geologist engaged in oil/gas development as
well as environmental impact of extraction of
unconventional fossil fuel resources; also served as
Energy Consultant to U.S. House of Representatives
Committee on Energy and Commerce.
Vincent Tedeschi
VISITING INSTRUCTOR
M.S., Stony Brook University; B.A., Stony Brook
University.
VISITING INSTRUCTOR
B.A., Hunter College; M.A., Brooklyn College.
Alexandra Wright
Ph.D., University of Wisconsin.
Daniel Wright
Ph.D., Stanford University; M.S., University of
California at San Diego; B.S., Pennsylvania 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.
Carole Sirovich
CHAIR
Ph.D., New York University; M.S., New York University;
B.S., Brooklyn College.
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
Caitlin Cahill
P.J. Gorre
VISITING INSTRUC TOR, HISTORY
A S SISTANT PROFES SOR, P OL ITICS AND
GEO GR APHY
VISITING INS TRUCTOR, PHILOSOPHY
B.A., Johns Hopkins University; M.A., M.Phil., Ph.D.,
Columbia University
Saul Anton
VISITING INSTRUC TOR, CULT UR AL ST UDIE S
B.A., University of Michigan; M.A., Graduate Center,
City University of New York; Ph.D., Princeton
University
Mariana Assis
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
J.D. and M.A., Federal University of Minas Gerais,
Brazil; Ph.D. Candidate, New School for Social
Research
ADJUNCT INSTRUCTOR
Robert Ausch
VISITING INSTRUCTOR, CINEMA ST UDIES
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 University of New York
Josh Blackwell
VISITING INSTRUC TOR, FA SHION AND DE SIGN
HISTORY
B.A., Bennington College; M.F.A., California Institute
of the Arts
Francis Bradley
A S SISTANT PROFES SOR, HISTORY
B.A., M.A., Ph.D., University of Wisconsin at Madison
Sarah Pearl Brilmyer
VISITING INSTRUC TOR, PHILOSOPHY, FIL M AND
L ITER AT URE
B.A., University of Scranton, M.A. and Ph.D.
Candidate, University of Texas at Austin
B. Ricardo Brown
B.A., New York University; M.A., Yale University
Mareena Daredia
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
VISITING INSTRUCTOR, P SYCHOLO GY
B.A., Rutgers University; Ph.D., Columbia University
B.A., Villanova University; M.A. and Ph.D. Candidate,
The New School for Social Research
Monica A. Grandy
VISITING A S SISTANT PROFES SOR, P SYCHOLO GY
B.A., Sarah Lawrence College; Ph.D., City University
of New York
Mitchell Harris
ADJUNCT A S SISTANT PROFES SOR, HIS TORY
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, State University of New York at Stony
Brook
Ann Holder
A S SO CIATE PROFES SOR, HISTORY
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, State
University of New York at Stony Brook
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
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
University of New York
B.A., M.A., Ph.D., Duquesne University
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara
John Frangos
Shelley Juran
Josiah Brownell
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
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., The New School for
Social Research
PROFES SOR, GLOBAL ST UDIES
PROFES SOR, P SYCHOLO GY
B.A., M.A., Brooklyn College; Ph.D., City University of
New York
Marina Kaneti
Alex McCown
Matthew Sanger
VISITING INSTRUCTOR, P OL ITICAL THEORY
B.A., Columbia University; M.S., Columbia University
School of Social Work
Ph.D. Candidate, New School University
B.A., Colorado College; M.A., Hunter College; M.Phil,
Columbia University
Josh Karant
ADJUNCT INSTRUCTOR, PHILOSOPHY
ADJUNCT A S SISTAN T PROFE S SOR, PHILOSOPHY &
FO OD ST UDIES
B.A., Pomona College, M.A., New School; M.A.,
Rutgers University; Ph.D., University of Maryland
Kathleen C. Kelley
VISITING INSTRUCTOR, PHILOSOPHY
B.A., St. John’s College; M.A. and Ph.D. Candidate,
New School for Social Research
Todd Kesselman
VISITING INSTRUCTOR, PHILOSOPHY
B.A., Trinity College; M.A., The New School for
Social Research
John McGuire
B.A., New York University; M.A., The New
School University
Liam Moore
B.A., Reed College; M.A., M. Phil., and Ph.D.,
Columbia University
Erum Naqvi
B.Sc. Hons., Philosophy and Economics, London
School of Economics; M.A. and Ph.D. Candidate,
Temple University
John Santore
PROFES SOR EMERIT US, HISTORY
B.A., M.A., Temple University; Ph.D., Columbia
University
Zachary Sapolsky
VISITING INSTRUCTOR, P SYCHOLO GY
B.A., University of Rochester; M.A., Ph.D., Long Island
University
Ritchie Savage
VISITING INSTRUCTOR, SO CIOLO GY
B.S., Bradley University; M.A., Ph.D., The New School
for Social Research
Darini Nicholas
Jeff Surovell
ADJUNCT INSTRUCTOR, ANTHROP OLO GY
ADJUNCT A S SISTANT PROFES SOR, HIS TORY
B.A., Columbia University; M.A. City College of New
York; Ph.D. Candidate, State University of New York
at Stony Brook
B.A., University of Louisville; M.A., Goddard College
(Kentucky); Ph.D. Candidate, The New School
University
B.A., M.A., Ph.D., Columbia University
Hunter Kincaid
Cheol-Soo Park
Annie Khan
Kumru Toktamis
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 University
B.S., University of Washington; M.A., University of
Chicago
B.A., M.A., Ph.D., Seoul National University; Ph.D.,
The New School University
Basil Tsiokos
Elizabeth Knauer
Irving Perlman
VISITING INSTRUC TOR, PSYCHOLO GY
VISITING INSTRUC TOR, CULT UR AL ST UDIE S
Gerald Levy
PROFES SOR EMERIT US, HISTORY
B.A., Brooklyn College; M.B.A., J.D., New York
University
VISITING INSTRUC TOR, EC ONOMICS
B.A., New York University; M.A., The New School for
Social Research
Luka Lucic
A S SISTANT PROFES SOR, PSYCHOLO GY AND
DIA SP OR A ST UDIE S
B.A., City College of New York; M.Phil., The Graduate
Center of The City University of New York
Bettina Mathes
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 ST UDIES
B.A., Bryn Mawr College; M.A., Ph.D., University of
Pennsylvania
VISITING INSTRUC TOR, 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
Adam Rosen-Carole
VISITING A S SISTANT PROFES SOR, PHILOSOPHY
B.A., Vanderbilt University; M.A., Ph.D., The New
School University
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
VISITING A S SISTANT PROFES SOR, P SYCHOLO GY
M.A., Columbia University; M.A., Gordon-Conwell
Theological Seminary; Ph.D., The New School for
Social Research.
Iván Zatz-Díaz
Kumru Toktamis
A S SO CIATE PROFES SOR, GLOBAL IZ ATION
ADJUNCT A S SISTANT PROFES SOR, SO CIOLO GY
B.A., State University of New York at Purchase;
M.F.A., New York University; Ph.D., Graduate Center,
City University of New York.
B.A., Middle East Technical University, Ankara, Turkey;
M.A., Ph.D., The New School University.
Carl Zimring
A S SO CIATE PROFES SOR, HUMANITIES
AND MEDIA ST UDIES
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
Critical and Visual Studies
Jonathan Beller
PROFE S SOR
B. Ricardo Brown
CO ORDINATOR, CRITICAL AND VISUAL ST UDIE S,
PROFES SOR, CULT UR AL ST UDIE S
B.A., Simon’s Rock College of Bard; M.Phil., Ph.D.,
Graduate Center, City University of New York.
Nelson Hancock
VISITING A S SISTANT PROFE S SOR, AN THROP OLO GY
Ph.D., Columbia University; B.A., Princeton University.
Suzanne Verderber
Christopher Vitale
Ph.D., New York University; His areas of
Iván Zatz-Díaz
A S SO CIATE PROFES SOR, GLOBAL IZ ATION
B.A., State University of New York, Purchase; M.F.A.,
New York University; Ph.D. Graduate Center, City
University of New York.
May Joseph
PROFES SOR, GLOBAL ST UDIE S
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Ethan Spigland
Matrise, University of Paris VIII; has made numerous
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, was released from Four Way Books in 2010.
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
VISITING INSTRUCTOR
B.A., Humanities, Shimer College; M.A., St. John’s
College; Ph.D. candidate in Poetics, SUNY Buffalo.
Professor Cotner is co-author of Ten Walks/Two
Talks (Ugly Duckling Presse, 2010) and has worked on
a collaboration titled Conversations over Stolen Food
and projects for The Believer, the BMW Guggenheim
Lab, Elastic City, and the Poetry Society of America.
Steven Doloff
PROFES SOR, L ECT URER IN INTENSIVE ENGL ISH
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 Journal-Constitution, among other
publications and 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
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.
James Hannaham
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.
Ryan Fischer-Harbage
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
PROFE S SOR
Jason Helm
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.
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., 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
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.
Rachel Levitsky
Robert Lopez
VISITING PROFES SOR
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.
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.
Laura Minor
VISITING INSTRUCTOR
M.A., University of Florida; M.F.A., Sarah Lawrence
College; Laura Minor is a Brooklyn-based poet,
professor, and singer/songwriter. Her work has most
recently appeared in Sixers Review, Lungfull, JMWW:
A Journal of Quarterly Writing, and Mantis/Stanford
University. She has released two international and
critically acclaimed records, “Salesman’s Girl” for
Hightone Records (2002) and “Let Evening Come,”
(Ocean of Sound Recordings, 2009). Her prizewinning chapbook is forthcoming on Pudding House
Press and her second solo record is forthcoming on
Ocean Sound Recordings. She is currently publishing
towards her first collection of poems, The Ossicles,
and plans to pursue a Ph.D. in women’s studies and
fine arts at Rutgers University.
Tracie Morris
Shelly Oria
PROFE S SOR
VISITING INSTRUCTOR
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.
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.
Anna Moschovakis
B.A., University of California at Berkeley; M.F.A.,
Bard College; She is the author of 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.
Cecilia Muhlstein
VISITING INSTRUC TOR, T U TOR
California State University, 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.
John O’Connor
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.
Nelly Reifler
B.A., Hampshire College; M.F.A. Sarah Lawrence
College; She authored See Through (Simon &
Schuster, 2006). Her work has appeared in many
publications including McSweeney’s, Bomb, Post
Road, Jubilat, Taxi, Black Book and Nerve.com.
Her plays have been performed in the U.S. and
Australia, and she is the recipient of honors including
a Henfield Prize and a Rotunda Gallery Emerging
Curator grant.
Eric Rosenblum
VISITING INSTRUCTOR ; L ECT URER, INTENSIVE
ENGL ISH
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.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.
Justin Taylor
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 I nstr uc t or
B.A., The New School; M.F.A., Brown University;
recipient of a 2009 Fulbright Scholarship in Creative
Writing to the Czech Republic.
Ellery Washington
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
PROFES SOR
Travel& Leisure, and the Village Voice; among other
Gina Zucker
B.A., Washington University; M.F.A., 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.
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, THE SIS
Diane Cohen
A S SISTANT TO THE DIREC TOR
Maura Conley
T U TOR, WRITING, THE SIS
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
T U TOR, WRITING, ART HISTORY
Heather Green
T U TOR, WRITING, THE SIS, C ON VERSATION
Joseph Herzfeld
L ECT URER INTENSIVE ENGL ISH, T U TOR, WRITING
Kwame Heshimu
VISITING INSTRUC TOR, T U TOR, WRITING
Cecilia Muhlstein
ADJUNCT A S SISTAN T PROFE S SOR, T U TOR,
WRITING, THESIS
Evan Rehill
VISITING INSTRUC TOR, T U TOR, WRITING, THE SIS
Zachary Slanger
T U TOR
259
Graduate Admissions
VICE PRESIDENT
FOR ENROLLMENT
Applications are welcome from all qualified
at 718.636.3779 or 800.331.0834, or email
Judith Aaron
students, regardless of age, sex, religion,
us at [email protected]. Prospective graduate
race, color, creed, national origin, or
applicants or students are encouraged to
disability. Admissions committees base
contact their academic department directly
their decisions on a careful review of all
to discuss the program and see the facilities.
718.636.3743
[email protected]
DIRECTOR OF GRADUATE AND
INTERNATIONAL ADMISSIONS
credentials submitted by the applicant.
Although admission standards at Pratt are
Graduate Merit-Based Scholarships
high, extraordinary talent may sometimes
Incoming students will be evaluated by
offset a lower grade point average or test
their academic department for merit-based
score. If a student is not accepted, this
scholarships upon acceptance. Beginning
decision is not a negative reflection on the
with fall 2014 incoming students, these are
student’s chances for successful completion
renewable for the duration of the program
[email protected]
of similar studies at another institution,
with a 3.0. There is no application form.
nor does it preclude the student’s eventual
Assistantships are awarded to some second-
GRADUATE ADMISSIONS COUNSELOR
admission to the Institute.
year students.
Young Joo Hah
718.636.3683
[email protected]
GRADUATE ADMISSIONS COUNSELOR
Russell Tyler
718.636.3551
Ryan Gottschling
718.230.6891
[email protected]
OFFICE OF ADMISSIONS
The Office of Graduate Admissions
is open weekdays from 9 am to 5 pm from
Graduate Admissions
September through May, and from 9 am to 4
All applicants to graduate programs at Pratt
pm during June, July, and August.
must have received a bachelor’s degree from
Myrtle Hall, 2nd floor
Tel: 718.636.3514 or 800.331.0834
Fax: 718.399.4242
Guided Campus Tours
an accredited institution in the United States
or have been awarded the equivalent of the
www.pratt.edu/admissions
Guided campus tours of the Brooklyn
bachelor’s degree from an international
campus are scheduled Monday and Friday
institution of acceptable standards.
QUESTIONS?
at 10 am, 12 pm, and 2 pm. Tuesday and
International students should see the
Ask Pratt’s “Virtual Advisor”
Thursday tours are scheduled at 10 am and
international student section for additional
2 pm. Schedule a campus tour online at www.
requirements.
at www.pratt.edu/ask
pratt.edu/visit, call the Office of Admissions
260 GRADUATE ADMISSIONS
Deadline for Applications
Completed applications for most programs
(including letters of reference, statement of
purpose, transcripts, and portfolio) should
be submitted by January 5 for fall entrance.
See www.pratt.edu/apply for instructions
The following documents should be
supporting documents.
submitted electronically on the online
Candidates for graduate admission must
submit the following:
1. Online graduate application with
Some programs will accept applications
after the deadline if there is room. See the
nonrefundable $50 application
department requirements section on
fee at www.pratt.edu/apply.
page 284 for specific deadline information as
(International students must
well as for programs that accept students in
pay a $90 application fee.)
the spring. Applicants for the spring semester
must apply by October 1 (September 1 for
international applicants). Applications
received after that time will be considered
only if there is room in a particular program.
3. Supporting Documents
on submitting your application and
application site at www.pratt.edu/
apply. Please include the following:
a. Two letters of recommendation
from employers, professors, or
others able to judge your potential
for graduate study in the specific
program. Recommendation letters
are submitted online. See www.
Graduate students are required to
pratt.edu/apply. (If your references
apply online.
refuse to submit online, please
2. Unofficial transcripts from all
ask them to seal the envelope,
institutions attended after graduation
sign across the flap, and mail their
from secondary school. Make sure
references to Pratt at Pratt Institute,
your manuscript contains the school
General Credentials
Application Forms
Graduate applicants are required to apply
online at www.pratt.edu/apply. Please use
your full name on all documents and do not
use nicknames or middle names.
Application Requirements
The online application, hosted by
College.net, as well as various requirements
may be found at www.pratt.edu/apply.
Please note: Pratt’s application enables
applicants to request recommendation
letters and upload transcript(s) online.
Writing samples, for those departments
that require them, will be uploaded
on the application. Visual portfolios are
submitted at https://pratt.slideroom.com.
Office of Graduate Admissions, 200
name and your name before uploading
it to the application.
Willoughby Ave, Brooklyn, NY.)
Make sure you contact your
International students must have all
references and request a
transcripts officially translated into
recommendation letter from them.
English. (Both the unofficial original
Let them know the process
and the English translated version must
is online.
be uploaded online at our application
site.) Students who have studied
outside the U.S. in an educational
structure different from the U.S. (threeyear degrees, for example) are asked
to submit a World Education Services
(WES) (www.wes.org) evaluation to
expedite their application processing.
WES evaluations do not include
b. Additional writing sample (required
by City and Regional Planning,
Systems, Historic Preservation,
Media Studies, Theory, Criticism,
and History of Art, Design,
Architecture, and Writing only) may
be uploaded at the application site.
translations. The documents must
c. Résumé (required for Design
be officially translated into English
Management; optional for all
before submitting to WES or any other
graduate programs) should be
reputable education evaluation service,
uploaded at the application site.
e.g., your embassy.
GRADUATE ADMISSIONS 261
d. Statement of purpose giving your
If you plan to messenger your documents,
long-range goals and interest in
please do so before December 24 or after
the chosen discipline and reason
January 2. Pratt closes for winter break
SCIENCE IN ARCHITECTURE or the POST-
for applying to the program: The
during that time.
PROFESSIONAL MASTER OF SCIENCE
statement of purpose, which must
be 250–500 words, should be
uploaded to the application site.
4.Department requirements, including
portfolio if required. These are listed
later in this section.
5. TOEFL score or IELTS score for
We strongly suggest making photocopies
of all mailed forms for your own records.
Please use your full name on the
IN ARCHITECTURE AND URBAN DESIGN
programs (summer entrance only) must have
received a Bachelor of Architecture (five-
application and on all documents and not
year program) from an accredited school
nicknames or middle names so that we are
of architecture. These programs are three
able to match TOEFL scores, transcripts, etc.
semesters, beginning in summer and ending
with your application.
in spring. Applicants must have earned a
Bachelor of Architecture (five-year B.Arch.)
international applicants whose
native language is not English. Unless
Applicants for admission to the
POST-PROFESSIONAL MASTER OF
from an accredited school of architecture.
Department Requirements
Applicants should submit all materials as
department, the minimum required
Graduate programs have different
TOEFL score is 550 (paper)/213
professional requirements. See the
time to review and make decisions and in the
(computer)/79 (Internet) and the
following section for particular programs’
required IELTS score is 6.5. Please
requirements.
otherwise indicated under each
make sure that you register for a
TOEFL or IELTS test that will enable
you to submit your scores by the
Applicants to the MASTER OF
early as possible in order to ensure enough
case of international students to get the I-20.
Ideally, applicants (particularly international
applicants) should submit all materials,
including their portfolio, by December 1.
Applications will be accepted after the
deadline of January 5 only if there is room.
application deadline. It generally takes
ARCHITECTURE (first-professional)
four to six weeks to receive the scores.
Portfolios should be submitted at https://
program (fall entrance only) must have
The Pratt Institute code for TOEFL
pratt.slideroom.com.
received a bachelor’s degree from an
is 2669. Check www.toefl.org for
institution in the U.S. that is accredited
the M.S. IN ARCHITECTURE and the M.S.
information on testing sites.
by a recognized regional association
IN ARCHITECTURE AND URBAN DESIGN
or have been awarded the equivalent of
must present a portfolio (online at https:/
the bachelor’s degree from an international
pratt.slideroom.com) providing evidence
institution of acceptable standards.
of qualifications to participate in advanced
Graduate Office of Admissions
Applicants must present a portfolio
studies. In exceptional circumstances,
Pratt Institute
providing evidence of their interest in
licensed architects with extensive
architecture or their visual sensibility
professional work experience but without
Brooklyn, NY 11205
through the media of their choice—
the five-year professional degree may ask
photography, drawing, essays, videos, etc.
for special consideration and review of
Portfolios must be submitted online at
their portfolio to establish proficiency for
Tel: 718.636.3669 or 800.331.0834
https://pratt.slideroom.com. The GRE is
admission. Portfolios should be submitted at
Fax: 718.399.4242
required. The GRE code is R2669.
Submit any print documents in one envelope
if possible and mail to:
[email protected]
Post-professional applicants for both
sample or visual portfolio, depending on
Meade, Assistant to the Chair, 718.636.3634
OF SCIENCE IN HISTORIC PRESERVATION
their specific backgrounds. The writing
([email protected]). In addition to Pratt’s
Applicants for admission to the MASTER
(fall and spring entrance) must have a
sample or visual portfolio should indicate
general graduate admissions requirements,
bachelor’s degree from an accredited
an interest in or awareness of issues to be
applicants to the M.F.A. in Fine Arts are
institution. Applications will be accepted
addressed in this program. Applications
required to upload the following materials
after the deadline until the program is full.
will be accepted after the deadline if there
to https://pratt.slideroom.com. 1) A portfolio
TOEFL of 575 (90 Internet) is required for
is room. The GMAT is optional. Visual
of up to 20 well-selected images (including
international students. An additional writing
portfolios should be submitted at https://
detail views) of recent works made in the
sample is required and should be uploaded to
pratt.slideroom.com.
last 2–3 years. The graduate admissions
the online application.
committee is looking for portfolios that
OF SCIENCE IN FACILITIES MANAGEMENT
show a serious exploration of an idea
(FALL AND SPRING) BROOKLYN CAMPUS
should have a bachelor’s degree in
through a body of work rather than showing
applicants should have received a bachelor’s
architecture, construction management,
a disconnected sampling of concepts and
degree from an accredited institution in the
engineering, business, or interior design.
styles. Applicants may show work in diverse
U.S., or the equivalent from an international
Applicants in other fields are eligible but
media as long as all of the work shows
institution of acceptable standards, and must
may be required to take non-credit courses
evidence of a guiding sensibility or idea.
submit, in addition to the general application
in building technology unless they have
2) Information in the details section for
requirements: (1) a résumé and (2) an
acquired equivalent knowledge through
each image indicating the title, dimensions,
extended piece of writing to support their
non-academic experience. The GRE or
materials used, and date of completion for
application for advanced study. The writing
GMAT is optional; neither is required.
each work submitted. Applicants who are
sample may be a term paper or report done
notified that they have reached the semi-
for work and is not required to be related
deadline if there is room.
finalist stage of the admissions process will
CIT Y AND REGIONAL PL ANNING M.S.
to planning. Applicants may also submit
additional material that they feel contributes
to their application, such as a work sample
or portfolio. All documents but a visual
School of Art
OF FINE ARTS degree program in Fine Arts
be interviewed on Skype. For international
applicants whose first language is not
English, a minimum TOEFL score of 550
(paper)/80 (Internet) is required.
portfolio may be uploaded to the application.
(fall entrance only) are not required to have
Applicants to the MASTER OF FINE
Visual portfolios should be uploaded to
majored in studio art in their undergraduate
ARTS IN DIGITAL ARTS (fall entrance only)
SlideRoom at https://pratt.slideroom.com.
studies, but must demonstrate their
should have an undergraduate degree or
readiness for the challenges of M.F.A.
considerable background in the digital arts
deadlines for fall and spring provided that
studies. The 60-credit M.F.A. program
and should submit a strong visual portfolio
there is room.
in Fine Arts comprises four consecutive
demonstrating a conceptual and aesthetic
15-week fall/spring semesters and begins in
focus. No reviews are done in person, but
MASTER OF SCIENCE IN SUSTAINABLE
the fall. Accepted students may defer entry
applicants are encouraged to arrange a visit
ENVIRONMENTAL SYSTEMS (fall and spring
for one year. Those considering applying are
to the department by calling 718.636.3411.
entrance) program are welcome from all
strongly urged to visit Pratt, and department
Applicants must submit 12–15 pieces of work
fields of study. They must submit a writing
tours can be arranged by contacting Nat
in traditional or digital media (1) online at
https://pratt.slideroom.com (preferred
THER APY (fall and spring entrance) must
format), or (2) in slide format or prints, or
have a bachelor’s degree, preferably in
OF PROFESSIONAL STUDIES IN DESIGN
(3) in DVD or CD-ROM format. CDs and
dance or psychology. Prerequisites are 12
MANAGEMENT (fall entrance only) should
DVDs must be Macintosh compatible and
credits in psychology, to include general,
ideally present an undergraduate degree
must be in addition to slides, print, or online
personality, abnormal, and developmental
in one of the design disciplines, with a
submissions. The graduate admissions
psychology; and coursework in anatomy/
minimum of three years’ professional
review committee is interested in work that
kinesiology. Students must also have
experience. A résumé is also required.
reflects creativity, technical facility, and the
extensive experience in at least two idioms
Applications are accepted until June 1.
conceptual skills to develop a sophisticated
of dance, one of which must be modern
A TOEFL score of 600 (250 computer or
body of work. A TOEFL score of 550
dance. Students must have experience in
100 Internet) is required for international
(paper)/213 (computer)/or 79 (Internet) is
body/mind modalities, such as meditation,
students. The GMAT is optional.
required for international students.
yoga, and body therapy. A written synopsis
The MASTER OF SCIENCE IN ART
of dance training and experience must be
AND DESIGN EDUCATION (INITIAL /
OF PROFESSIONAL STUDIES IN ART
submitted with the application. A personal
PROFESSIONAL) (fall entrance only,
THER APY AND CRE ATIVIT Y DEVELOPMENT
interview will be required, part of which will
Brooklyn campus) is a 38-credit program
(fall and spring entrance) program must
include movement. A TOEFL score of 600
open to individuals with a minimum of
present a bachelor’s degree, preferably in
(250 computer or 100 Internet) is required of
25-credit hours in art, design and/or the
studio art or psychology. Applicants must
all international students unless student’s
history of art from an accredited college or
have 18 undergraduate credits in studio art,
first language is English.
university or the international equivalent.
to include coursework in drawing, painting,
The MASTER OF SCIENCE IN ART AND
and 3-D media to include ceramic/clay
OF PROFESSIONAL STUDIES IN ARTS AND
DESIGN EDUCATION (PROFESSIONAL) is
work, and 12 credits in psychology, to
CULTUR AL MANAGEMENT (fall entrance
a 34-credit program open to applicants who
include coursework in general, personality,
only). Applicants should demonstrate
already have their Initial Certification as a
abnormal, and developmental psychology.
substantial experience in a related field or
Teacher of Visual Arts and have taught full-
Half the credits in each are required
activity—social community engagement
time for three years.
before acceptance; half may be taken
involving the arts. The required statement
during the program. A portfolio of 12–15
of purpose should reflect the applicant’s
24-credit program open to individuals with
slides or digital images is required of all
personal vision of how this program fits in
an M.F.A. degree or those currently enrolled
applicants. Applicants may be contacted
with his/her personal and professional goals
in the M.F.A. program at Pratt.
for an interview when all credentials have
including how the applicant hopes to use
been received. A TOEFL score of 600 (250
the skills he/she acquires in this program.
of 15 images of work (submit online at pratt.
computer or 100 Internet) is required of all
The statement should be no more than 500
slideroom.com). The required written
international students. No TOEFL waivers
words or two pages. A TOEFL score of 600
statement of purpose included on the
for Art/Dance Therapy will be issued
(250 computer or 100 Internet) is required
application is given significant consideration.
unless student’s first language is English.
of international students. Applications are
Applicants are contacted for a Skype interview
accepted throughout the semester. The
when all credentials have been received.
GMAT is optional.
A TOEFL of 600 (250 or 100 Internet) is
OF SCIENCE IN DANCE/MOVEMENT
The ADVANCED CERTIFICATE is a
All applicants must submit a portfolio
required for international students. All
statement, etc.) and images (from
Program to submit a portfolio of work
applicants are encouraged to schedule a visit
development sketches to finished work). The
from other disciplines and interest such
to the department by calling 718.636.3637
portfolio must contain examples of drawing
as fine arts, fashion, industrial design, or
or emailing [email protected].
as a communication tool, three-dimensional
communications design.
The Art and Design Education
objects, and a basic understanding of graphic
Portfolios may be uploaded at https://
Programs are New York State Education
design, executed through presentation
pratt.slideroom.com (preferred) or in print
Department (NYSED) “approved teacher
and layout. Showing both the process and
format, sized at 8.5” x 11”. For students
preparation programs” and meet the new
execution of a project, along with problem
applying to the two-year program, the
requirements for New York State Initial
solving and research, is recommended.
portfolio must demonstrate skills from
Teacher Certification in Visual Arts Pre-K–12.
Please include any additional materials that
previous education and/or professional
However, in order to be recommended
tell the story of who you are as a creative
experience. Please make sure to notate
for New York State Initial/Professional
person. The M.I.D. program is highly
attributions in group projects and/or
Certification in Visual Arts Pre-K–12,
collaborative and includes students from a
professional work. Students applying to the
candidates must also have completed a
wide variety of backgrounds; therefore, in
three-year graduate program who choose to
three-credit course in child and adolescent
your written statement, discuss aspects of
submit a portfolio should provide evidence
psychology and a three-credit course in a
your personal character and background
of their visual sensibility and experience in
foreign language. These courses may be
that would contribute to and benefit from
other fields. We do not schedule interviews
taken at Pratt or transferred from another
a collaborative learning environment. A
in person, but applicants are encouraged
post-secondary school. Candidates must also
TOEFL of 575 (paper)/233 (computer)/90
to arrange a visit to the department by
have completed the following workshops:
(internet) is required.
calling 718.636.3630. A TOEFL score of
Child Abuse Identification Workshop;
575 (paper) /90 (Internet) is required of
international students.
School Violence Prevention and Intervention
OF SCIENCE IN INTERIOR DESIGN (fall
Workshop; and Training in Harassment,
entrance only) with an undergraduate degree
Bullying, Cyberbullying, and Discrimination
in interior design, architecture, or other
in Schools: Prevention and Intervention. These
closely related design fields are eligible for
DESIGN (fall entrance only) must be
workshops must be taken with a provider
the 48-credit two-year graduate program.
highly motivated individuals who hold an
approved by NYSED. Passing scores on the
A portfolio is required (see guidelines
undergraduate degree in graphic design or
following tests and assessments are also
for submission below.) A two-semester
related design fields such as industrial or
required: Educating all Students (EAS);
Qualifying Program of an additional 20
interior design, architecture, fine arts, or
Academic Literacy Skills Test (ALST);
credits is required for applicants whose
media arts. Exceptional individuals from
Content Speciality Test (CST); and edTPA.
undergraduate backgrounds are unrelated
disparate disciplines may be admitted
to interior or architecture but whose
provisionally and required to take design
applications indicate a strong aptitude for
foundation courses. All applicants must
graduate study. These students complete
submit a portfolio of work to be reviewed
School of Design
OF FINE ART IN COMMUNICATIONS
OF INDUSTRIAL DESIGN program (fall
68 credits in three years. It should be noted
by an Admissions Committee composed
entrance only) should submit a portfolio
that applicants to the Qualifying Program
of faculty. Work included in the portfolio
online at https://pratt.slideroom.com,
are not required to submit a portfolio. We
may be personal work, professional
including both text (descriptions, problem
do encourage applicants to the Qualifying
assignments, or course assignments done in
an undergraduate or graduate program. Your
work, professional assignments, or course
submit a TOEFL score of at least 600 (250
portfolio should contain between 12 and 20
assignments done in an undergraduate or
computer or 100 Internet). Students who are
examples of your best work in traditional or
graduate program. Your portfolio should
not international but whose first language is
digital media. In addition to the portfolio,
contain between 12 and 20 examples of your
not English must submit the TOEFL or GRE.
the written statement of purpose is given
best work in traditional or digital media.
Students may continue to apply after the
significant consideration. The intent of this
In addition to the portfolio, the written
January 5th deadline until the department
portfolio review is for you to demonstrate
statement of purpose is given significant
is full. SILS accepts applications on a rolling
creative potential and provide enough
consideration. The intent of this portfolio
basis. If courses are full, applicants will be
information about you to determine whether
review is for you to demonstrate creative
moved to the following semester.
or not this program is appropriate for you.
potential and the potential to successfully
Most important, the Admissions Committee
complete the master’s degree program
OF SCIENCE ADVANCED CERTIFICATES
will determine if you demonstrate the
in Communications or Package Design.
IN LIBR ARY AND INFORMATION SCIENCE
potential to successfully complete the M.F.A.
Submit online at https://pratt.slideroom.
(fall, summer, and spring entrance) must
in Communications Design.
com. For international applicants whose first
hold a master’s degree in library and
Submit online at
language is not English, a minimum TOEFL
information science. A TOEFL score of 600
score of 575 (paper)/233 (computer)/90
(250 computer, 100 Internet) is required.
6.For international applicants whose
(Internet) is required.
first language is not English, a
minimum TOEFL score of 575
(paper))/90(internet) is required.
Typically applicants for admission to the
MASTER OF SCIENCE IN PACK AGING
DESIGN (fall entrance only) hold an under-
graduate degree in graphic design or related
design fields such as industrial or interior
design, architecture, fine arts, or media arts,
but we welcome applications from individuals
with degrees/backgrounds from non-design
fields such as business, liberal arts, and the
sciences who demonstrate a strong aptitude
for graduate study. A qualifying program of an
additional six credits of prerequisite classes
may be required for these applicants.
All applicants must submit a portfolio
of work to be reviewed by an admissions
committee composed of faculty. Work
included in the portfolio may be personal
School of Liberal Arts and Sciences
School of Information
and Library Science
OF ARTS IN MEDIA STUDIES must submit
Applicants for admission to the MASTER OF
10–20 pages of relevant writing sample(s),
SCIENCE IN LIBR ARY AND INFORMATION
with emphasis on analytical writing on any
SCIENCE (fall, spring, and summer entrance)
subject. The sample should be uploaded to
must have a superior scholastic record or
the online application. A TOEFL score of 100
otherwise give evidence of ability to perform
Internet is required.
work on the graduate level. Applicants are
expected to offer evidence of maturity and
OF FINE ARTS IN WRITING must submit 10
leadership potential for the profession. An
to 20 pages of relevant writing samples of any
in-person or telephone interview may be
genre with an emphasis on creative work.
required; applicants will be contacted by the
Upload your writing sample to your online
School of Information and Library Science
application. A TOEFL score of 100 Internet
if an interview is deemed necessary. The
is required.
school may request that applicants take the
Graduate Record Exam (GRE). Applicants
MASTER OF SCIENCE IN HISTORY OF ART
may apply for non-matriculated status and
AND DESIGN (fall entrance only) must
take up to 6 credits. International students
demonstrate the skill of observation and
whose first language is not English must
description, analysis and criticism, and
the potential to successfully complete the
Graduate Record Examination
the Office of International Affairs. For
coursework and to design and present a
Although Pratt Institute does not require
information, go to www.pratt.edu/oia/I20.
graduate thesis of merit. Undergraduate
study in art and/or design history is
encouraged, and at least an introduction
in those fields should be included in the
completed undergraduate curriculum. The
application package must contain a personal
statement explaining the selection of Pratt
and motivation for the degree, a writing
sample (5–10 pages) that demonstrates
the Graduate Record Examination for
most programs, students who already have
taken this examination should have the
results forwarded to the Office of Graduate
Admissions. The GRE is required for
Architecture (first professional), Art History,
and the combined Art History/Library
Science and combined Art History/Fine Art
For questions, write to [email protected].
Enrolling International Students for
Admission to Pratt
In addition to providing the TOEFL or IELTS,
for admission to Pratt, all international
students who enroll whose first language is
not English are required to take an English
programs. Pratt’s Institutional Code is R2669.
examination before they register for classes.
recently earned scores from the Graduate
Accepted International Students
complete Intensive English at Pratt. Students
Record Examination (GRE code R2669).
All enrolling international students need to
who are otherwise acceptable but have
analytic and communication skills, and
Applicants for whom English is not their
first language must submit the results of
the TOEFL Examination and score at least
600 (250 computer or 100 Internet.)
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
General Requirements
statuses. Students will not be permitted
to register for classes until the forms are
submitted. (U.S. permanent residents are not
Deficiencies in
Undergraduate Preparation
Domestic applicants with deficiencies in
their undergraduate preparation of not
more than six credits may be admitted,
at the discretion of the department, on a
nonmatriculating basis for not more than
18 graduate credits. These students may
become matriculated upon completion of at
least eight graduate credits with a grade of
B or better. Applicants with deficiencies of
more than six credits should apply as special
students on the undergraduate level and
may apply on the graduate level once these
deficiencies are satisfactorily removed.
Students who do not pass will be required to
low English scores on the TOEFL may be
accepted provisionally and may be required
to take only English classes until they
achieve the TOEFL score required by their
department, at which time they may enroll
in their degree courses. These students will
receive an I-20 for English only. Students
who are accepted with a possibility of
considered international students.)
needing English language study indicated on
Requesting the I-20
tested for English when they arrive at Pratt.
To request the I-20, first submit your
Students who need to take English will take it
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 the supplemental
documents by express mail directly to
their I-20 and their acceptance letter will be
with their academic program unless they do
not meet the required score.
In calculating their expenses, students
should budget the tuition equivalent of
two credits per semester for Intensive
English courses.
TOEFL requirements: Most
departments require a TOEFL score of
550 (paper)/213 (computer)/ 79 (Internet),
although some require 600 (paper)/250
(computer)/100 (Internet).
Health Requirements
of US $500 by December 1 or two weeks
fall semester, December 15 for the spring
All new students need to submit
following acceptance, whichever comes
semester, and May 1 for the summer
later. The full amount of this nonrefundable
session. A graduate student who was
deposit is deducted from the student’s
accepted for admission but never registered
first-semester tuition. The US $500, if
must reapply in writing to the Office of
not paid online, must be in the form of an
Graduate Admissions.
documentation, in English, of all
immunizations (including two measles,
one mumps, and one rubella immunization
received after the first birthday) to the
health services office prior to registration.
All students should submit the completed
Health Form, parts A and B. The form is
available in the Enrollment Guide and online
at the Graduate Accepted Student page
international money order or via credit card
for international students and can be paid
Transfer Credits
on the phone by calling graduate admissions.
The number of credits toward the master’s
A space will not be held for students who do
degree that may be transferred from another
not send the deposit.
recognized graduate institution varies within
the schools and programs, but generally it
at www.pratt.edu/apply. All students are
required by Pratt Institute to carry health
insurance providing acceptable coverage.
Some countries have health insurance plans
Other Graduate
Admissions Services
that are valid in the United States. If a student
cannot present evidence of acceptable
Readmission
coverage, he or she will be required to
Graduate students must apply for
subscribe to a health insurance plan provided
readmission if they were not in attendance
by the Institute. To request a waiver of health
for two consecutive semesters (excluding
insurance or enroll for health insurance
summer session). Master of Science
through Pratt, use the online waiver process
students in the Graduate School of Art
found online at www.pratt.edu/health.
and Design who attend four consecutive
Notification and Deposit
summer sessions do not have to apply for
readmission each summer. If they do not
Applicants for fall with complete applications
attend one session of the four sessions
by the deadline are generally notified of the
offered, they must apply for readmission.
decision of the admissions committee by
Students applying for readmission must
April 1. Applicants for spring are notified by
pay a $50 readmission application fee. A
November 15. Accepted students who plan
graduate student who wishes to register
to enroll in the fall semester are required
after an absence of two or more consecutive
to make a deposit of US $500 by April 15 or
semesters, excluding summer session,
two weeks following acceptance, whichever
must apply to the Office of the Registrar for
comes later. Deposits should be paid online
readmission. The form is available at www.
at https://payments.pratt.edu . Accepted
pratt.edu/admissions/apply. Deadline
students who plan to enroll in the spring
dates for application are August 15 for the
semester are required to make a deposit
will not exceed 25 percent of the total credits
required. The First-Professional Master
of Architecture Program has a residency
requirement of 66 percent, which permits
33 percent of transfer credits. Students
interested in receiving graduate transfer
credits should arrange for an appointment
with their department chair. Credit will
be allowed for graduate courses that are
appropriate to the curriculum at Pratt and
that have been passed with a grade of B or
better. Transfer credit is provisional until the
student has completed at least 15 semester
hours of credit at Pratt Institute. Credit for
courses taken, with permission, at another
graduate school while matriculated at Pratt is
limited to a maximum of six credits.
Nonmatriculated/Special Students
Nonmatriculated (nondegree) students may
take courses for graduate credit, providing
the department approves the registration,
but they may not be admitted to candidacy
for a degree without first gaining admission
to a graduate degree program. No more
than a total of 18 credits may be taken by a
TITLE IX STATEMENT
student with nonmatriculated/special status
It is the policy of Pratt Institute to comply with
(no more than six credits per semester).
The nondegree form and procedures can be
found at www.pratt.edu/apply.
Title IX of the Education Amendments of 1972,
which prohibits discrimination (including sexual
harassment and sexual violence) based on sex in
the Institute’s educational programs and activities.
Title IX also prohibits retaliation for asserting
Mailing Address
Graduate Office of Admissions
Pratt Institute
Brooklyn, NY 11205
[email protected]
Tel: 718.636.3669 or 800.331.0834
Fax: 718.399.4242
Withdrawal After Deposit
claims of sex discrimination. Pratt Institute has
designated its Title IX Coordinator as Mai McDonald
Graves to coordinate Pratt Institute’s compliance
with and response to inquiries concerning Title IX.
CONTACT INFORMATION:
PRAT T INSTIT UTE
DISABILIT Y SERVICES CENTER
215 Willoughby Avenue (WH-1)
Suite 117
Brooklyn, NY 11205
Tel: 718.802.3123
Fax: 718.399.4544
Applicants who decide not to enroll after
A person may also file a written complaint with
submitting a deposit must notify the
the Department of Education’s Office for Civil
admissions office by email ([email protected])
or mail as soon as possible. Deposits
are non-refundable.
Deferring
Students may request a deferral to the next
available term by emailing Young Hah
at [email protected]. Only one deferral is
permitted. The deposit must be submitted
for a deferral to be approved.
Rights regarding an alleged violation of Title IX by
visiting www2.ed.gov/about/offices/list/ocr/
complaintintro.html or calling 800.421.3481.
269
Financial Aid
Pratt offers various kinds of assistance,
If financial need has been established
ranging from academic merit-based
and adequate funding is available, students
scholarships to assistantships and loans.
are considered for federal loan programs.
Entering Graduate Students
Graduate students are not eligible for Federal
Pell Grants and Federal Supplemental
Graduate students who are interested in
Educational Opportunity Grants (FSEOGs),
applying for federal aid must complete and
and Subsidized Stafford Loans.
submit the Free Application for Federal
Student Aid (FAFSA) to the Department of
Education electronically by March 1.
File electronically using the FAFSA or
Currently Enrolled
Graduate Students
Students who are interested in applying
renewal application at www.fafsa.ed.gov or
for federal aid must submit the FAFSA to
Pratt’s website. Do not submit more than one
the Department of Education. The FAFSA
application!
should be filed no later than March 1 if the
The FAFSA should be submitted no later
student wishes to be advised of aid in a
than March 1 if the student wishes to receive
timely fashion. Documents such as IRS tax
timely notification of financial aid. Other
transcripts may be requested. If requested,
documents, such as federal
they must be submitted by May 15.
tax transcripts, may be requested and must
be submitted by May 15.
The Office of Financial Aid, upon receipt
of student grades, evaluates the eligibility of
each applicant and sends email notifications
of the awards to continuing students in
early summer, if the student has applied by
March 1.
OFFICE OF FINANCIAL AID
INFORMATION CENTER
Myrtle Hall, 6th Floor
Tel: 718.636.3599 | Fax: 718.636.3739
[email protected]
www.pratt.edu/financing
270 FINANCIAL AID
Grant and
Scholarship Programs
Graduate Scholarships
What is the purpose of the program?
To provide funds to full-time students based
on merit. These are awarded by academic
departments; all incoming students are
considered. There is no application form.
They may be awarded for one year or may be
renewable.
Pratt Restricted Awards
and Scholarships
To provide funds derived from Institute
endowments and restricted gifts that are
granted to students according to the wishes
of the donor and on the recommendation of
the appropriate dean or departmental chair.
How much are the awards?
The awards range from $1,000 and up for the
academic year, for one year only.
Who can receive this money?
Full-time students who have applied for aid
and have demonstrated financial need and
are making satisfactory academic progress.
Some awards are based on academic merit
only, and all are based on departmental
recommendations.
How much do I have to pay back?
How do I apply?
No repayment is required.
Through your department chair.
How do I apply?
There are no special application forms for
Rights and Responsibilities
of Recipients
restricted and endowed scholarships. Each
For assistantships or fellowships to be
department determines its own application
process. Recipients are selected by deans
or department chairs based on criteria
established by donors. These awards are
made for one year only and are based on the
availability of funds in any given year.
awarded in successive years, the student
must make satisfactory progress toward a
degree and show financial need. Students
must not owe any refunds on Federal Pell
Grants or any other awards paid, and not be
in default of any student loan.
Pratt Assistantships/Fellowships
To provide funds and professional
Other Pratt Programs
experience to help meet a student’s costs
Pratt Student Employment Program
from institutional sources.
Student employment is funded entirely by
How much are the awards?
The assistantship awards range from
approximately $500 to $7,200 for the
academic year and are paid directly to the
student and are not deductible from the
Bursar’s bill. Fellowships are credited to the
Bursar’s bill.
Who can receive this money?
Graduate students with demonstrated
proficiency in their area of study.
How much do I have to repay?
No monetary repayment is required;
students must complete assigned tasks.
Pratt Institute and offers an opportunity
for qualified students to work part time on
campus. Applicants for student employment
must complete and submit all required
financial aid documents in order to qualify.
These funds are paid directly to students
for campus job assignments and are not
deductible from the Bursar’s bill.
Students are responsible for submitting
signed time sheets electronically to the
Office of Student Employment. Employment
forms such as the W4, I-9, and Employment
Authorization Form must be completed prior
to working or getting paid.
FINANCIAL AID 271
Federal Programs
SCHEDUL E
Loans. (Combined total cannot exceed
Pratt arranges jobs on campus, for up to
Stafford limits.)
Federal College
Work-Study (FCWS)
20 hours per week. Factors considered by
What Is FCWS?
program are financial need, class schedule,
Federal College Work-Study is a federally
assisted employment program that offers
qualified students a chance to earn money
to help pay for educational expenses. These
funds are paid directly to students for job
assignments and are not deductible from the
Institute’s bill.
APPL ICATION PRO CEDURES
All students must submit the FAFSA before
a determination of eligibility will be made.
Eligible candidates will be notified by the
Office of Financial Aid of job assignments
and the forms required before initiating
employment.
SEL ECTION OF RECIPIENTS AND
AL LO CATION OF AWARDS
The applicant must be enrolled full
time (nine credits) at Pratt. Pratt makes
employment reasonably available to all
eligible students who demonstrate need
as per federal guidelines. 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.
the Office of Financial Aid in determining
whether the applicant may work under this
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.
Students may work for only one department
each semester.
RIGHTS AND RESP ONSIBIL ITIES
OF RECIPIENTS
Satisfactory academic progress must be maintained. Students must not owe any refunds on
Federal Pell Grants or any other awards paid,
and not be in default on any student loan.
Students are responsible for submitting signed
time sheets electronically to the Office of Student Employment. Employment forms such
LOAN SCHEDUL E
Annual Loan Limit
$20,500—graduate and professional
students (unsubsidized)
The annual loan limits for students enrolled
in a program of study for less than one
academic year in length are prorated.
Aggregate Loan Limits
$138,500—undergraduate and graduate
combined.
1. All student loans will be disbursed in
two installments, one each semester.
2. A percentage (approximately
1 percent) of the loan amount will be
deducted from each disbursement as
an origination fee.
as the W4, I-9, and Employment Authorization
Form must be submitted prior to working.
Federal Unsubsidized
Stafford Loans
ORIGINATION/INSUR ANCE FEES
Borrowers pay an origination fee of
1.072 percent. Interest rate is fixed at
6.8 percent, but may change July 1.
These loans have the same terms and
conditions as Stafford Loans, except that
the borrower is responsible for interest that
RIGHTS AND RESP ONSIBIL ITIES
OF RECIPIENTS
accrues during deferment periods (including
All borrowers are required to submit a Master
in-school) and during the six-month grace
Promissory Note (MPN) to apply for a Federal
period. Interest may be deferred while in
Direct Loan (subsidized and unsubsidized).
school but interest will be capitalized if the
The MPN is an application for the Stafford
student requests a deferment.
Loan Programs and is valid for ten years from
Program is open to students who may
not qualify for subsidized Federal Stafford
the time that you originally submit. Please
keep in mind that you will still have to submit
272 FINANCIAL AID
the Free Application for Federal Student Aid
(FAFSA) each year by March 1.
The Office of Financial Aid will notify you
via your electronic financial aid award letter
of your loan eligibility. If any changes are
made to your financial aid, a new letter with
the most current information will be emailed
to your Pratt email address. You should keep
all the letters you receive from the Office of
Financial Aid in order to keep track of any
award revisions.
Along with your electronic award
letter you will be able to gain access to an
electronic master promissory note (MPN).
Prior borrowers may have different interest
and repayment terms based on when they
borrowed their first loan.
All borrowers must attend school at least
half time to be eligible to borrow any type of
loan. Students who are registered for Thesis
in Progress (TIP) also have a minimum
attendance requirement. The first year of
TIP, the student is considered full time for
financial aid purposes only; the second
year, the student is considered half time for
financial aid; and the third, the student must
be registered for at least six credits in the
major or electives to be eligible for aid.
Six months after ceasing to be at least a
3. The maximum period of a loan from
date of the original note may not
exceed 15 years, excluding authorized
deferments of payments.
4.Repayment in whole or part may be
made at any time without penalty.
DISBURSEMEN T AND REF UND
OF CREDIT BAL ANCES
The Institute credits all loan disbursements
for graduate level students after the add/
drop period of each semester. Your loan
funds will be credited only if you file all your
required applications in a timely fashion. If
your loan funds do not credit to your account
as expected, please contact your financial
aid counselor or contact the Office of
Financial Aid at 718.636.3599 for assistance.
If your loan amounts exceed your balance,
then you will be written a refund check 14
days after this credit has been created on
your account. All refund checks are mailed
standards to all students receiving Pratt aid,
federal aid, and state aid (including loans).
CRITERIA
Measurable satisfactory academic progress
for a full-time graduate student means:
• The student must complete a
minimum of 9 credits each semester
(TAP recipients must complete a
minimum of 12 credits each semester).
• The student’s cumulative grade point
average (GPA) must not fall below 3.0.
financial aid who drop credits will
regarding your refund checks, please
be subject to adjustments in their
feel free to contact the Bursar’s Office at
financial aid package.
718.636.3799.
Sources of Outside Scholarships
Center notices of outside scholarships and
of Education to begin repayment. The
scholarship workshops held each month
following regulations apply:
on campus, the Financial Aid Office has
10 years.
Pratt applies minimum academic progress
Registrar’s Office. If you have any questions
formal arrangements with the Department
2. The maximum repayment period is
STANDARDS OF ACADEMIC PRO GRES S
FOR DE TERMINING EL IGIBIL IT Y FOR
PR AT T AND FEDER AL FINANCIAL AID
• Students receiving federal and Pratt
In addition to the Financial Aid Information
be $50 plus interest.
Financial Assistance Standards
to students at the address submitted to the
half-time student, the borrower must make
1. The minimum monthly payment will
Academic Progress
and Pursuit
lists of agencies to which you may also apply.
(Contact Peggy West-Barton-Feagin at
718.399.4489 for more information.)
RE VIE W P OL ICIES
The Office of Financial Aid will periodically review the GPA and number of credits
earned by each financial aid recipient using
his or her academic transcript. Credits
earned include only those for courses with
A through D grades.
A student not meeting these standards
will be placed on financial aid warning
for one semester. After the grades for
FINANCIAL AID 273
the warning semester are calculated, the
Standards of Degree Progress
VERMONT
student’s transcript will be reviewed. If the
student fails to meet the standards, all of his
or her financial aid will be revoked beginning
with the semester following the warning
semester. Once the student meets the
minimum standards, he or she may reapply
for financial aid.
A student may choose to continue to
study without Title IV aid if the department
grants approval. In this instance, the
student must apply and be approved for an
alternative loan prior to getting registration
approval from the Bursar’s Office.
S TANDARDS OF ACADEMIC
PRO GRES S FOR DE TERMINING
EL IGIBIL IT Y FOR ST UDENT AID
The following chart lists Pratt Institute’s
standards of degree progress for determining eligibility. Note that each program type
shown on the chart requires that as you begin
each term shown:
• You must have earned at least the
required number of credits listed; and
• You must have achieved the minimum
GPA. Both of these requirements must
be met before loan certification can
occur.
Vermont Student Assistance Corporation
MA STER’S DEGREE/P OST-MA STER’S
CERTIFICATE
TERM
GPA CREDITS
1
NA0
2
3.00
12
3
3.00
21
4
3.00
30
5
3.00
39
6
3.00
48
7
3.00
57
8
3.00
66
9
3.00
75
PO Box 2000
Winooski, VT 05404
800.645.3177
VIRGIN ISL ANDS
Board of Education
PO Box 11900
St. Thomas, VI 00801
340.774.4546
WA SHINGTON, D.C.
Washington, D.C. Grant Program
Educational Assistance Office
2100 Martin Luther King Jr. Avenue
Out-Of-State Programs
Other state or commonwealth scholarship
programs and where to apply:
Suite 401
Washington, D.C. 20020
202.698.2400
The above state and district programs are
MARYL AND
available only to residents of the appropriate
Higher Education Commission
state or district. Pratt knows of no other
State Scholarship Administration
Jeffrey Building
16 Francis Street, 219
Annapolis, MD 21401-1700
410-260-4500
RHODE ISL AND
Rhode Island State Scholarship
560 Jefferson Boulevard
Warwick, RI 02886
800.922.9855
states that make awards to students at a New
York college.
274 FINANCIAL AID
United States Bureau of
Indian Affairs Aid to Native
Americans Higher Education
Assistance Program
Veterans Administration
Educational Benefits
Application forms are available at all
Veterans Administration (VA) offices, active
duty stations, and American embassies.
APPL ICATION PRO CEDURES
Completed forms are submitted to the
Application forms may be obtained from the
nearest VA office. (See Veterans Assistance
Bureau of Indian Affairs office. An application
under Registration.)
is necessary for each year of study. An
official needs analysis from Pratt’s Office of
Financial Aid also is required each year.
bureau agency or tribe which records
enrollment for the tribe.
SEL ECTION OF RECIPIENTS AND
AL LO CATION OF AWARDS
To be eligible, the applicant must:
1. Be at least one-fourth American
Indian, Eskimo, or Aleut.
2. Be an enrolled member of a tribe,
band, or group recognized by the
Bureau of Indian Affairs.
3. Be enrolled in or accepted for
enrollment at Pratt, pursuing at least a
four-year degree.
4.Demonstrate financial need.
State Scholarship Program Commission
for Higher Education
PO Box 1329
Hartford, CT 06115
860.713.6543
DEL AWARE
Delaware Post.Secondary
Education Commission
State Education Agencies
Each first-time applicant must obtain
tribal enrollment certification from the
C ONNEC TICU T
Carvel State Office Building
820 North French Street, 5th Floor
Wilmington, DE 19801
AL A SK A
Alaska Commission
on Post.Secondary Education
707 A Street, Suite 206
Anchorage, AK 99567
907.269.7973
800.292.7935
FLORIDA
Bureau of Student Financial Assistance
325 W. Gaines Street
Tallahassee, FL 32399.0400
850.245.0414
ARK ANSA S
Student Loan Guarantee Foundation
of Arkansas
10 Turtle Creek Lane
Little Rock, AR 72202
IL L INOIS
Illinois Student Assistance Commission
500 West Monroe, 3rd Floor
Springfield, IL 62704
800.622.3446
800.899.4722
CAL IFORNIA
MA S SACHUSE T TS
California Student Aid Commission
American Student Assistance Corporation
3300 Vinsandel Drive
Rancho Cordova, CA 95670
888.224.7268
100 Cambridge Street
Boston, MA 02114
800.999.9080
FINANCIAL AID 275
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
PO Box 545
Trenton, NJ 08625
800.792.8670
NE W YORK
Restricted Grants
and Scholarships
DREAM BIG SCHOL ARSHIP
END OWED SCHOL ARSHIP
There are no special application forms
one annual partial scholarship to an
for restricted and endowed scholarships.
Recipients are selected by deans or
department chairs based on criteria
established by the donors. These awards
are generally made to continuing students
in the spring semester for one year only
and are based on the availability of funds in
any given year. Notification of scholarship
and fellowship availability will be made
by individual departments in the spring of
each year.
New York State Higher Education
Services Corporation
99 Washington Avenue
Albany, NY 12255
888.697.4372
PENNSYLVANIA
Pennsylvania Higher Education
Assistance Agency
State Grant and Special Programs Division
1200 North 7th Street
Harrisburg, PA 17102
800.692.7392
TE X A S
Texas Higher Education
Coordinating Board
1200 E. Anderson Lane
Austin, TX 78752
800.242.3062
COL L ABOR ATIVE END OWMENT FOR
ARCHITECT URE/PE TER SCHRE TER
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.
The Dream Big Scholarship will award
undergraduate in the School of Architecture,
based on need and merit, with financial need
as primary consideration.
GO ODSTEIN DE VELOPMENT
CORP OR ATION SCHOL ARSHIP
IN HONOR OF JACK AND
FLORENCE GO ODSTEIN
Established by Pratt alumnus Steven H.
Goodstein, class of 1966, in memory of his
parents, this scholarship benefits students
majoring in Construction Management.
BENJAMIN GOL DBERGER
MEMORIAL SCHOL ARSHIP
A scholarship established by Beatrice
Goldberger, class of 1934, in honor of her
father, Benjamin Goldberger, class of 1909.
WIL L IAM R AND OL PH HEARST
SCHOL ARSHIP
A fund established by the William Randolph
Hearst Foundation for students in
architecture. Financial need and academic
merit being equal, preference will be given to
minority students.
AMY C. KOE END OWED SCHOL ARSHIP
A scholarship for needy and deserving
students in the School of Architecture.
276 FINANCIAL AID
CHARLES MACCHI SCHOL ARSHIP
LEE AND NORMAN ROSENFELD AWARD
This scholarship will provide one or more
To provide monetary awards to profession-
full or partial scholarships to academically
ally motivated, academically qualified, and/
qualified students in the School of
or deserving undergraduate students in the
Architecture, with demonstrated
School of Architecture who have completed
financial need.
one year of study. Preference will be given
to students who are honest and honorable,
DAVID MANDL MEMORIAL SCHOL ARSHIP
as established by academic leadership
A scholarship established in memory of
and character, who will use the funds to
David Mandl to support deserving and/or
perpetuate their educational, creative, and
academically qualified students in the
professional goals.
School of Architecture.
PATRONS PRO GR AM SCHOL ARSHIP
CLYDE L INC OL N ROUNSE VIL L E
SCHOL ARSHIP F UND
A scholarship established by Pratt family
Awarded to deserving students in the School
member Edmund S. Twining III to provide
support to outstanding architecture students.
PL ANNING SCHOL ARSHIP
A scholarship fund established for students
in the graduate program in City and Regional
Planning.
PR AT T PL ANNING ALUMNI SCHOL ARSHIP
A fund established by Pratt Planning Alumni
for students in the Graduate Planning
Program in the School of Architecture.
FR ANK O. PRICE SCHOL ARSHIP
A fund established by friends of Professor
Price, longtime teacher of architecture,
awarded to a worthy student.
EDWARD RE JR. SCHOL ARSHIP
A scholarship established by Professor
Edward D. Re Jr. to aid students
studying Architecture and Construction
Management.
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.
LUCINDA VEIKOS END OWED
SCHOL ARSHIP
A fund established by William and Elizabeth
Pedersen in memory of Lucinda Veikos, class
of 1992, for a deserving student in the School
of Architecture.
VEIKOS TR AVEL SCHOL ARSHIP FOR
ARCHITECT UR AL ST UDY AND TR AVEL
A scholarship established by Kohn Pederson
Fox Associates in memory of Lucinda
Veikos, class of 1992, for travel abroad
for a deserving student in the School of
Architecture.
WINNEMORE ENDOWED SCHOL ARSHIP
Established by Augustine E. Winnemore,
this scholarship is awarded to outstanding
Architecture students.
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.
MARY PR AT T BARRINGER
SCHOL ARSHIP F UND
A scholarship established by Mary Pratt
Barringer, awarded annually to five Delaware
College of Art and Design students coming
FINANCIAL AID 277
to Pratt, selected by a joint committee of
and Design. The scholarships are awarded
representatives from both schools.
to applicants who have majored in the study
COYNE FAMILY FOUNDATION
SCHOL ARSHIP F UND
of art in a public high school located in Kings
A fund established from the Richard and
THE REGGIE BEHL DR AWING AWARD
County (Brooklyn) and who reside in Kings
Jean Coyne Family Foundation for students
The Reggie Behl Drawing Award will provide
County (Brooklyn).
in Communications Design.
MARY BUCKL E Y AND JOSEPH PARRIOT
TOMIE DEPAOL A SCHOL ARSHIP F UND
Established by Mary Buckley, a former
majoring in Illustration, established by
BERNICE BIENENSTO CK SCHOL ARSHIP
professor at Pratt Institute who taught
alumnus Tomie dePaola,
A scholarship awarded to students pursuing
in the Foundation Art Department, this
class of 1956.
a financial award annually to a student in
the School of Art and Design who exhibits
excellence in drawing.
home furnishings-related studies.
scholarship is awarded to Foundation
SANDR A K. BENJAMIN-HANNIBAL
SCHOL ARSHIP
work and is intended to encourage work in
students who exhibit excellence in color
that discipline.
to two first-year students who are in the
process of completing their Foundation Year
studies and are candidates or finalists in the
JOHN A. DRE VES ART AND DESIGN
SCHOL ARSHIP
A scholarship established from the Estate
of John A. Dreves, class of 1935, to provide
A scholarship established in honor of
Sandra K. Benjamin-Hannibal, awarded
An endowed scholarship to support students
ROBERT F. CAL ROW MEMORIAL
SCHOL ARSHIP
support for students in the School of Art and
Design who demonstrate financial need.
A scholarship fund established by Trudi
Calrow in memory of her husband, Robert
FAITH EL L IS ART FINANCIAL AID
SCHOL ARSHIP
Foundation Art Competition.
F. Calrow, a well-known painter and
inspirational teacher. A scholarship will be
A fund established by Faith Ellis, class
RU TH CAMPBEL L BIGELOW
AND DAVID E. BIGELOW SCHOL ARSHIP
F UND
awarded annually to a Fine Arts major on the
of 1939, in memory of her son Rolan R.
basis of merit and need.
Ellis, to enable students to access special
Awarded to a student in Interior Design on
FEDERICO CA STEL LON END OWED
SCHOL ARSHIP
Department.
A scholarship established by Hilda Castellon
WIL L IAM FO GL ER END OWED
SCHOL ARSHIP F UND
the basis of need and academic promise.
training as determined by the Art Education
R AYMOND AND MABEL BOLTON
ART AND DESIGN SCHOL ARSHIP
in memory of her husband, Federico
Castellon, to be awarded on a yearly basis to
A scholarship established in memory of
A scholarship fund established in honor of
a promising student in Graphic Arts.
Professor William A. Fogler, class of 1955, for
Raymond and Mabel Bolton for deserving
promising students in Industrial Design.
students in the School of Art and Design.
ANDREA M. CEL L A AND GR ACE HANSEN
CEL L A MEMORIAL SCHOL ARSHIP
AL MA H. BORGFEL DT SCHOL ARSHIP
A scholarship established by Robert and
A bequest by Alma H. Borgfeldt for
Warren Cella to aid students in the School of
A scholarship established by Jacques and
scholarships for worthy female students to
Art and Design who actively promote the arts
Natasha Gelman awarded to undergraduate
be selected by the dean of the School of Art
in their community.
students in studio arts who demonstrate
JACQUES AND NATA SHA GEL MAN
278 FINANCIAL AID
exceptional talent in drawing or painting.
HA SKEL L TR AVEL SCHOL ARSHIP
With the level of creative merit being equal,
A scholarship established for students in the
preference will be given to those of Mexican
School of Art and Design for travel abroad
or Latino descent.
within two years from graduation.
ANTHONY GENNAREL L I MEMORIAL
SCUL P T URE AWARD
JOHN AND JOAN HERL IT Z MEMORIAL
Awarded to students enrolled at Pratt
The purpose of this scholarship endow
Institute who are studying sculpture. The
ment shall be to provide recognition and
award will be based on artistic and academic
financial assistance, based on need and
merit, as well as quality of student work.
merit, to undergraduate students enrolled
RICK GO ODWIN MEMORIAL
SCHOL ARSHIP
This scholarship fund is established with
gifts made in memory of Rick Goodwin, a
former faculty member in the Department
of Industrial Design. It will support an
Industrial Design student based on financial
need and academic merit.
CHARL ES L. GOSL IN END OWED
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.
RICHARD AND ANNE L. BOE T ZEL GUNN
SCHOL ARSHIP F UND
A scholarship awarded annually to a student
majoring in Communications Design on
the basis of scholarly achievement, with
preference given to students majoring in
Advertising Design or Illustration. Named
for and established by alumni from the
class of 1937.
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.
INDUSTRIAL DESIGN SCHOL ARSHIP
A number of scholarships from a fund
established by business contributions,
awarded to students in Industrial Design
for experimental projects in the laboratory.
MELVIN K. JUNG MEMORIAL
SCHOL ARSHIP F UND
Awarded to a worthy graduate student in
Industrial Design, named in memory of an
alumnus from the class of 1975.
HEL EN OF KLUCHARK A
A scholarship established by Pearl K.
Schwartz in honor of her mother, awarded to
students studying Fashion Design.
L EEDS SCHOL ARSHIP IN
INTERIOR DESIGN
A scholarship for Interior Design students,
established through a gift from the estate of
Harold Leeds.
NAOMI L EFF E XCEL L ENCE IN
INTERIOR DESIGN SCHOL ARSHIP
Established with a generous bequest from
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 L E 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 or
junior year majoring in Advertising, Graphic
Design, and Illustration.
FINANCIAL AID 279
TED AND BE TSY L E WIN
GINO AND CL ARICE NAHUM
a student in the Photography Department
A fund established by Pratt alumni Ted
The Gino and Clarice Nahum Memorial
academic merit and need.
Lewin, class of 1956, and Betsy Lewin,
Scholarship provides scholarships to
class of 1959, to provide support for
professionally motivated and academically
L IL L IAN PR AT T FA SHION SCHOL ARSHIP
Illustration students.
qualified students in undergraduate
A scholarship to benefit outstanding juniors
Communications Design, who have
and seniors in Fashion Design, established
WIL L IAM L. LONGYEAR SCHOL ARSHIP
already completed one year of study at Pratt.
by Pratt family member Lillian Pratt.
A fund established by students, alumni,
Preference will be given to undergraduate
and friends from the business world as a
students who show great potential, and the
WALTER ROGALSKI SCHOL ARSHIP
tribute to William L. Longyear, associate
scholarship will be awarded based on merit.
A scholarship awarded annually to a graduate
dean emeritus and former chair of the
at Pratt Institute, based on a combination of
Fine Arts student on the basis of merit and
Department of Advertising Design,
P OINT OF P URCHA SE SCHOL ARSHIP
need, as selected by a faculty committee
awarded annually to Communications
The Point of Purchase Scholarship is funded
that reviews candidates who exemplify the
Design students and to graduate Package
by grants from numerous companies with
creative ability that characterized the work of
Design students on the basis of need and
significant interest in the design of displays
former Pratt professor Walter Rogalski.
scholarship. The recipients are nominated
used at the Point of Purchase (POP). An
by the department chairs and two faculty
annual award to either undergraduate or
MARC ROSEN SCHOL ARSHIP
members for approval by the dean of the
graduate Industrial Design students who
Funded by friends and associates of Marc
have demonstrated design leadership
Rosen, class of 1970, in his honor, this
potential in the field of POP design.
award is made to an outstanding graduate
THE JOHN S. MARQUARDT AWARD IN
COMMUNICATIONS DE SIGN
Communications/Package Design student.
An endowed scholarship fund established
EL AINE GLUCKMAN P OP OWIT Z
MEMORIAL SCHOL ARSHIP F UND
The winner is selected by the chair and
by George Klauber, class of 1952, in memory
Established in memory of Elaine
of John S. Marquardt, class of 1989. A
Gluckman, class of 1981, a faculty member
Graduate Communications/Package Design.
scholarship will be awarded annually to
of the graduate Art Therapy Department.
outstanding undergraduates majoring in
Scholarship to be awarded annually to a
BARBAR A HAUBEN ROS S INTERIOR
DESIGN AWARD
Illustration, Advertising/Art Direction, or
second-year student in the graduate Creative
A fund established to annually honor two
Graphic Design, solely on the basis of merit.
Arts Therapy Department who has exhibited
outstanding Interior Design juniors.
members of the faculty of the Department of
outstanding scholarship, integrity, and
PHYL L IS AND CONR AD MILSTER
concern for others.
ANNA W. RUST ENDOWED SCHOL ARSHIP
FOR ST UDENTS IN ART AND DESIGN
Established by Conrad Milster, Pratt
CHARLES PRAT T, JR. AWARD FOR
EXCELLENCE IN PHOTOGRAPHY
A scholarship for students in the School of
Institute’s Chief Engineer, the scholarship
will provide one or more annual partial
Established by Pratt Institute Trustee
Rust in memory of his wife, Anna Klenke
scholarships to undergraduate or
Mike C. Pratt in honor of his father, the
Rust, class of 1938.
graduate students in the Industrial
Charles Pratt, Jr. Award for Excellence in
Design Department.
Photography will be distributed annually to
Art and Design established by Leo Lewis
280 FINANCIAL AID
DAVID SAYLOR SCHOL ARSHIP FOR DESIGN
JAMES SEEMAN END OWED SCHOL ARSHIP
RU TH P. TAYLOR SCHOL ARSHIP
A scholarship established to benefit
Established by the family and friends of
A fund established by the estate of Ruth
undergraduate and graduate students in the
interior design leader and muralist James
P. Taylor, class of 1921, for students in the
School of Art and Design who are studying
Seeman, this scholarship provides resources
either Industrial Design or Interior Design.
for dedicated Painting students, with
Preference will be given to students who
preference given to those who recently
combine the fields of industrial design and
moved to the United States.
interior design in their studies, or who plan to
do so in their careers.
of his mother Virginia Pratt Thayer to
A scholarship for students in the School of
provide scholarship aid to an outstanding
Art and Design, specifically Fashion Design.
A scholarship established by Charles and
SEL MA SEIGEL MEMORIAL SCHOL ARSHIP
Marie Schade to aid students in either the
A fund created by Morton Flaum, class of
demonstrate good academic standing as well
as financial need.
D OROTHY G. SCHMIDT
SCHOL ARSHIP F UND
Dorothy G. Schmidt, to be used for
elementary and junior high school teachers
seeking courses at Pratt for professional
enhancement in their work of teaching art
and related subjects in the public schools of
Brooklyn, to be awarded on the basis of need.
Other factors being equal, females shall be
given preference.
FREDERICK J. SCHUBACK
To be awarded to one Fine Arts
undergraduate each year who is in good
academic standing and who demonstrates
financial need, established in memory of
Frederick J. Schuback, class of 1975.
A fund created by Robert Thayer in memory
SEEMAN-BURSE F UND
CHARL ES AND MARIE SCHADE
School of Art and Design or Architecture who
VIRGINIA PR AT T THAYER SCHOL ARSHIP
IN FINE ARTS
1971, in memory of Selma Seigel, which will
provide scholarship aid to Interior Design
student entering his or her junior year in the
Fine Arts program.
D OROTHY TO OL E SCHOL ARSHIP
Created through a bequest in the will of Mrs.
Dorothy Rodgers Toole, class of 1931, this
students in the School of Art and Design.
scholarship is for students who demonstrate
MONICA SHAY SCHOL ARSHIP
fashion illustration.
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 Management.
STARR FOUNDATION SCHOL ARSHIP
A scholarship fund established by the Starr
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.
unusual interest and talent in the field of
MA X WEBER SCHOL ARSHIP F UND
A gift given by Mrs. Max Weber and Miss
Frances Weber in memory of the well-known
artist who was a member of the class of 1900,
to be used annually to provide scholarship aid
for students in the School of Art and Design.
STEPHAN WEIS S END OWED
SCHOL ARSHIP
Awarded to Fine Arts students in good
academic standing, this scholarship, funded
by Donna Karan’s Karan-Weiss Foundation,
honors Stephan Weiss.
WIL L ARD SCHOL ARSHIP
This scholarship was established to aid
students in the School of Art and Design
who are graduates of Washington Irving
High School.
FINANCIAL AID 281
HENRY WOL F SCHOL ARSHIP
END OWMENT
MORTON D. FL AUM MEMORIAL
SCHOL ARSHIP
MARVIN SCIL KEN END OWED
SCHOL ARSHIP
An endowed scholarship fund, the income
Established by Morton D. Flaum, class of
A fund established in memory of Marvin
of which will be used to award one or more
1971, through his estate, to benefit students
Scilken, class of 1960, a former faculty
scholarships to support economically
in the School of Information
member in the School of Information and
disadvantaged students pursuing
and Library Science.
Library Science.
Communications Design.
L IBR ARY SCHO OL GR ADUATES’
A S SO CIATION
GEORGE SIMOR SCHOL ARSHIP
IRMA HOL L AND WOLSTEIN END OWED
SCHOL ARSHIP
A fund established for graduate students in
Simor, a former faculty member in the School
B.F.A.s or M.F.A.s in Photography or
Information and Library Science.
A scholarship fund established by Dr. Benjamin Wolstein to aid gifted students with
L IBR ARY SCIENCE F UND
financial aid in the Arts Education program.
A scholarship fund for graduate students in
School of Information and
Library Science
BE TA PHI MU SCHOL ARSHIP
A scholarship fund established by Beta Phi
Mu, an honor society for elite graduates in the
School of Information and Library Science.
S. M. MAT TA END OWED SCHOL ARSHIP IN
INFORMATION TECHNOLO GY
A fund established in honor of Seoud
M. Matta, former dean of the School of
A fund established in memory of George
of Information and Library Science.
THE EDMUND S. T WINING III AND DIANA
T WINING SCHO OL OF INFORMATION
AND L IBR ARY SCIENCE FEL LOWSHIPS IN
FLORENCE
The fund is intended to provide two graduate
fellowships each summer for students
studying in the School of Information and
Library Science Florence Summer Program.
H.W. WILSON SCHOL ARSHIP
SYLVIA G. MECHANIC MERIT AWARD IN
BUSINES S L IBR ARIANSHIP
A fund established by the H.W. Wilson
A scholarship for graduate students in
Information and Library Science or Liberal
Arts and Sciences.
an alumna from the class of 1913.
PR AT T-SE VERN ST UDENT RESEARCH
AWARD IN INFORMATION SCIENCE
School of Liberal Arts and Sciences
D OROTHY M. CO OPER END OWED
FEL LOWSHIP
An annual award funded by a bequest from
Established from the Dorothy M. Cooper
presented to a master’s degree student
MABEL BO G ARDUS SCHOL ARSHIP F UND
A fund established for graduate students in
Information and Library Science, named for
Trust to provide support for students in the
library school, named for an alumna from
the class of 1931.
alumnus David Severn, class of 1968, is
selected by the American Society for
Information Science (ASIS).
Foundation for graduate students in
IZCHAK FRIEDMAN END OWED
SCHOL ARSHIP
An endowed fund established by Pratt
alumna Estelle Friedman, class of 1969,
and her children in memory of her husband,
Pratt alumnus, professor, and dean of the
School of Liberal Arts and Sciences, Izchak
Friedman, class of 1962, for students with an
282 FINANCIAL AID
interest in combining science and the arts,
based on merit and financial need.
D OROTHY P. BARRE T T
ESTHER BRIGHAM FISHER
SCHOL ARSHIP F UND
A fund established by the estate of Dorothy
A scholarship fund established by Edward M.
MICHAEL M. MAHONEY WRITERS’ FUND
P. Barrett for general charitable and
Fisher, in memory of his wife, to assist Pratt
Awarded to undergraduate students
educational uses.
Institute students.
interested in writing for publication and
WIL L IAM BINGHAM II SCHOL ARSHIP
L E WIS H. FLYNN SCHOL ARSHIP
performance media, in memory of former
A trust for charitable purposes established
A fund established under the will of Lewis H.
Pratt student Michael Mahoney. Recipients
by the late William Bingham II for students
Flynn, class of 1916, for scholarship aid.
will be chosen by the dean of the School of
from Bethel, Maine, other towns in Oxford
Liberal Arts and Sciences.
County, Maine, or elsewhere in the state of
FORD-EEO C SCHOL ARSHIP
Maine (in that order).
An endowment fund established by the Ford
majoring in writing, specifically those
H.W. WILSON SCHOL ARSHIP
A fund established by the H.W. Wilson
Foundation for graduate students in
Information and Library Science or Liberal
Arts and Sciences.
All Schools
ALUMNI SCHOL ARSHIP
A fund established in 1957 by various alumni,
the income from which is to be used for
scholarship assistance to worthy students.
JAMES W. ATKINSON
Created from the trust of Yvonne Atkinson, in
memory of her husband James W. Atkinson,
class of 1938, a generous and active alumnus
and graphic designer who headed Pratt’s
alumni branch in Detroit, this fund provides
resources for general scholarship purposes.
Motor Company to provide scholarships for
BL ACK ALUMNI OF PR AT T
students with demonstrated financial need.
A fund established to provide scholarships
will be given to minorities, women, Ford
to students who have completed a year at
Pratt, are in good academic standing, and
Financial need being equal, preference
employees, their spouses, and their children.
demonstrate a need for financial assistance.
GENER AL SCHOL ARSHIP
Academic standing and financial need being
A fund established in 1956 through gifts from
equal, preference will be given to students of
African and Latino descent.
ELSA K. BRO OKS SCHOL ARSHIP
Created through a charitable gift annuity
industries made as matching scholarships or
tuition grants, the income from which is to be
used for general scholarship purposes.
from Elsa K. Brooks, class of 1939, this
K ATHL EEN L . GERL A
END OWMENT SCHOL ARSHIP
scholarship is intended for incoming
A fund established by the Kathleen L. Gerla
freshmen students.
Charitable Trust.
HEL EN R. FECKE END OWED
SCHOL ARSHIP
WILSON Y. HANCO CK
Awarded to students in good academic
A scholarship to provide general support for
standing who demonstrate financial need,
students in good academic standing, created
named for an alumna of the class of 1926.
through a bequest from the Estate of Elizabeth
Marie Hancock in memory of her late husband,
Wilson Y. Hancock, class of 1933.
FINANCIAL AID 283
COBY HOFFMAN SCHOL ARSHIP
L EO J. PANTA S RESIDENCE
CENTER SCHOL ARSHIP
GEORGE D. PR AT T SCHOL ARSHIP
in the School of Art and Design.
A scholarship established by Leo J. Pantas,
Pratt in memory of her husband, George D.
FERDINAND M. JUNGE
ing grant from Eaton Corporation. Awarded
A fund established from the estate of
living in Pantas Residence Hall.
A scholarship established to support students
class of 1937, trustee emeritus, with a matchto a full-time student with financial need
Ferdinand M. Junge for talented and
deserving undergraduates who demonstrate
financial need.
Pratt, for worthy students.
RICHARDSON (JERRY) PR AT T
Funded by gifts from the Pratt family and
PR AT T ART SUPPLY PRODUCT
SCHOL ARSHIP
established in honor of Richardson Pratt Jr.,
A fund established by the Pratt Art Supply
is awarded to outstanding students with
HERMAN Y. KRINSK Y SCHOL ARSHIP F UND
FOR DISABL ED ST UDENTS
Shop to provide supply scholarships for
A fund established for disabled students in
awarded annually during a scholarship and
honor of former Pratt professor Herman Y.
fall trade show.
qualifying students. Scholarships will be
Krinsky.
JACOB AND GWEND OLYN L AWRENCE
A scholarship fund established by Vera H. A.
former president of Pratt, this scholarship
financial need.
RICHARDSON AND MARY O. PR AT T
SCHOL ARSHIP
This scholarship, made possible by the gifts
AL AN P OT TA SCH MEMORIAL
SCHOL ARSHIP
of various donors, honors the legacies of
A scholarship established by Lisa Pottasch,
Pratt, and his wife, Mary O. Pratt.
Richardson Pratt Jr., former president of
A fund established for general scholarship
honoring Alan Pottasch, that supports
support.
undergraduate Communications Design
PAIGE RENSE SCHOL ARSHIP
students, with a preference given to those
MACD ONAL D SCHOL ARSHIP
who have declared a concentration in
This scholarship, named in honor of Helen
Advertising Art Direction and display
Babbott MacDonald, will provide financial
financial need.
resources to an undergraduate student at
Pratt Institute. The award will be granted
based on financial need and academic merit.
CHARL ES PR AT T II
This endowed scholarship was established
Paige Rense.
R AOUL SE T TL E SCHOL ARSHIP F UND
A fund established in memory of Raoul
Settle, class of 1952.
MARG ARE T A. MIDDL EDITCH F UND
by Edmund Twining III in memory of his
IRENE C. SHEA END OWED
SCHOL ARSHIP F UND
A fund established anonymously to finance
grandfather, Charles Pratt II, to support any
A fund established by Irene C. Shea, class of
scholarship or maintenance abroad, or the
travel itself.
full-time student at Pratt Institute who best
demonstrates the ideals of the founder of Pratt
Institute. These are defined as leadership,
1934, for students who demonstrate financial
need and are in good academic standing.
community service, and self-motivation.
K ATHERINE PR AT T T WITCHEL L F UND
Additionally, the award should be made
A fund established in memory of Katherine
to a student who demonstrates artistic
achievement at the college level.
Pratt Twitchell.
284 FINANCIAL AID
U TRECHT SCHOL ARSHIPS
The Utrecht Scholarships will provide
four merit-based scholarships to support
undergraduate students at Pratt Institute.
J. SHERWO OD WEBER
A fund established in memory of J. Sherwood
You must follow these guidelines:
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
Weber, former provost and faculty member,
Office of the Bursar. Those who have
to be awarded annually to an outstanding
any outstanding debts with the Bursar
student in any school.
will not be considered.
THE JAE KWAN WOO SCHOL ARSHIP
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 and
financial need being equal, preference will
be given to students from Korea or of
Korean descent.
4.You must submit copies of bank
the academic year 2014–15 will be available
www.pratt.edu/financing. You must submit
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
Free Application for Federal Student
Aid (FAFSA). You send the FAFSA to
the federal processor. We strongly
suggest it be completed and be
telephone, utility, and rent bills; and a
submitted electronically, online at
budget for the academic year.
www.fafsa.ed.gov or at the financial
5. If you are sponsored, you must submit
proof of your sponsor’s inability to
aid section of Pratt’s website.
2. IRS tax transcript for 2013, if
continue with the financial commit-
requested. If you did not file a tax
ment.
return, you must submit a notarized
6.You must submit a statement outlining
your academic goals at Pratt, as well as
an international student to the campus
The International Student Scholarship for
All application materials are available at
statements for the past six months;
what contributions you have made as
International Student
Scholarships
Financial Aid Instructions
and Schedule
life and why you need the scholarship.
7.You must submit a letter of recommendation.
letter stating your source of income.
Mail to:
Office of Financial Aid
Pratt Institute
Brooklyn, N.Y. 11205
718.636.3739 fax
8.If you are receiving Pratt’s financial
to those students who have encountered
assistance, your travels will be
Deadline: May 15, 2014, for requested
financial hardship. Students must demon-
restricted.
tax transcript.
strate unforeseen economic need. A Financial
Aid Committee will determine the eligibility
of the applicant. The scholarship funds are
very limited. Since the award is based only on
unforeseen economic need, there is no appli-
The above-listed documents must be
submitted as proof of unforeseen economic
need to the Office of International Affairs,
Attention: Jane Bush.
3. Direct subsidized and unsubsidized loans
Continuing students who wish to apply
for a loan should file the FAFSA by
February 1. If you filed the Master
Promissory Note (MPN) last year, you
cation deadline. The scholarship, if awarded,
don’t have to submit another MPN
is to be used for tuition and fees only.
loan application. We can only notify
FINANCIAL AID 285
students of their loan eligibility levels
in the electronic award letter, which is
sent to your Pratt email address.
4.Other information we request
A financial aid counselor may ask for
additional information and or
documentation after your application
is reviewed. Respond quickly—we
can’t finalize your aid until we receive
the requested information.
Mail early. We award financial aid only
when your file is complete! Call us with
questions at 718.636.3599 or email at
[email protected].
For the 2014–2015 academic year, please
refer to the financial aid section of the Pratt
website: www.pratt.edu/financing.
287
Tuition and Fees
Costs
The following approximate costs are in effect
at the time of publication. They are subject
to change by action of the Board of Trustees.
The Institute reserves the right to change
regulations at any time without prior notice.
It also reserves the right to change tuition
and fees as necessary. Tuition and fees are
payable in full at the time of registration.
Graduate
No flat rate. $1,530 per credit. Note:
The charge per credit for the School of
Information and Library Science is $1,229.
Fees
Fees vary according to program.
For a complete listing of fees, see next
page. Please refer to the undergraduate
bulletin for undergraduate tuition and fees.
Books and Supplies
Approximately $2,500 per year, depending
on program.
Other Expenses
For resident students (students living away
BURSAR
Yvette Mack
[email protected]
ASSOCIATE BURSAR
Loretta Edwards
[email protected]
from home in either on-campus or offcampus housing), an estimated $600 per
month (for a nine-month period) should
be allowed for food, housing, clothing,
and other personal needs. For commuter
students (students living at home), an
estimated $250 per month should be allowed
for personal expenses and transportation.
Students provide their own textbooks and
instructional and art supplies. These books and
supplies may be purchased either online or at
local art supply stores. Bookstore expenses are
not chargeable to the student’s Institute tuition
account. For those students who have a third
party book voucher, they must purchase their
books upfront and provide the voucher with
eligible copies of the 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]
288 TUITION AND FEES
Tuition Payment
beginning with July 15 for the ten-month plan
Undergraduate and graduate students are
for continuing students. The start date of
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
August 15 for the nine-month plan or September
15 for the eight-month plan is available for
$50
Application fee
(including an application) are available through
$90
Application fee/international
The fee is $105 for the year. There is also a
Terms of Payment
sheet to assist the student in budgeting
Bills are payable by personal or certified
educational expenses for the year.
featuring the NYCE symbol, or wire transfer
in advance of each term. Checks should be
made payable to Pratt Institute. Payment
is also accepted online. Payment for fall is
due August 1 for all students. There is a 2.5%
convenience fee charged with each credit card
TMS will provide an easy-to-use work-
A semester-based plan is also available. For
Tuition Management Systems
171 Service Avenue, Second Floor
Pratt Institute
Office of the Bursar/
Student Financial Services
This deferred payment plan may be
implemented on a yearly basis or semester
basis. This plan enables the student to pay both
fall and spring over eight, nine, or ten months,
Residence deposit
ACTIVITIES FEES
$103
Graduate activities fee
each fall and spring term: fulltime students
$82
Graduate activities fee each
fall and spring term: part-time
students
www.afford.com/PRATT
using TMS.
Deferred Plan Option
(Fall- and Spring-Based)
$300
800.722.4867
fees not charged to your student account do
Available Payment
Plan through Tuition
Management Systems
Acceptance deposit
Warwick, RI 02886
Please notify the Bursar’s Office if you are
do not incur the fee. E-checks are free.
$500
further information, call or write:
transaction. Library fines, lost ID cards, and
not incur the fee. Pratt Card transactions also
students
the Tuition Management Systems (TMS) firm.
tuition at the graduate rate.
American Express, Discover, debit cards
GENER AL FEES
new students. Brochures explaining this plan
semester-based plan for $97 each semester.
check, money order, VISA, MasterCard,
Pratt Institute Graduate Fees
Brooklyn, NY 11205
Tel. 718.636.3539
[email protected]
TECHNOLO GY FEES
$300
Each fall and spring term: fulltime students
$150
Each fall and spring term: parttime students
$150
Each summer term for all
students
TUITION AND FEES 289
ACADEMIC FACILITIES FEES
$350
Each fall and spring term: fulltime students
$190
Each fall and spring term:
part-time students (This fee is
targeted to improve facilities,
equipment, and materials that
directly enhance instruction.)
$75
International student services
FINE ARTS SHOP FEE (PER COURSE):
FAL L AND SPRING
$50
All 200–600-level courses in
Sculpture
$45
Ceramics
$45
Jewelry
$45
fee (This fee is targeted to
student.)
$190
Each summer term for
all 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 semester/session for students
who did not complete their
Printmaking
registration during their designated
registration period.
improve the quality of services
available to the international
L ATE PAYMENT FEES
HEALTH INSUR ANCE FEES
TBD
Mandatory fee per semester.
May be waived with proof of
HEALTH SERVICES FEES
$180
full-time students
personal health insurance.
$92
ARCHITECT URE FEES
$40
Architecture shop fee. Each
fall, spring, summer term: fulltime and part-time students
DIGITAL ARTS L AB FEES
$40 per course
All 100/200/300level DDA courses
$50 per course
All 400/500-level
DDA courses
$60 per course
All 600-level DDA
courses
THESIS-IN-PRO GRES S FEES
Each semester of In-Progress varies by
academic department.
part-time students
MISCEL L ANEOUS FEES
M.I.D. INDUSTRIAL DESIGN REF UNDABL E
ST UDIO DEP OSIT
Auditing Courses
$100
Shop Safety Certification Class
$35
Fee for issuance of
$50
Deposit for the entire program
ST UDENTS AND COMMUNIT Y
duplicate diploma
$25
Key deposit for entire year
Pay 50 percent of the published “per credit”
for studios with key access
tuition rate for each course.
$55
Re-admission fee
$20
Leave of absence fee
$100
Portfolio/work experience
$369
$25
Locker deposit for the entire
program
deposit
Deposits are paid to the Bursar’s Office
Fee–30 percent of per-credit
and refunded by check.
charge–SILS
$459
Fee–30 percent of per-credit
charge–graduate
RE T URNED CHECK FEES
$25
1.25 percent interest fee is
assessed on all delinquent
accounts one month or older
Fine Arts Studio
Refundable Deposits
TR ANSCRIP T REQUEST FEE*
(PER COPY)
$7.50
M.F.A. FINE ARTS REF UNDABL E
ST UDIO DEP OSIT
$50
Deposit for the entire program
Pay 40 percent of the published “per credit”
tuition rate for each course.
All persons auditing courses are charged
100 percent of all fees.
Zero Credit Internships
Zero credit internships may have billing
credits which are charged at 30 percent of the
“per credit” rate. All zero credit internships
are charged 100 percent of all fees.
www.pratt.edu/registrar
$10
By Internet,
www.pratt.edu/registrar
Deposits are paid to the Bursar’s Office
and refunded by check.
$25
By Internet,
PR AT T ALUMNI
Course Withdrawal Refunds
(request leaves Pratt
Procedures for official withdrawals are
within one working day of
as follows:
receipt on campus)
Students who want to withdraw must fill
$15
In-person requests
out the official withdrawal form (available in
$18.50
UPS Service
Deposit for key replacement
All fees are charged 100 percent when
dropping classes during the add/drop
period.
* Subject to change.
the student’s academic department), have
the form signed by the Office of the Bursar,
and submit it immediately to the Office of
the Registrar. Refunds are determined by the
date the add/drop or complete withdrawal
form is signed by the Office of the Registrar.
For all students, the following course
withdrawal penalty schedules apply:
Pratt Institute Refund Policy
Refunds for withdrawn courses are not
automatic and must be requested from the
F UL L REF UND
Office of the Bursar.
Withdrawal prior to and including the
Withdrawal from the second through
Arrangements have been made with a bank on
campus for students to open accounts, making
it possible to cash personal checks with the
opening day of term
85 PERCENT T UITION REF UND
Banking Facilities
Refunds on Student’s
Credit Balance
Pratt ID (providing the student’s available
bank account balance covers the amount
of the check to be cashed) and a primary ID
eighth day of the term
A credit balance on a student’s account after
(state-issued or passport). An automated teller
applying Title IV funds (Federal Student Aid
machine is also available on campus.
Funds) will be automatically refunded and a
Withdrawal from the ninth through 15th day
refund will be mailed or applied to the debit
of the term
Withdrawal from the 16th through 22nd day
of the term
NO REF UND
card within 14 days of the later of any of the
following dates:
of each bill will be mailed to the address the
2. the first day of classes of a payment
student lists as his or her billing address on
period of enrollment.
3. the date the student rescinds his or her
authorization to apply Title IV funds to
Individual fees are not refundable after
hold excess funds.
other charges or for the institution to
the first day of the term. Once a student’s
approximately 10 working days. Liability is
computed from the date the form is signed
by the registrar staff. Withdrawals may not
be made by telephone. Check registration
schedules and the Institute’s calendar for
exact liability deadline dates each semester.
Withdrawal from courses does not
automatically cancel housing or meal plans.
Penalties for housing and meal plans are
Bills are mailed to one address. One copy
1. the date the credit balance occurs.
Withdrawal after the 22nd day of the term
request is received, processing takes
Billing
registration records. A billing address may
be established, changed, or deleted at any
time by writing or visiting the Office of 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.
Refund checks are valid for 90 days from
the date of the check issued. In keeping with
You may also pay online at www.www.
pratt.edu/mypratt.
federal regulations, all Title IV (Federal
Student Aid) checks not cashed within the
time frame listed above will be considered
unclaimed and will result in funds returned
to the federal government.
Before such actions are taken, students
will be notified by email.
Billing Schedule
For those students who have registered, fall
semester bills are mailed during the first
week of July, and spring semester bills are
mailed during the first week of December.
calculated based on the date the student
All other bills including summer are available
submits a completed Adjustment Form to the
online. Fall bills are available online after July
Office of Residential Life.
1, if registration has already occurred.
If you do not receive a bill, you may
contact the Office of the Bursar prior to
the due date to ascertain the amount due.
Monday, Tuesday, Wednesday, and Friday.
Please consult the costs section and your
Evening hours are on Thursdays. Payment
housing license if you need an earlier
by mail avoids waiting in line. Please allow
estimate. Consult the annual Academic
five working days for mail delivery and a
Calendar and Academic Guide for exact
minimum of three weeks for processing.
payment deadlines.
A staff member is available for questions
Direct Loans (Stafford, PLUS)
Loan funds are sent to Pratt by the federal
government electronically (EFT). Funds
will be disbursed in accordance with federal
regulations, and a signature may be required.
in the Manhattan Campus Wednesdays
from 9 am to 5 pm, located on the second
Late Payment Fee and Interest
A late payment fee is assessed each semester
on all bills remaining unpaid, in whole or
floor in room 207. The office does not take
any forms of payment, nor does it distribute
refund checks.
is assessed on all delinquent accounts one
Returned Checks
month or older. Any cash amounts paid
The Institute charges a processing fee of
totaling $10,000 or more made within a
up to $25 when a check is returned by the
12-month period, the IRS form 8300 will be
student’s bank for any reason. Any check
completed and sent to the IRS. Please be sure
in payment of an Institute charge that
to have Photo ID.
is returned by the bank may result in a
late-payment charge, as well as a returnedcheck charge.
Payments
Payments must include the student’s
In some instances, lenders disburse
Alternative Loans in paper check form
which may require a signature. Loan checks
in part, after the due date for the semester.
An interest fee of 1.25 percent per month
Alternative Loan Checks
are made payable jointly to Pratt Institute
and the student. Payee must endorse the
checks 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
Adjustments
in the Institute, receive grades, transcripts,
money orders should be made payable to
We strongly recommend that you view
confirmed until financial obligations are
Pratt Institute in U.S. dollars and drawn
your bill online periodically. In addition,
paid in full.
on a U.S. bank. Checks drawn on an
we recommend giving parents or any third
international bank may delay credit to the
party payer access to the Parent Module so
student’s account and may be subject to
they can view/pay your bill online. A student
a collection fee imposed by Pratt’s bank.
who contests a portion of the bill should pay
Loan checks payable to the student or
the uncontested portion by the due date and
parent must be endorsed.
immediately contact the appropriate office to
name and student ID number. Checks and
Students may pay in person and receive
request an adjustment. Adjustments should
a receipt by presenting the invoice and
be pursued and resolved immediately to
payment to the Bursar’s Office, Myrtle
avoid a hold on registration or grades.
Hall 6th Floor, between 10 am and 4 pm,
or diploma, or have enrollment or degrees
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.
Registration (First Day
of Class)
funds to your personal checking/savings
We reserve the right to restrict eligibility for
to you, at no cost.
registration for students with high balances.
You can also transfer the available
account or request a paper check be mailed
Included with your card are instructions
on how to activate and use it. The
Collection Accounts
The student will be responsible for all
collection costs associated with delinquent
accounts forwarded to an outside collection
agency because of nonpayment.
Acceluraid Company administers the card.
The Pratt Prepaid Discover Debit card is
a faster way for you to receive your tuition
refunds. Partnering with www.acceluraid.
com, students have the flexibility of
receiving their tuition refunds in a variety
of ways. You can now manage and receive
your funds faster than ever, plus have the
convenience of carrying a Discover branded
debit card. This card will serve as your
student refund card for the duration of your
studies at Pratt Institute. All future student
refunds will be disbursed through it so you
must be careful not to misplace the card.
The Accelluraid ATM located in the
Design Center is the FREE ATM where no
charges are assessed for withdrawing funds.
You may use the Sovereign Bank ATM
located by the guard booth; however, fees
will apply.
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
All questions regarding your card can be
payments via an online dashboard and
answered through the Acceluraid website,
be assured that their payments are
www.acceluraid.com/pratt or for more
going to the correct account.
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
Pratt Prepaid Discover
Debit Card
Furthermore, students will be able to:
at [email protected].
peerTransfer for International
Students
Pratt Institute is always looking for ways to
accommodate the busy lives of our students.
With you in mind, Pratt Institute has recently
partnered with peerTransfer Corporation to
offer an innovative way to streamline your international tuition payments. Developed by
an international student, peerTransfer offers
a simple, secure, and cost-effective method
for transferring and processing education
payments in foreign currencies.
By offering favorable conversion rates
unmatched by larger financial institutions,
peerTransfer enables Pratt’s international
students to pay from any country and any
bank while saving a significant amount
of money.
You can find the link to the peerTransfer
solution on the www.pratt.edu/bursar web-site
or by visiting www.peerTransfer.com.
295
Registration and Academic Policies
In order to attend any course at Pratt
portion of www.pratt.edu/mypratt
REGISTRAR
Institute, a student must:
that allows students to register for
Lisle Henderson
1. Be formally approved for admission.
• Matriculated students will receive
classes, add or drop sections, view
their grades, and review their degree
audit. Your academic advisor and your
[email protected]
ASSOCIATE REGISTRAR
John Matheus
an acceptance letter/email that
appointment dates for advisement
includes a OneKey (username)
and registration are listed on your
and ID number (initial password).
degree audit. Students should contact
ASSISTANT REGISTRARS
It may also include additional
their advisor for assistance.
Marcia Approo
requisites required for admission to
a program.
• All final and official college and
3. Register for the approved courses
online during the designated registration period. A student’s registration
[email protected]
[email protected]
Cynthia Smith
[email protected]
high school transcripts (indicating
date is displayed under the student’s
date of graduation) must be
name when he or she logs in to www.
TAP CERTIFICATION OFFICER/
VE TERANS ADVISOR
submitted to the Institute prior to
pratt.edu/mypratt. Online registration
Charlotte Outlaw-Yorker
enrollment.
is done on Academic Tools.
[email protected]
• Non-matriculated students will be
4.Pay prescribed tuition and fees to
provided this information once they
the Bursar. Students—and persons
submit a non-matriculated student
approved by that student via the
application in the Registrar’s Office
Parent Module—can view the bill
and pay the fee. They do not have to
on www.pratt.edu/mypratt. See
follow steps 2 and 3.
the Tuition and Fees section of this
2. Meet with an academic advisor and
have a program of courses approved by
that advisor on Academic Tools—the
Bulletin for more information.
Students are fully responsible for tuition
and fees after they complete steps 1
through 3 above. If students do not
OFFICE
Tel: 718.636.3663 | Fax: 718.636.3548
[email protected]
296 REGISTRATION AND ACADEMIC POLICIES
complete Step 4 before the first day of class,
in the Activities and Resource Center (ARC),
their unpaid registrations may be canceled
Lower Level, Room A109.
according to the payment schedule.
New Student Initial Registration
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
Student Registration
Pratt Email Accounts
and My.Pratt Access
New students should receive information
The portal www.pratt.edu/mypratt is
advisement office provides detailed
Pratt’s interactive student gateway. It
academic advisement and curriculum
provides access to grades, schedules, bills,
counseling for entering new students.
applications for graduation, and transcripts,
Contact your department for further
as well as other academic information.
information.
No additional applications or activations
are necessary.
All student user names are automatically
about registration in the mail once they
have paid their deposit. Each department’s
Continuing Student Registration
Continuing students are assigned a
assigned by the Information Technology
registration date based on their degree
Office. Pratt email and www.pratt.edu/
progress. Official registration dates can be
mypratt accounts are assigned to all
found in the Academic Calendar or in the
students at the time of admission. The
Academic Guide for Students (emailed to
Admissions Office mails a letter to all
all students each fall). To avoid late fees, all
Identification Cards
and Services
deposited students with their Pratt email
registered students who plan to continue
address and ID number.
in subsequent semesters are required to
As part of orientation, new students are
all official Institute communication through
This registration period closes at the end of
issued identification cards. Students must
the Internet as an individual’s Pratt email
the previous semester. Failure to register
present their PrattCard to receive services
address is the only way to validate the
during the open registration period and make
and privileges, to gain entry into campus
authenticity of the requester. No official
payment in advance will both result in late
buildings, and to identify themselves to
requests will be fulfilled from any email
fees. Late registrations will also severely
Institute officers as necessary. People
address that does not end with a pratt.
jeopardize a student’s chances of obtaining
who cannot or will not produce a student
edu suffix. Likewise, all official Institute
their preferred academic course schedule.
identification card are not recognized as
communications sent electronically are
students and are not entitled to student
emailed to this address. Some notices
Late Registration
services. To find out more about the
are only sent electronically. Students are
New and continuing students who do
PrattCard, log in at www.pratt.edu/mypratt
responsible for the information sent to their
not complete registration during their
(the PrattCard is on the left side of the
Pratt email.
designated registration periods are subject
(i.e., they are not on the official class roster)
will not have credits or a grade recorded for
that course.
dashboard). The PrattCard Office is located
Pratt online accounts must be used for
register during the open registration period.
to a late fee. The amounts and timing of
REGISTRATION AND ACADEMIC POLICIES 297
these fees are described in the Tuition
Because the New York Regional Veterans
certification. All students receiving benefits
and Fees section of this bulletin and the
Administration (VA) will not accept
under Veterans’ Vocational Rehabilitation
Academic Calendar. Registration or
certification of enrollment before the first
(Chapter 31) should contact their counselors
reinstatement after the published add
class day of any session, students planning
at the VA, who will forward an “authorization
period requires a written appeal to the Office
to enroll under any of the VA programs
form” to Pratt’s veterans’ advisor. These
of the Provost. Only after the approval from
should initiate the certification procedure by
veterans should then go to the Registrar’s
the Provost will students be registered and
making an appointment to see the veterans’
Office after having been programmed by
allowed to attend classes.
advisor in the Office of the Registrar after
their respective departments in order to
registration is completed. Depending on the
present a signed copy of the authorization to
Chapter, students receive monthly checks
the Office of the Bursar. Only after receiving
It is the responsibility of each student to
from the VA or the VA will send the check
this signed authorization will the Office
obtain an official schedule (printout of
directly to Pratt six to eight weeks after
of the Bursar validate tuition payment.
registered course, section, credit, and time)
certification. Failure to request certification
Veterans receiving an allocation for books
on www.pratt.edu/mypratt after completion
upon completion of registration may result
should note that Pratt Institute does not
of the registration process. Students are
in a four- to six-week delay in the receipt
maintain the campus bookstore. The VA
strongly cautioned to review and confirm all
of the first benefit check. As of January
should be notified accordingly. Final and
data. If any course/section/credit correction
1976, those students receiving survivor’s
official authorization cannot be forwarded
is necessary, the student can make advisor-
benefits (children of deceased veterans)
to the VA until the student has completed
approved changes on www.pratt.edu/
are no longer required to be certified by the
registration. Pratt Institute serves only as a
mypratt through the first two weeks of
school. Appropriate forms may be obtained
source of certification and information to the
classes (drop/add period) only. Students may
at the student’s VA Regional Office. New
VA Regional Office. The student must carry
also alter their schedule with the assistance
transfer students who have already received
out all financial transactions with the VA
of their department or with a Drop/Add form
educational benefits should bring their VA
directly. All transactions are carried out with
available in academic offices or the Office of
claim number to the veterans’ advisor.
the Buffalo Office:
Admission to Class
the Registrar.
Veterans Affairs
Pratt Institute participates in the following
Veterans Administration Benefits:
• Chapter 33 Post 9/11 GI Bill
• Chapter 30 Montgomery GI Bill
(MGIB)
• Chapter 1606 Montgomery GI Bill
(MGIB-SR)
• Chapter 31 Veterans Vocational
Rehabilitation
New students who have been in active
P.O. Box 4616
military service must submit a certified copy
Buffalo, NY 14240
of their DD 214 (discharge papers). Students
The New York Regional Office is at
in Active Reserve should be certified by their
commanding officer, and the signature of the
Pratt veterans’ advisor should be obtained
245 W. Houston Street (at Varick Street)
New York, NY 10014
from the Registrar’s Office. Students who
RE SIDENCY REQUIREMENT
support spouses, children, or parents
Graduate students are expected to complete
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
a minimum of 75 percent of the program’s
credits at Pratt, with the exception of the
first-professional (M.Arch.) program in
Architecture that requires 67 percent of the
credits to be completed at Pratt.
Transfer Credits
a portfolio reflective of their studio
credit by the institution attended and must
coursework completed in a prior institution
be passed with a grade of B or better. Grades
Transfer Credit Prior
to Matriculation
as part of the admission application.
lower than B (including B-) are not trans-
International students may be
ferable. Grades of transfer credits are not
Transfer credit is granted for courses that
required to submit additional class hour
are appropriate to the program curriculum at
Pratt from a regionally accredited institution
or the international equivalent. 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 B or better is earned from
domestic institutions (or 80 or better from
international institutions as determined by
an official international credit evaluation
service) and (2) the courses correspond
to the specific course requirements of the
applicant’s program of study. Grades lower
than B (including B-) or less than 80 are not
transferable. Grades of transfer credits are
not included in the GPA.
The number of credits toward a master’s
degree that may be transferred from another
graduate institution may not exceed 25
percent of the total number of credits
required for graduation, with the exception
of the first-professional (M.Arch.) program in
Architecture, which permits up to 33 percent
of the program’s total credits to
be transferred. Courses that have been
applied toward an earned graduate
degree will not be considered for transfer
credit. Students seeking transfer credits
for professional courses in art, design,
or architecture are required to submit
included in the GPA.
documentation to determine a U.S. semester
hour equivalency or have their credentials
of international credit hours evaluated by
an official international credit evaluations
service. Pratt accepts international credit
evaluation performed any member of the
National Association of Credit Evaluation
Services (NACES).
Credit evaluations will be completed
only after acceptance. Students petitioning
for transfer credit(s) must submit to the
Admissions Office an official transcript
from each college attended prior to
enrollment. Additional transcripts will not
be accepted for transfer credit evaluation
after the beginning of the student’s first
semester at Pratt.
Transfer Credit After Matriculation
Graduate students, once matriculated at
Pratt, are expected to complete their degree
requirements at Pratt. Students who are
in good academic standing may request to
take a course at another institution. These
students must get permission in advance
to take courses at other institutions for
transfer to their Pratt record. Credit for
courses taken, with permission, at another
institution while matriculated at Pratt is
limited to a maximum of six.
To be accepted for transfer credit, the
course must be recognized for graduate-level
Portfolio/Work
Experience Credit
Based on previous work experience and/
or portfolio, credit may be granted only
for work experience gained before initial
matriculation at the Institute. This is
available to all graduate students in the
School of Architecture, School of Art,
and School of Design. When applying for
admission the student should indicate
his or her intention to seek credits for
work experience. Students must submit
the following documentation for credit
consideration:
• Résumé
• Professional portfolio
• Letters from employers detailing
responsibilities and areas of expertise
To apply for portfolio/work experience
credit, the following steps must be followed.
How to Petition
• Petition in person at the office of
the appropriate chair before initial
enrollment for classes. You will be
advised as to the feasibility of your
request and given a statement of intent
to be completed. You should keep a
combination of credits and activities
Through the Self-Service menu, a student
copy of the document and be sure
recognized as applicable). Graduate
may also:
another is in your permanent file.
students enrolled in their thesis course or
• Present a copy of the Statement of
Intent to the Registrar’s Office with
a $100 deposit. The Office of the
Registrar will give you an application
form, which should be returned to
that office after completion. When
the entire process is complete, the
Registrar’s Office will apply the deposit
to a fee schedule of 30 percent of the
regular per-credit tuition rate per
credit evaluated.
• Submit documentation as
described above to appropriate
departmental chair. Please allow
one week for evaluation.
• Return the application with the proper
authorization to the Office of the
Thesis In Progress are considered full time.
Students registered for Intensive English
are considered registered in activities
equivalent to two credits for each section.
Part-Time Graduate
is due upon billing. Credits earned
through this procedure are not
Certificate.
• View the enrollment information
on file with the National Student
Clearinghouse. (Enrollment
information is provided to the National
Graduate students are classified as part time
Student Clearinghouse by many post-
if they schedule or drop to fewer than nine
secondary institutions. Enrollment in
credits of registered course work.
those schools is included.)
Attendance Policy
Faculty members are encouraged to take
attendance. There are no excused absences
or cuts. Students are expected to attend all
classes. Any absences may affect the final
grade. Three absences may result in course
failure at the discretion of the instructor
• 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.
Registrar to complete the process.
You will be billed accordingly. Payment
• Obtain a Good Student Discount
Enrollment Verification
Letters
• Order or track a transcript.
• View specific information about your
student loans.
included in the GPA. They will not
Students can generate a watermarked
count toward the Institute’s minimum
PDF record of their periods of enrollment
A student may request an enrollment
residence requirement.
and current status at Pratt Institute online
verification letter on Pratt Institute
through the National Student Clearinghouse.
letterhead several ways:
This service can be accessed at any time
Student Status
Full-Time Graduate
To establish full-time equivalence,
graduate students must enroll for nine or
more semester credits (or an equivalent
through www.pratt.edu/mypratt.
1. Log in with your OneKey at
www.pratt.edu/mypratt;
2. Click on “Academic Tools” on the left
side of the page. Click on “log in” under
“Verifications and Transcripts.”
• Through the Academic Tools student
menu (under My Courses).
• A written request including ID number
and mailing/fax destination from a
student’s Pratt email account.
• In person at the Registrar’s Office with
a Pratt ID.
• A written request by fax with copy of
student ID and signature.
In all cases 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
during the first two weeks of each semester.
during the first 11 weeks of the fall or spring
Once this add period is over no courses may
semesters. A class that is dropped from a
be added to the student’s schedule. Students
student’s schedule after the second week of
paying by the credit who drop a course on or
the semester will remain on the student’s
after the first day of the term will be charged
academic record with the noncredited desig-
a percentage of the course fee. (See refund
nation of WD (withdrawal). No course with-
period schedule below.)
drawal will be accepted after the published
deadline. WD grades earned via the official
verification letter.
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
his or her major must first meet with the
department chair and then notify Graduate
Admissions. 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.
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 to the Registrar’s Office. Courses
and course sections may be changed online
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
Jan.20
May 18
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
May 24
(tentative)
withdrawal procedure cannot be changed.
Complete Withdrawal
from the Institute
Students who are leaving Pratt without
graduating are required to fill out a Complete
Withdrawal form in the Registrar’s Office.
This form permits the Registrar to drop
or withdraw a student from all registered
Feb. 10
May 25
It is the responsibility of the student to
officially withdraw from any registered
course or section. This decision must be
completed online through Academic Tools
or by filing a properly completed drop/add
form with the Registrar’s Office. Failure
to attend classes, to notify the instructor,
or to make or complete tuition payment
does not constitute an official withdrawal.
A student who does not officially withdraw
from a registered course will receive a WF
for nonattendance. Students who stop
attending a course without having officially
dropped the course during the published
refund period will not be eligible for a
retroactive refund.
Students may withdraw from a course
classes (a student cannot do this online). The
form also serves to advise relevant offices
that a student is no longer enrolled. Students
who withdraw need to be advised about
any financial obligations and any academic
repercussions of their actions. They will also
be required to complete an 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 WF will be issued for
class absences.
None of the following actions cause
an official withdrawal or reduce financial
liability for a semester:
• Notifying a faculty member,
department chair,
or academic advisor.
• Failure to pay the student account.
• Failure to attend classes.
The Complete Withdrawal form must be
signed by the student, their department’s
chair or academic advisor, a financial aid
counselor, the bursar, and the Director of
Residential Life (if living in a residence hall).
International students should 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.
• 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.
to withdraw from classes for any
given semester.
• Only students in good academic and
financial standing will be approved.
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
• Students applying for a leave of
absence must pay a $20 processing fee.
• A student who wishes to register after
an undocumented absence must apply
for readmission.
• Students requesting leave for medical
of the Registrar:
• Change of name (requires legal
documentation)
• Change of address
• Change of major
reasons must obtain authorizations
Note: Consult the Office of the
from Health and Counseling
Registrar for procedural details on
reporting these changes.
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.
• Students must apply for a leave of
absence on or before the last day
Personal Data Changes
Application
Deadline
FALL
SPRING
SUMMER
Aug. 15
Dec. 15
May 1
Parent Module
Students can authorize parents, guardians,
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”;
3. After the system logs you in, click on
the “Students” menu on the sidebar;
4.Through “Grant Parent/Sponsor
Transcripts
Unofficial Transcripts are available for
viewing and printing through the online
Academic Tools at www.pratt.edu/mypratt.
2. Click on “Academic Tools” on left side
of page, and click “log in”;
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
information they allow each account
containing financial holds will not be
to see or rescind previously given
processed until the hold is cleared. More
access. Students can request to add
information can be found at www.pratt.
people not listed on this screen by
edu/registrar. Your request must have the
returning to the Students menu
following information to be processed:
information, a request to update their
account can be made through the
same process.
getmytranscript.com. You will receive a
returned by one of the following methods:
at the Office of the Registrar. Records
an email address or other important
with a valid major credit card at www.
confirmation sheet that must be signed and
may also be ordered in person or by mail
Information). If a person is missing
through the National Student Clearinghouse
Information), students decide which
Sponsor” (under My Personal
Official transcripts may be ordered online
Rights” (listed under My Personal
and clicking “Request New Parent/
Online Orders
• 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.
• 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
Clearinghouse 2300 Dulles Station
Boulevard, Suite 300 Herndon, VA
20171. Payment is by credit card only.
There is a $2.25 transaction fee per
destination. Regular service (mailed first
class from Pratt in three to five business days)
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
by regular service (mailed first class from
Pratt in three to five business days) are $10
per copy.
• Allow five business days from receipt
toward a graduate degree. Graduate students
of the transcript request for the
enrolled in 500-level courses are expected
transcript to be mailed. At certain
to perform with greater productivity and
peak times, such as registration and
capacity for research and analysis than their
To order an official transcript by mail, please
commencement, the processing time
undergraduate colleagues enrolled in the
send a written request and check or money
may be longer.
same courses. Significantly more is expected
U.S. Mail Orders
order (no cash) to:
Pratt Institute
Office of the Registrar
Myrtle Hall, Sixth Floor
Brooklyn, NY 11205
Payment is by check or money order only.
Only regular service (mailed first class from
• 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.
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
Organization of
Course Offerings
Courses Numbered 100 through 499 are
primarily reserved for undergraduates.
Graduate students will not receive credit
toward graduation for taking these courses.
Courses Numbered 500 through 599
may be open to both undergraduates
Parents cannot authorize the
with junior or senior class standing and
Registrar’s Office to mail a transcript.
graduate students. Courses in this range
seal and Registrar’s signature.
• Partial transcripts are not issued. A
transcript is a complete record of all
credit work completed at Pratt.
Courses Numbered 600 and above
are generally for graduate students only. A
graduate course embraces highly developed
content that demands advanced qualitative
and quantitative performance and
specialization not normally appropriate to
undergraduate courses.
elective internship courses.
authorization to issue a transcript.
• Official transcripts bear the Institute’s
papers, and conferences.
Courses Numbered 9000 and above are
Pratt in three to five business days)
is available using the mail service. The
of graduate students in course projects,
are considered either 1) Technical Elective;
2) Qualifying; or 3) Graduate courses
whose content complements advanced
undergraduate studies. Credit earned
within the 500-numbered courses by
undergraduate students may not be applied
Semester Hour Credits
In accordance with Federal regulations, a
credit/semester hour is the amount of work
represented in intended learning outcomes
and verified by evidence of student
achievement. Pratt Institute operates on a
semester calendar and awards credit on a
semester basis. Each semester is a minimum
of 15 weeks. One credit is awarded for at
least three hours of student work per week,
or the equivalent amount of work over a
different amount of time. Student work
may take the form of classroom time, other
direct faculty instruction, or out-of-class
• The student is enrolled in any course
homework, assignments, or other student
C+, C, ACCEP TABL E
work. A minimum of one clock hour per
The student has shown satisfactory
offered by a school other than the one
week, or equivalent time in variable-length
understanding of the content of the course.
in which the student is matriculated,
courses, represents classroom or direct
C is the lowest passing grade for graduate
and had requested from the professor
instruction time.
students. (Numerical Value: C+ = 2.3;
at the start of the term a CR/NCR
C = 2.0)
option as a final grade for that term.
To determine the appropriate amount
of classroom time required for each course,
Pratt follows the standards established by
F FAILURE
its accrediting agencies. Typically, for each
The student has failed to meet the minimum
credit hour awarded to lecture or seminar
standards for the course. (Numerical Value:
courses, the students receive 15 clock hours
0.0)
of direct instruction and are required to
perform an additional 30 hours of out-of-
Note: The highest grade acceptable for
class work. For each credit awarded to a
recording is A (4.0) and not A+; C (2.0), not
studio course, undergraduate students
C–, is the only grade preceding F (0.0). The
typically receive 22.5 clock hours, and
+/– grading system went into effect as of the
graduate students receive 15 hours of direct
fall 1989 semester and is not acceptable for
instruction and are required to complete
recording purposes for prior semesters.
a minimum of 30 additional hours of
out-of-class work.
Grading System
Letter Grades That Affect the
Academic Index
Grades That Do Not Affect
the Academic Index
Students must register for courses they plan
to audit by contacting the Registrar’s Office in
person or by way of their Pratt email account.
A, A– E X CEL L ENT
The student has consistently demonstrated
Indicates that the student’s achievement
and interpretation of the content of the
was satisfactory to assure proficiency in
subsequent courses in the same or related
course. (Numerical Value: A = 4.0; A– = 3.7)
areas. The CR grade does not affect the
B+, B, B – AVER AGE
be assigned to all appropriately documented
The student has acquired a comprehensive
transfer credits.
knowledge of the content of the course.
(Numerical Value: B+ = 3.3; B = 3.0; B– = 2.7)
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.)
IP (IN PRO GRES S )
Designation used only for graduate student
thesis, thesis project for which satisfactory
completion is pending, or Intensive English
course for which satisfactory competence
level is pending.
INC (INCOMPL E TE)
Designation given by the instructor at the
written request of the student and available
AUD (AUDIT, NO CREDIT)
CR (CREDIT)
outstanding ability in the comprehension
• The instructor has received approval to
student’s academic index. The CR grade is to
The CR grade is applied to credit earned
at Pratt only if:
only if the student has been in regular attendance, to indicate the student has satisfied all
but the final requirements of the course, and
has furnished satisfactory proof that the work
was not completed because of illness or other
circumstances beyond his or her control. The
student must understand the terms necessary
to fulfill the requirements of the course and
the date by which work must be submitted. If
the work is not submitted by the understood
date of submission, the incomplete will be
converted to a failure. If unresolved at the end
of following semester, the grade is changed to
failure with a numerical grade value of 0.
NCR (NO CREDIT)
are any questions about the grade received,
a meeting and appeal the grade. If this
Indicates that the student has not
a student should contact the instructor
appeal is unsuccessful, a further and final
demonstrated proficiency. (See CR for
immediately. Only the instructor can change
appeal can be made to the dean of the
conditions of use.)
a grade by properly completing, signing,
school in which the course was taken. It is
and submitting a Change of Grade form
important to note that the faculty member
directly to the Office of the Registrar. Time
who issued the grade holds the authority to
limits have been allotted for resolving grade
change the grade unless appeal is granted
problems. Spring and summer grades may
by Department Chair or Dean. If a grade is
not be changed after the last day of the
to be changed, the student must be sure that
following fall semester. Fall grades cannot
the change is submitted within the following
be changed after the last day of the following
semester. Petitions of change of any grade
spring semester. Once this time limit has
will be accepted only up to the last day of
passed, all INC and NR grades will convert to
the semester following the one in which the
Fs. To view grades online:
grade was given. Other than resolution of an
NG (NO GR ADE REP ORTED)
Indicates that the student was properly registered for the course but the faculty member
issued no grade. The student should contact
the professor. Students cannot graduate with
an NG on their record.
NR (NO RECORD)
Grade given for no record of attendance in an
enrolled course. (All NR designations must be
resolved by the end of the following term or
the grade is changed to a letter grade of F with
a numerical value of 0.)
initially assigned incomplete grade or of a
final grade reported in error, no letter grade
may be changed following graduation.
WD (WITHDR AWAL FROM
A REGISTERED CL A S S)
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.
4.Choose from the options offered under
“My Grades and Transcripts.”
WF (WITHDR AWAL FAIL ING)
Grade given to a student with a failing grade
All grades are final as assigned by the
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
A repeated course must be the same course
as the one for which the previous final
grade was awarded. No graduate student
may choose to repeat a course that was
Final Grades, Grade Disputes, and
Grade Appeal Policies
due to lack of attendance.
Repeated Courses
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
in which the course was taken to arrange
passed with a grade of C 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
in the cumulative index from the point of
repeat onward.
Grade Point Average
A student’s grade point average is calculated
by dividing the total Grade Points received
TOTAL GR ADE P OINTS ÷
TOTAL CREDITS AT TEMP TED =
GR ADE P OINTS
Academic Standing
Pratt Institute’s policies on academic
standing intend to ensure that all students
by the total Credits Earned. A Grade Point
30 ÷ 9 = 3.33
receive timely notification when they are
is computed by multiplying the Credits
30 (total grade points) divided by 9 (total
subject to academic discipline or achieve
Attempted for each class by the Quality
Points earned for completing that class.
credits) makes a GPA of 3.33.
INC (incomplete) and NR (no record)
academic honors.
Each student is responsible at all times
Only credits evaluated with letter grades
carry no numerical value for one semester
for knowing his or her own standing. These
that earn quality points (see table below) are
after the grade is given. Thereafter, if
standings are based on the published
used in GPA calculations. Each semester has
unresolved, the INC and NR grades convert
academic policies, regulations, and
a minimum length of 15 weeks. In courses
to an F and carry a numerical value of 0.
standards of the Institute. Students subject to
that are passed, a credit is earned for each
The following grades do not carry
academic discipline are encouraged to take
period of lecture or studio work, each week
numerical values and are never calculated in
advantage of support services available
throughout one term or the equivalent.
the GPA:
to them, including academic advisement,
QUAL IT Y P OINTS
P
Pass
CR Credit
in an effort to help them meet Institute
academic standards.
All students’ records are reviewed at the
A = 4.00
B– = 2.70
A– = 3.70
C+ = .30
U
Unsatisfactory
B+ = 3.30
C = 2.00
WD Withdrawal
standing may continue in the program.
B = 3.00
F = 0.00
WF
Withdrawal Failing
Good Standing
AUD Audit
All graduate students must maintain a
and NR = F = 0.00)
NCR No Credit
In the following example the GPA is 3.33:
IP In Progress
(If unresolved at the end of the
following semester, INC = F = 0.00
GR ADE = QUAL IT Y P OINTS ×
CREDITS EARNED =
GR ADE P OINTS
A
= 4.00 × 3 = 12.00
B+ = 3.30 × 3 = 9.90
B– = 2.70 × 3 = 8.10
=30.00
end of each semester to determine whether
any student who has failed to remain in good
cumulative GPA of at least a 3.0 (equivalent
of a B) to remain in good standing. A
graduate student whose GPA falls below a
3.0 at any time may be subject to academic
Final grades for credit transferred from other
dismissal. The specific conditions under
institutions to the student’s Pratt record are
which this policy will be invoked are as set
not computed in the GPA.
forth by the dean of each school. Written
notification will be furnished to the student
by the dean.
Maximum Time for Graduate Study
All work for the master’s degree should be
completed within seven (7) calendar years
from initial registration in graduate courses
as a graduate student at Pratt Institute. The
departments will not approve registration
2. Credit and GPA Information
This area lists the total credits required
for graduation, the number required to
be taken at Pratt (residency), and the
GPA required for graduation.
3. Required Course Information
after seven years without the written approval
This section is usually the longest. It
of the provost.
lists the entire range of requirements
and electives specific to the academic
program being evaluated. Fulfilled
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
requirements will be listed with the
grade earned (or CR for transfer
credit). Missing requirements are also
noted with credits needed.
4.Other Courses
Courses that usually do not count
towards a program’s requirements
are listed in this bottom section.
Sometimes a course will not count
How to Get a Copy
of a Degree Audit
Students may view or print an audit at any
time using their Academic Tools.
1. Log in with your OneKey at www.pratt.
edu/mypratt;
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
yet to be taken.
toward graduation because it was
THERE ARE FOUR PARTS TO AN AUDIT:
makes it ineligible for consideration,
Students may go online and receive a
such as an F or an INC. Also, some
degree audit at any time. If you do not have a
students choose to take an extra
computer or access to a computer lab, come
class for additional knowledge even
to the Office of the Registrar. Students that
though it doesn’t fulfill any particular
have questions about how to read the audit
degree requirement.
should visit their academic advisor’s office
1. Student Information
The top of the first page lists the student’s name, the academic program
being evaluated, the catalog year that
the requirements are being checked
against, and the student’s anticipated
graduation date (based on the date of
admission). This section may also contain one or many text messages specific
to the student, depending on his or her
status at Pratt.
dropped, or carries a grade that
to select a potential major to review.
or stop by the Office of the Registrar during
office hours for an explanation.
Thesis Enrollment
Thesis must be completed within three
years, the duration of which equals the
initial semester of thesis registration plus
five (5) consecutive semesters of Thesis In
Progress. Graduate students must register
without interruption and pay the Institute’s
tuition and fees for each additional semester
of continued thesis work following the
initial semester of thesis registration. Any
extension beyond the three-year duration
is subject to an acceptable demonstration
of extenuating circumstances from the
candidate and a written approval from the
department chair and the dean.
First Registered Thesis
Credit Semester
Graduate students will register for their
thesis course. If the student does not
complete the thesis by the end of that
at the end of 5 semesters the Thesis is still
submittal after the deadline date, a Late
withdrawn from the original Thesis course.
Thesis Submittal Permission form must
Re-enrollment in the Thesis course will only
be submitted to the Library. The form is
take place with the written permission of the
available at the Library Reference desk. The
department chair.
department chair’s signature is required to
Certification of Enrollment for
Registered Thesis Work
students taking Thesis or Thesis In Progress
upon completion of the Thesis project.
to be full time.
A failing grade may be assigned if the
student fails to remain in proper progress
Thesis Submission and Final Grade
or communication, or fails to complete a
Students should refer to the latest version
satisfactory thesis.
of the Graduate Theses Library Guidelines,
available at the Pratt Library. Questions
concerning organization and formatting
of materials should be discussed with the
Information/Reference department of the
Pratt Library before final typing.
File on or
Graduation
Progress) grade. The student must enroll in
Summer Term/October September 15
Registration for Thesis In Progress must
be made for each consecutive semester
following enrollment in Thesis. A student
is expected to complete his or her thesis
within the next 5 consecutive semesters. If
Thesis and Thesis In Progress are
graded IP. Thesis will remain IP until
the Thesis advisor assigns a final grade
pending and the student will receive an IP (In
Subsequent Semesters of
Thesis in Progress
allow a late thesis submission.
For certification purposes, Pratt considers
first semester, completion of the thesis is
Thesis In Progress the following semester.
For the Pratt Libraries to accept a thesis
pending completion, the student will be
before:
Fall Term/February
January 15
Spring Term/May
May 15
Academic Integrity Code
When a student submits any work for
academic credit, he/she makes an implicit
claim that the work is wholly his/her own,
done without the assistance of any person
or source not explicitly noted, and that the
work has not previously been submitted
for academic credit in any area. Students
are free to study and work together on
homework assignments unless specifically
asked not to by the instructor. In addition,
Students must submit their own
thesis in person, unless it is
submitted by a representative from
the academic department.
students, especially international students,
are encouraged to seek the editorial
assistance they may need for writing
assignments, term papers, and theses. Our
Writing and Tutorial Center staff is always
available 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/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:
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.
4.The supplying or receiving of partial or
complete answers, or suggestions for
answers, of assistance in interpretation
of questions on any examination from
any source not explicitly authorized.
(This includes copying or reading of
another student’s work or consultation
of notes or other sources during
examinations.)
5. Plagiarism. (See statement following
which defines plagiarism.)
6.Copying or allowing copying of
assigned work or falsification of
information.
7.Unauthorized removal or unnecessary “hoarding” of study or research
materials or equipment intended
for common use in assigned work,
including the sequestering of library
materials.
8.Alteration of any materials or appara-
footnote; in informal papers, it may be put
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
put those words in quotation marks and give
their source.
A second type of plagiarism is more
complex. It occurs when the writer presents,
as his or her own, the sequence of ideas,
tus that would interfere with another
the arrangement of material, or the pattern
student’s work.
of thought of someone else, even though he
9.Forging a signature to certify completion of a course assignment or a
recommendation and the like.
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 thought for which he or she
deserves no credit.
Plagiarism occurs when one uses the
exact language of someone else without
putting the quoted material in quotation
marks and giving its source. (Exceptions are
very well-known quotations, from the Bible
or Shakespeare, for example.) In formal
papers, the source is acknowledged in a
* Reprinted with permission of Macmillan Publishing
Company from Understanding and Using English
by Newman P. Birk, 1972.
or she expresses it in his or her own words. The
language may be his or hers, but he or she is
presenting as his or her work, and taking credit
for, the work of another. He or she is,
therefore, guilty of plagiarism if he or she fails
to give credit to the original author of the
pattern of ideas.
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: October 1 (summer term), February 1
(fall term), and June 1 (spring term).
Graduation with Honors
To be graduated with distinction, a graduate
student must have earned a final cumulative
GPA no lower than 3.85 in all work. To be
considered for distinction, a student must
have completed a minimum of 50 percent of
degree credits at Pratt. These credits must be
Commencement Ceremony
in semesters evaluated with a GPA.
One commencement ceremony is held
Graduation Procedures
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.
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
program.
To be eligible for a degree, the student must
satisfy all Institute, school, and department
requirements as stated in announcements.
Where applicable, students must also meet
specific academic requirements concerning
prerequisites, course sequences, or program
4.The Diploma Mailing Address to be
used to mail diplomas.
Information can be updated before the
application deadline by simply filling out
and submitting the graduation application
again. If the candidate is not cleared for the
options as posted by academic departments.
announced graduation, a new application
Application for Graduation
requested graduation. Only after the
Students wishing to be considered
application has been submitted to the Office
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:
of the Registrar will the candidate’s name be
placed on a tentative graduation list. At that
time, the graduation review is scheduled.
Graduation Clearance
Within the schedules mentioned earlier, the
candidate must check for clearance at the
File on or
Graduation
must be filed for each subsequently
before
Summer Term/October March 25
Fall Term/February
August 25
Spring Term/May
December 15
following offices:
OFFICE OF THE BURSAR:
Outstanding Balance on
File on or
3. Residence Requirements
Thesis work must be registered at the
Graduation
before:
Summer Term/October
September 15
requirement at Pratt for the master’s
L IBR ARY:
Fall Term/February
January 15
degree is 24 credits. In most cases
Outstanding Materials or Account
Spring Term/May
May 2
Tuition 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 Requirements
Final graduation requirements include the
following:
1. Grade Requirements
Failure to do so will result in removal
from the graduation list. When final
grades are reported
for the last term of active registration,
Institute. The minimum residence
transferred credit does not exceed 25
percent of the total credits required.
The Professional Master of Architecture program permits up to 33 percent
of the total credits required.
4.Master’s Thesis/e-Portfolio
any reported INC or NR grade for a
A thesis or e-Portfolio is required in
graduation candidate will automati-
many of the master’s degree programs.
cally remove the candidate from the
Each student is held responsible for
graduation list. Students who have
meeting the precise requirements of
been removed from consideration
his or her school. Thesis candidates
must complete a new application for
should obtain the latest edition of
graduation in order to be considered
Regulations Concerning the Deposit
for another graduation date.
of Master’s Thesis in the Pratt Institute
2. Curriculum Requirements
Library and sample pages from their
respective departments.
Graduate students must be in good
Each student must fulfill all require-
standing, with a cumulative GPA of
ments for graduation. No credits
at least 3.0. In courses constituting
required for graduation will be waived.
the student’s major as formally speci-
All requests for an exception to this
Changes to this Bulletin
fied in advance by his or her depart-
rule must be referred to the dean’s
mental chair, the student must have
office for consideration. A course re-
While every effort has been made to make
received a grade of B or better in each
quirement in a student’s major may be
or have a cumulative index in these
substituted by the department chair/
courses of at least 3.0. Any outstand-
advisor of the department in which the
ing INC, NG, or NR grades from any
student is enrolled; however, another
previous semester(s) that are pending
course in the same subject area must
resolution must be resolved by the fol-
be taken.
lowing deadlines:
the material presented in this Bulletin
timely and accurate, the Institute reserves
the right to periodically update and
otherwise change any material, including
faculty listings, course offerings, policies,
and procedures, without reprinting or
amending this Bulletin.
313
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
encountered at Pratt and in the city of New
be found on the Web at www.pratt.edu/
York. The staff members of the Office of Stu-
student-life/student-affairs/. Student Affairs
dent Affairs are able and willing to help each
also has an office in Room 207A on the Pratt
student in as many ways as necessary and
Manhattan campus. Specific hours and
possible to make meeting these challenges a
services provided are posted there and on
positive experience. In addition, the Office of
the Student Affairs website.
VICE PRESIDENT
Helen Matusow-Ayres
ASSISTANT TO THE VICE PRESIDENT
Grace Kendall
Nadine Shuler
Student Affairs performs many ombudsper-
OFFICE
son services.
Tel: 718.636.3639 | Fax: 718.399.4239
[email protected]
314 STUDENT AFFAIRS
Student Involvement
DIRECTOR
Emma Legge
ASSOCIATE DIRECTOR
Meredith Crain
The Department of Student Involvement
New Student Orientation
coordinates and assists students to plan
New student orientation is an exciting time
social, cultural, educational, and recreational programs. Student activities at Pratt
are planned to contribute to each student’s
total education, as well as to meet social and
recreational needs. Students are responsible
for managing their own group activities, thus
ASSISTANT DIRECTOR
gaining experience in community and social
Alex Ullman
affairs and playing a role in shaping Institute
policy. Students are represented on Institute
OFFICE MANAGER
Karen Smith
OFFICE
Tel: 718.636.3422
[email protected]
www.pratt.edu/involvement
decision-making bodies such as the Board
of Trustees, trustee committees, and the
Student Judiciary.
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 professional
development.
at Pratt. In order to acclimate to campus,
graduate students have a one-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. Graduate student socials will be
held at both campuses that week.
Graduate students are invited to attend
any and all other programs happening that
week, including the Broadway show and
baseball game. However, there is no requirement to attend those events. Detailed
information will be sent to new students
beginning in June.
The orientation program is staffed by an
exemplary group of student leaders who assist
new students in any and many ways.
Parent and Family Programs
The mission of Parent and Family Programs
at Pratt is to provide parents with the resources to support and encourage the success of
their Pratt student. Pratt Institute recognizes that parents are valuable members
of the Pratt community and have much to
contribute to Pratt. We encourage parent
involvement in the Pratt community. We
offer programs for parents including Parent
Orientation, our Annual Family Weekend,
and parent blog. For further information,
please contact our office at 718.636.3422 or
email at [email protected].
STUDENT AFFAIRS 315
Student Organizations
Student Government
Association (SGA)
The Student Government’s primary
responsibility is to represent the student
Games Club
Student Association
Hot Sauce and Salsa Club
Industrial Design Club
Magic: The Gathering Pratt
Jewelry Club
Music Club
Keyframe Animation Club
Pratt Feminists
Leadership in Environmental Advocacy
and Policy
body’s interests and to encourage students’
Pratt Film Cult
involvement in the life of the Institute.
Reef Club
Painting Club
Vehicle Design Club
Photo League
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 Media
The Prattler – Student Newspaper
Prattonia – Yearbook
Static Fish – Comic Book
Active Organizations
Cultural
Bako Tribe
Chinese Student Scholars Association
Korean Student Association
Pratt Institute Planning Student
Association
WPIR Pratt Radio
Pressure Printmaking
Zine Club
School of Information and Library
Sciences Student Association
Professional and Academic
American Institute of Architecture
Students
Pratt International Students Association
Association for Information Science &
Anime Club
Organization
Pratt Interiors
Art and Design Educators
Special Interest
Pratt Historical Preservation
Ubiquitous – Arts and Literary Magazine
Latin American Student Association
Queer Pratt
Pratt Artists League
Technology
ComD Agency
Construction Management Association
of America
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)
Ceramics Club
Creative Arts Therapy Organization
Comic Club
DIGIT
Kappa Sigma Fraternity
Dance Club
Fashion Society
Pi Sigma Chi Fraternity
Drawing Club
Graduate ComD
Sigma Sigma Sigma Sorority
Envirolutions
Theta Phi Alpha Sorority
316 STUDENT AFFAIRS
Religious and Spiritual
Residential Life and Housing
Art/Faith Collective
Gospel Christian Fellowship
Jewish Student Union
Newman Club
Remnant Christian Fellowship
Community Engagement Board
Also known as C-Board, these students are
dedicated to giving back to their community,
DIRECTOR
Christopher Kasik
ASSOCIATE DIRECTOR FOR RESIDENTIAL
LIFE AND HOUSING
Katherine Hale
Campus Ministry
The chapel, one of the central spaces on
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
administer a housing program in a learningcentered environment that challenges and
supports students to:
• Enhance self-understanding
• Value community responsibility
• Learn from their experiences
The Office of Residential Life and Housing
Tuan Vu
holds the belief that student development
and learning goes on outside the classroom,
ASSISTANT DIRECTOR NORTH CAMPUS
Christopher Ruggieri
The Program Board is a group of students
who plan many on- and off-campus events.
and Housing is to efficiently and effectively
ASSOCIATE DIRECTOR FOR HOUSING
ADMINISTRATION
both local and global.
Program Board
The mission of the Office of Residential Life
ASSISTANT DIRECTOR SOUTH CAMPUS
Benjamin Fabian
ASSISTANT DIRECTOR HOUSING
Jason LeConey
as well as inside the classroom. The policies,
procedures, and programs that are established and encouraged by the Office of
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
informed decisions on their own, take
responsibility for their actions, and learn
from their experiences.
Korean) services are offered on a regular basis.
OFFICE
Any group wishing to use the chapel may
Tel: 718.399.4550
contact the director of Student Involvement,
[email protected]
are offered to students in the residence
www.pratt.edu/reslife
halls through participation in Residence
whose only requirement is respect for the
space and its purpose.
Leadership development opportunities
Hall Councils, the Residence Hall Advisory
Committee (a student advisory committee to
the Office of Residential Life and Housing),
EcoReps, Dining Services Reps, and the
Connections Leadership class. Participation
in these activities exposes students to other
departments at the Institute while helping
them to gain leadership skills.
STUDENT AFFAIRS 317
The Residential Life staff wants to provide a memorable, enjoyable, and successful
academic year, but reminds students that
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.
The Office of 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 educational mission of Pratt Institute
is actively pursued in the residence halls.
An expected outcome of the on-campus
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 inappropriate
choices, they should expect to be held
accountable, the hope being a different choice
will be made the next time, more in keeping
with the community expectations set forth.
The Residence Halls
Pratt Institute maintains two residence
halls accommodating approximately
100 graduate 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. Pratt also offers campus meal plans
for students who like the convenience of
eating on campus.
Grand Avenue Residence
Grand Avenue Residence Hall is a joint
venture between Pratt Institute and a local
developer resulting in a true apartmentstyle graduate facility. The building can
accommodate 50 students in efficiency
apartments (double and single) and private
single rooms within two- and three-bedroom
apartments. Apartments are single sex, but
floors are co-ed. It is important that students
understand the layout of the apartments
when making their preferences known. Our
cost-saving double efficiency apartment
involves two students sharing a one-room
efficiency apartment. Our single efficiency
is a smaller efficiency apartment that one
student occupies. Both of these options
include a bathroom and kitchen, within the
confines of the apartment. The single with
shared bath involves each student having a
private bedroom with shared kitchen and
bath. The building is located one block from
campus. Each living room is furnished with
a sofa, club chair, coffee table, kitchen table,
and chairs. Utilities are included, with the
exception of telephone. Internet connections
and CATV service are provided. The
building offers a garden courtyard, laundry
facilities, and lounge areas. This residence
is for 12-month occupancy and students
will be assigned for one year. Different
from other assignments, this assignment
cannot be cancelled unless a student leaves
Pratt Institute. The ability to sublet to other
Pratt Institute students with approval from
Residential Life and Housing does exist in
the summer months; details will be available
during the spring semester.
Willoughby Hall
Willoughby Residence Hall is a former
17-story apartment coop and is the largest
residence hall. It accommodates over
800 undergraduate and graduate men
and women. The building houses offices
(Residential Life and Housing, Health and
Counseling, and the Disability Services
Center) as well as a student work room, TV
lounge, convenience store, laundry facilities,
and other common student lounge areas.
Suites are single sex, but floors are co-ed.
Rooms vary in size from 9' x 12' to 15' x
18'. In addition to the standard furniture,
all suites have a kitchen table, stove, and
refrigerator. Each resident is provided with
a bookcase. All students assigned to double,
triple, and single spaces will share kitchen
and bathroom facilities with other residents
of the suite. The converted apartments
318 STUDENT AFFAIRS
consist of at least one double or triple that
and when space becomes available. All
occupies the former living room space of
correspondence should be addressed to:
the apartment and at least one private single
room that occupies the former bedroom
space of the apartment. The number of
students residing in a given suite ranges
from two to six students (depending upon
the size of the converted apartment— one
bedroom, two bedroom, or three bedroom).
Willoughby Residence Hall remains open
all year. However, residents on certain
floors might have to relocate to different
floors during the summer months for the
options for proper daily nutritional
requirements, Pratt Institute offers its students
Brooklyn, NY 11205
a number of meal plans. The meal plans are
[email protected]
designed on a debit card system; the student’s
Room Rates—Graduate Options
Room rates vary according to the type
of accommodation. Typical costs for each
residence hall for a calendar year* are
as follows:
Grand Avenue
accommodate additional graduate students,
$14,368 (double studio)
select double rooms are converted to a
$19,569 (single w/ shared bath)
semi-private single space. The semi-private
$22,259 (studio single)
of the apartment, is occupied by only one
student, and shares kitchen and bathroom
facilities with other private single rooms in
the apartment. The semi-private option is
items in the main dining room, convenience
store, or pizza shop. A meal plan point equals $1.
Graduate students may opt for a meal plan.
Plans range from $250–2,008 per semester.
Students not living in mandatory meal
plan areas, upper-class students, and
commuters may opt for a mandatory plan
or an optional plan. Three optional plans
exist to accommodate a variety of student
needs. These plans are per semester only.
The optional meal plan rates for 2013–14 are
$12,472 (semi-private single)
$250, $680, and $1,000. Purchasing a meal
$13,045 (single w/ shared bath)
plan can save the student almost 10 percent
$13,637 (single w/ private bath)
over paying cash. With all meal plans,
students have the option to add points online
at any time during the semester in amounts
as-needed basis.
greater than $25.
Additional details pertaining to the
Room Assignment
meal plans are provided in the Enrollment
Upon acceptance to the Institute,
Guide and are available from the Office of
students are sent an Accepted Student Guide,
Residential Life and Housing.
which includes an application and brochure
describing each housing option. Students are
assigned rooms in the order their application
was received. Space is limited, and students
are advised to return their completed
application as soon as possible. Assignment
notifications are made in June.
20 can anticipate being assigned only if
meal plan points decrease as he or she purchases
Willoughby Hall
only available to graduate students and on an
Students who have not applied by April
In an effort to ensure that students receive
Residential Life and Housing
purpose of maintenance and upkeep. To
space occupies the former living room space
Meal Plan
*Graduate students, in most cases, have a 12-month
contract.
STUDENT AFFAIRS 319
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
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
320 STUDENT AFFAIRS
The Center for Career and Professional
The CCPD provides resources designed to
and thesis exhibitions of current and
Development (CCPD) inspires, supports,
foster meaningful connections between
graduating student work, including the
and educates students and alumni about
emerging artists and professionals through
end-of-year Pratt Show highlighting
emerging trends, the job market, and what
the following services:
the best work of the graduating class.
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
job search and small business planning.
• 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, selfpromotion, freelancing, and starting
your own business. Guest speakers
and recruiters come to campus every
semester to speak on careers in
creative industries, review portfolios,
and hold interview sessions.
• 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
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
firm trips for students to learn about the
latest industry trends. Pratt Institute
hosts numerous portfolio reviews
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.
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
STUDENT AFFAIRS 321
supervised in collaboration with department
• Internships are available to all
faculty. The CCPD supports students in
domestic, international, and transfer
gaining hands-on professional experience
students during their time at Pratt.
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
• Internship credits vary from 0 to 3
credits based on student need, number
Disability Resource Center
DIRECTOR
Mai McDonald Graves
[email protected]
of hours worked, and individual
departmental policy.
• To obtain academic credit for an
LEARNING SPECIALIST/COUNSELOR
Anna Riquier, L.M.H.C.
[email protected]
internship, students must be enrolled
in an internship course at the same
LEARNING SPECIALIST
time they are participating in the
Maegan D’Amato, L.M.S.W.
internship.
[email protected]
deadlines, log on to www.pratt.edu/career
Students are required to attend one of the
and click on “Students & Alumni,” then
internship information sessions offered
CONSULTING CLINICAL
NEUROPSYCHOLOGIST
“Internships.” In most cases, graduate
throughout the year in the Center for Career
Beth Abrams, Ph.D.
students must complete one full semester
and Professional Development to learn
[email protected]
to be eligible for academic credit for an
more about the internship program, how to
internship.
begin an internship search, and how to find
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.
departmental eligibility information.
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.
ASSISTANT TO THE DIRECTOR
Marie A. McLaughlin
[email protected]
OFFICE
Tel: 718.802.3123 | Fax: 718.399.4544
www.pratt.edu/disabilityresourcecenter
[email protected]
322 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 a 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 323
Health and
Counseling Services
CASE MANAGER AND STAFF COUNSELOR
Health and Counseling Services operates both
Hali Brindel, L.C.S.W.
by appointment and as a walk-in clinic. All care
DIRECTOR
ST UDENT HEALTH INSURANCE SPECIALIST
[email protected]
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]
Sheriezah Shiwprashad, LPN
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., A.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
Lonnette Belizaire, Ph.D.
[email protected]
[email protected]
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,
who is a family nurse practitioner, two nurse
practitioners, a physician attending the clinic
once a week during the academic year, and
two registered nurses. Services provided
ADMINISTRATIVE AIDES
Giovanni Glaize
include treatment of illnesses; first aid for injuries; physicals, including sports and women’s
[email protected]
health examinations; health education; and
Sandra Davis
medical testing.
[email protected]
Pregnancy testing is performed in the office
for free; however, other tests are sent to a
CONSULTING PSYCHIATRIST
Jane Zirin, M.D.
laboratory service, which will bill the student
or the student’s insurance provider. Some
commonly used medications (over-the-
PSYCHIATRIC NURSE PRACTITIONER
counter and prescription) are dispensed free
Lori Neushotz, DNP
or for a nominal fee. Students must purchase
[email protected]
all other medication at a pharmacy. Referrals
are made to local medical resources for care
OFFICE
Tel: 718.399.4542 | Fax: 718.399.4544
[email protected]
www.pratt.edu/health
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 may receive
CLINICAL AOD SERVICES COORDINATOR
counseling on a short-term basis for personal,
Jernee Montoya, L.C.S.W.
emotional, family, interpersonal, and situational
[email protected]
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.
324 STUDENT AFFAIRS
International Affairs
The Office of International Affairs (OIA)
care needs of students, referrals are sometimes
DIRECTOR
students each year. There are about 1,200
made to outside clinics and agencies. The staff
L. Jane Bush
international students from 70+ countries.
Since the Health and Counseling Services
Center is not designed to meet the total health
is committed to helping students find the best
source of health care at the lowest cost. Hospital and medical care beyond 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
welcomes about 400 new international
In addition to providing services to the
ASSOCIATE DIRECTOR
Saundra Hampton
ASSISTANT DIRECTOR
Mia Schleifer
SEVIS COORDINATOR
international students, the OIA takes
care of J1 Exchange Visitors including
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.
health and accident insurance plan. They may
RECEP TIONIST
members are here to help students make
waive this insurance fee, which will be de-
Zoila Dennigan
a successful transition to the Pratt commu-
accident insurance.
Students are automatically enrolled in a
The well-traveled and experienced staff
nity and help address some of the challenges
ducted 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.
OFFICE
Tel: 718.636.3674
[email protected]
www.pratt.edu/oia
students might encounter during their
academic program. They create a friendly
environment, providing direct support with
immigration issues, employment authoriza-
All students who were born after January 1,
tion, financial issues, personal issues, and
1957, must provide proof of immunity against
cross-cultural events.
measles, mumps, and rubella. New York State
The OIA advises the Pratt International
law requires written documentation of two
Student Association (PISA), which is open
measles-mumps-rubella vaccines or written
for all to join.
documentation of immunity 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.
325
325
Libraries
The Libraries are dedicated to an active
multimedia, rare books, and the college
partnership in the academic process. The
archives. Visual and Multimedia Resources
Libraries’ primary mission is to support the
has a collection of DVDs, VHS tapes, and 16
Institute’s academic programs by providing
mm films. The department also circulates
materials and information services to
cameras, projectors, light kits, audio
HEAD OF PUBLIC SERVICES
students, faculty, staff, alumni, and visiting
recorders, and a half dozen laptops. The
TBA
scholars. A state-of-the-art integrated
Visual Resources Center holds a collection of
library system interfaces with an up-to-date
35 mm slides and provides access to over 1.3
website providing broad access to electronic
million images through ARTstor. Comfortable
materials as well as information about the
reading and study spaces are available in
Libraries. Connect to the Libraries’ website
this New York City landmark building on the
LIBRARY SERVICES COORDINATOR,
MANHAT TAN CAMPUS
and catalog at library.pratt.edu.
Brooklyn campus.
Jean Hines
The collection at the Brooklyn Campus
The Pratt Manhattan Library holds more
LIBRARY
DIRECTOR
Russell S. Abell
HEAD OF TECHNICAL SERVICES
John A. Maier
EVENING AND WEEKEND LIBRARY
MANAGER
Library provides broad-based coverage of
than 17,024 monographs, subscribes to
the history, theory, criticism, and practice
over 170 current periodicals and maintains
of architecture, fine arts, and design, while
a small fiction collection. The book and
also supporting the liberal arts and sciences.
periodical collection provides support
The collection encompasses over 176,674
for the following programs: Graduate
monographs and bound periodicals and also
Communications Design, Information and
maintains 776 current periodical descriptions.
Library Science, Creative Arts Therapy,
The Libraries also provide students access to
Facilities/Construction Management,
38 online resources and electronic periodical
Historic Preservation, Arts and Cultural
indexes. Through these resources over 11,474
Management, AOS/AAS Program, Design
VISUAL RESOURCES CURATOR
full-text periodical titles are accessible. The
Management, and Continuing and
Johanna Bauman
Brooklyn Campus Library houses microfilm,
Professional Studies.
Kate McDermott
VISUAL AND MULTIMEDIA
RESOURCES
DIRECTOR
Chris Arabadjis
LIBRARY AUDIOVISUAL
COORDINATOR
Mike Nemire
326 LIBRARIES
Librarians at both facilities offer
instructional programs to help patrons use
information resources more effectively.
Other services offered throughout the
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.
327
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
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
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.
329
Board of Trustees
Bruce J. Gitlin
Jeffrey Bellantoni
Michael Krisher
CHAIR OF THE BOARD
Faculty Trustee
Undergraduate Student Trustee
President and CEO, Milgo Industrial Inc.
Deborah J. Buck
Mike Pratt
Artist, Interior Designer, and Owner, Buck House
VICE CHAIR OF THE BOARD
President and Executive Director,
The Scherman Foundation
Robert H. Siegel
VICE CHAIR OF THE BOARD
Amy Cappellazzo
Chairman, Post-War and Contemporary
Development, Christie’s International
Kathryn C. Chenault
Founding Partner, Gwathmey Siegel & Associates
Architects, llc
Attorney
Thomas F. Schutte
Vice President, Marketing and Communications,
Lutron Electronics, Inc. and Chief Creative Officer,
Ivalo Lighting, Inc.
President, Pratt Institute
Dr. Joshua L. Smith
Susan Hakkarainen
James D. Kuhn
President, Newmark Grubb Knight Frank
Roelfien Kuijpers
Managing Director, Global Head of DB Advisors
Deutsche Asset Management
Heather B. Lewis
Faculty Trustee
David S. Mack
Senior Partner, The Mack Company
David G. Marquis
SECRE TARY
Darryl Halickman
Founder and Executive Director, Marquis Studios
Professor Emeritus, New York University
Graduate Student Trustee
Katharine L. McKenna
Howard S. Stein
Gary S. Hattem
Artist, Designer, and Owner, KLM Studios
Retired, Managing Director, Operational Risk Global
Corporate and Investment Bank, Citigroup
President, Deutsche Bank Americas Foundation
and Managing Director, Deutsche Bank Community
Development Finance Group
John Morning
Kurt Andersen
Cody Hughes
Writer
Recent Graduate Trustee
Maria Teresa Asare-Boadi
June Kelly
Recent Graduate Trustee
June Kelly Gallery
TREA SURER
President, John Morning Design, Inc.
David O. Pratt
Not-for-Profit Consultant
Ralph Pucci
President, Ralph Pucci International
330 BOARD OF TRUSTEES
Stan Richards
Principal, The Richards Group
Mark D. Stumer
Principal, Mojo-Stumer Associates, P.C.
Juliana C. Terian
Chairman of the Rallye Group
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
331
331
Administration
Dr. Thomas F. Schutte
Russell Abell
Adam Friedman
President
Acting Director of Libraries
Peter L. Barna
Sylvia Acuesta
Director of Pratt Center for
Community Development
Provost
Comptroller
Marianthi Zikopoulos
Dave Adebanjo
Associate Provost
Director of Athletics and Recreation
Glenn Gordon
Judith Aaron
Sinclaire Alkire
Executive Director of Planning, Design, Construction,
and Physical Plant
Vice President for Enrollment
Director of Academic Marketing
Helen Matusow-Ayres
Nedzad Goga
Vice President for Student Affairs
Director of Financial Aid
Joseph M. Hemway
Christopher Arabadjis
Vice President for Information Technology and CIO
Director of Multi-Media Services
Todd Michael Galitz
Nicholas Battis
Vice President for Institutional Advancement
Director of Exhibitions
Edmund F. Rutkowski
Vladimir Briller
Vice President for Finance
and Administration
Executive Director of Strategic Planning and
Institutional Research
Thomas Hanrahan
L. Jane Bush
Dean, School of Architecture
Director of International Affairs
Leighton Pierce
Martha Cedarholm
Acting Dean,
Director of Health and Counseling Services
Andrew Barnes
Randy Donowitz
Dean, School of Liberal Arts and Sciences
Director of the Writing and Tutorial Center
Tula Giannini
Grace Kendall
Dean, School of Information and
Library Science
Director of Special Projects/Assistant to the Vice
President for Student Affairs
Anthony Gelber
Director of Administrative Sustainability
Mai McDonald-Graves
Director of Disability Services
Thomas Greene
Director of Human Resources
Imani Griszell
Director of Events
Young Hah
Director of Graduate Admissions
Lisle Henderson
Registrar
Debera Johnson
Academic Director of Sustainability
Berti Jones
Director of Enterprise Systems
Gale Justin
Director of Educational Technology
Christopher Kasik
Director of Residential Life and Housing
332 ADMINISTRATION
Emma Legge
Michael Sclafani
Director of Student Involvement and Parent
and Family Programs
Director of Alumni Relations
and Annual Giving
Ludovic Leroy
Nancy Seidler
Director of Corporate Relations
Director of Intensive English
Yvette Mack
Lorraine Smith
Bursar
Curator, Visual Resource Center
John Maier
Richard Soto
Head of Technical Services
Director of Budget
Emily Mack Marshall
William Swan
Director of Foundation Relations
Director of Undergraduate Admissions
Ellery Matthews
Vicki Weiner
Director of Academic Computing
Director of Planning
Patti McCall
Warren White
Head of Public Services
Director of HEOP
Mara McGinnis
Bryan Wizemann
Executive Director of Communications
Director of the Web Group
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
Rhonda Schaller
Director of the Center for Career and
Professional Development
Richard Scherr
Director of Facilities Planning
and Design
William J. Schmitz
Director of Safety and Security
333
Academic Calendar
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)
Last day to add or drop
without
a WD grade
Important Telephone
Numbers
Admissions (toll-free)
September 8
February 2
May 24
Last day to withdraw (WD)
from a course
November 14
April 17
June 8
Dates that classes do not
meet
September 1
(Labor Day)
January 19
(Martin Luther King Day)
May 25
(Memorial Day)
October 13-14
(Midterm Break)
March 16–22
(Spring Break)
July 3-4
(Independence Day)
November 26–30
(Thanksgiving)
Studio Days
Tuesday, December 9
-Friday, December 12
Tuesday, May 5Friday, May 8
Final critique and exams
December 13–19
May 9–15
Last day of classes
December 19
May 15
July 24
(See schedule of
classes)
Grades due online
December 22
May 18
July 27
800.331.0834
Admissions
718.636.3514
Bursar
718.636.3539
Career Services
718.636.3506
Financial Aid
718.636.3599
Health and Counseling Services
718.399.4542
International Affairs Office
718.636.3674
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
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.
Architecture
718.399.4333
Art and Design
718.636.3611
Information and
Library Science
212.647.7682
Intensive English Program
718.636.3450
Writing Programs
718.399.4497
334 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, June 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
Last day to drop a class without a WD grade
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
Entering freshman, transfer, and graduate students
check in to residence halls, 9 AM to 5 PM.
Friday, August 22–Saturday, August 23
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.
Tuesday, December 9–
Friday, December 12
Studio Days.
Saturday, December 13–
Friday, December 19
Final critique and exam week. Fall semester ends.
ACADEMIC CALENDAR 335
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.
Refund Schedule
Course Withdrawal Refund
Schedule Fall 2014
Prior to and including August 25
Full refund
Monday, December 22
August 26–September 1
85% refund
All final grades due online by 3 PM.
September 2–September 8
70% refund
September 9–September 15 55% refund
After September 15
No refund
Wednesday, December 24–
Thursday, January 1
Winter vacation.
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
Mandatory English Proficiency exams given for
international students (choose one day on LMS).
Saturday, August 16
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.
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
▶
Tuesday, August 19–Sunday, August 24
New student orientation.
▶
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
Last day to drop a class without a WD grade
recorded.
No new registrations accepted after this date.
Friday, April 17
Thursday, January 15
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 I 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 student’s tuition payment deadline.
Academic
Saturday, January 10
Tuesday, January 20
Graduate Design Management and Arts and Cultural
Management classes begin.
Last day for 100 percent tuition refund upon
withdrawal.
Friday, January 16
Sunday, February 1
Recommended filing deadline for financial aid
applications for the next academic year.
English proficiency exam for international students.
Saturday, January 17
Sat/Sun classes begin.
Sunday, April 5
Tuesday, January 20
Recommended filing deadline for 2014/15 student
loan applications.
Monday, January 19
Weekday classes begin.
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
October and February graduation.
February 4–February 10
55% refund
After February 10
No refund
Saturday, April 4–Sunday, April 5
Spring Holiday. No classes. Institute closed.
Tuesday, April 17
Tuesday, May 5–Friday, May 8
Studio Days.
Saturday, May 9–Friday, May 15
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 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.
Monday, May 18
Housing Cancellation Refund
Schedule Spring 2015
Last day to change grades from previous fall
semesters.
Final critique and exam week. Classes end.
Monday, May 18
All final grades due online by 3 PM.
TBA
Graduation Awards Convocation.
TBA
Commencement.
Tuesday, May 19–Thursday, May 21
(Tentative)
Pratt Show.
Refund Schedule
the back of your meal plan contract to determine
the cancellation penalty/refund.
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.
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
Last day to drop Summer classes without a
WD grade recorded.
No new Summer Session registrations accepted
after this date.
Monday, June 8
Last day for withdrawal (WD) from a summer class.
Monday, May 18
Summer Session classes begin.
Sunday, May 24
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.)
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.
No new Summer Session registrations accepted
after this date.
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 6th Floor).
Housing Cancellation
Refund Schedule
Refund Schedule
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.
341
How to Get to Pratt
Brooklyn Campus
By Bus
Brooklyn, NY 11205
FROM D OWNTOWN MANHAT TAN
By Subway
FROM GR AND CENTR AL STATION
Take the downtown 4 or 5 train to the Fulton Street
station. Take the Brooklyn-bound A or C train to
the Hoyt-Schermerhorn station. Cross platform
and take the G train (front car) to the 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 WEST SIDE OF MANHAT TAN
VIA MANHAT TAN BRID GE
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.
By Car
FROM BQE, HEADING WEST/SOU TH
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 PENN STATION AND
P ORT AU THORIT Y BUS TERMINALS
FROM BQE, HEADING EA ST/NORTH
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.
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).
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/
Newark-Elizabeth (US-22.) Continue on US-1 and
9 North toward Port Newark. US-1 and 9 North
become 12th Street. Continue on Boyle Plaza,
which becomes the Holland Tunnel. Take the tunnel
toward Brooklyn/Downtown and continue on
Beach Street to Walker Street. Continue on Canal
Street to the Manhattan Bridge. Cross the bridge
to Flatbush Avenue Extension. Turn left onto Myrtle
Avenue. Proceed 15 blocks. Make a right turn onto
Hall Street. Go one block. Make a left turn onto
342 HOW TO GET TO PRAT T
FROM L AGUARDIA AIRP ORT
FROM BRO OKLYN
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
VIA BRO OKLYN BRID GE, NORTH ON FDR DRIVE
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
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.
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.
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.
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,
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.
343
Index
A
Academic calendar, 333–339
Academic integrity code, 308–309
Academic policies. see Registration
and academic policies
Academic standing, 306–307
Accreditation
Pratt Institute and individual Schools,
19
School of Architecture, 25, 30
School of Art, 74, 79
School of Design, 19
Science, 18, 130, 131
Administration, 331–332
Admission requirements, 259–268
applications, 260–261, 267
readmission, 267
School of Architecture, 41, 51, 54, 57,
261–262
School of Art, 67, 71, 75, 79, 83, 96, 99,
262–264
School of Design, 106, 108, 123, 124,
264–265
Science, 132–133, 140, 265
School of Liberal Arts and Sciences,
153, 156, 157, 159, 265–266
transfer students and, 267, 298
Advanced Certificates
Archives, 138
Art and Design Education, 67, 96
Library Library and Information
Studies, 140
Library Media Specialist Program, 140
Museum Libraries, 138–140
Alternative loan checks, 292
Alumni, 15
American Art Therapy Association, 74
American Dance Therapy Association,
19, 74
American Library Association, 18, 19,
130, 131
Applications. see also Admission
requirements
credentials needed for, 260–261
deadline for, 260
notification and deposit, 267
Architecture, School of, 23–59
accreditation of, 19, 25, 30
admission requirements, 41, 51, 54,
57, 261–262
Architecture, 28–33
City and Regional Planning, 44–47
curriculum descriptions, 163–165
degrees offered, 30, 35, 41, 43, 45, 47,
49, 51, 53, 57, 161
Facilities Management, 56–59
faculty, 182–196
Graduate Architecture and Urban
Design (GAUD), 26–27
Historic Preservation, 52–55
and Development, 40–43
scholarships for, 275–276
48–51
transfer credit and, 267
Urban Design, 34–39
Architecture (department), 28–33,
182–187
Art, School of, 60–99
accreditation, 19, 79
admission requirements, 67, 71, 75, 79,
83, 96, 99, 262–264
Art and Design Education, 63–67
Arts and Cultural Management (ACM),
68–71
Creative Arts Therapy, 72–75
degrees offered, 63, 67, 71, 73, 74, 75,
79, 83, 91, 96, 161
Design Management (DM), 76–79
Digital Arts, 80–89
faculty, 197–218
Fine Arts, 90–99
Fine Arts Studio refundable deposits,
290
Interactive Arts, 83
Advanced Certificate, 67, 96
faculty, 197–198
Arts and Cultural Management (ACM),
68–71, 199
Art Therapy and Creativity
Development, 73
Art Therapy with Special Needs
Children, 73
Athletics and Recreation, 319
B
Banking facilities, 291
Billing, 291–292
Board of trustees, 329–330
Brooklyn campus
(department), 105
cultural partnerships, 16
description, 1–5, 9
libraries, 9, 325–327
map and directions, 340, 341–342
Schools and departments (list), 21
tours of, 6, 259
Brooklyn Law School, 43, 137–138
C
Calendar, academic, 333–339
Campuses. see Brooklyn campus;
Manhattan campus
Campus Ministry, 316
Center for Career and Professional
Development (CCPD), 9, 319–321
Center for Sustainable Design Studies
(CSDS), 6
Certificate programs
Advanced Certificate in Archives, 138
Advanced Certificate in Library and
Information Studies, 140
Advanced Certificate in Library Media
Specialist Program, 140
Advanced Certificate in Museum
Libraries, 138–140
Certificate in Art and Design
Education (M.F.A./
Postbaccalaureate), 96
Certificate of English Proficiency
(CEP), 159
Intensive English Program, 159
Certification, in education. see Teacher
certification
City and Regional Planning, 44–47,
190–191
Combined degrees and certificates
Education (M.F.A./
Postbaccalaureate), 96
(J.D./M.S.), 43
Digital Arts and Information
(M.S.L.I.S./M.F.A.), 137
Fine Arts (M.S./M.F.A.), 96
History of Art and Art; Design
Education (M.S./M.F.A.), 91
Information and Library Science;
History of Art, Design, and
Architecture (M.S.L.I.S./M.S.),
137
344 INDEX
Information Law and Society
(M.S.L.I.S./J.D.), 137–138
Commission on Higher Education of
the Middle States Association of
Colleges and Schools, 19
Communications Design, 104–113,
219–222
Computer facilities, 160
(undergraduate) program, 5, 41
Copenhagen, Study Abroad program, 17
Corporate-Sponsored Studios and
Projects, 6
Council for Interior Design
Accreditation, 19
Course attendance policy, 295–296
Courses. see also Registration and
academic policies; individual
names of Schools
grading system, 304–305
organization of course offerings, 303
repeated courses, 305
Creative Arts Therapy, 72–75, 200–202
Credits
portfolio/work experience credit,
298–299
semester hour credits, 303–304
transfer credits, 267, 298
Curriculum descriptions
School of Architecture, 163–165
School of Art, 166–172
School of Design, 172–175
Sciences, 176–179
179–181
D
Dance/Movement Therapy, 73
Deferral, 268
Degrees. see also Advanced
Certificates; Certificate
programs; Combined degrees
and certificates; Curriculum
descriptions; Teacher
certification; individual names of
Master degrees
degree audits, 307
graduation and, 310–311
overview, 161
Design, School of, 100–127
accreditation, 19
admission requirements, 106, 108,
123, 124, 264–265
Communications Design, 104–113
degrees offered, 105, 106, 108, 115,
116, 124, 161
faculty, 219–232
Industrial Design, 114–121
Interior Design, 122–127
Design Management (DM), 76–79, 203
Digital Animation and Motion Arts
(School of Art), 83
Digital Arts, 80–89, 204–207
Digital Imaging (School of Art), 83
Directions
Brooklyn campus, 340, 341–342
Manhattan campus, 340, 342
Directions (Brooklyn campus), 340,
341–342
Direct loans, 292
Disability Resource Center, 321–322
Disability Services Center, 268
Discrimination, 268
Dual degree programs. see Combined
degrees and certificates
E
Education Approval Board of the
American Art Therapy Association,
19
English language
support for, 143
Enrollment verification letters, 299–300
F
Facilities Management, 56–59, 194–195
Faculty, 6
Architecture, 182–187
Arts and Cultural Management, 199
City and Regional Planning, 190–191
Communications Design, 219–222
Creative Arts Therapy, 200–202
Design Management, 203
Digital Arts, 204–207
Facilities Management, 194–195
Fine Arts, 208–218
Historic Preservation, 196
History of Art and Design, 236–239
Industrial Design, 223–226
Interior Design, 227–232
Liberal Arts, 246–256
libraries, 327
Library and Information Science,
233–235
Media Studies, 240–243
192–193
Writing, 244–245
Writing and Tutorial Center, 257
Fees. see Tuition and fees
Financial aid, 269–285
academic progress and pursuit,
272–273
FAFSA, 269, 271, 272, 284
federal programs, 271–272
general information, 269
grant and scholarship programs, 270
instructions and schedule, 284–285
loans and payment, 292
out-of-state programs
(scholarships), 273
Pratt Student Employment Program,
270
restricted grants and scholarships, by
Schools, 275–282
scholarships, all Schools, 282–284
scholarships, international students,
284
state education agencies, 274–275
United States Bureau of Indian Affairs
Aid to Native Americans Higher
Education Assistance Program,
274
Fine Arts, 90–99
faculty, 208–218
290
Florence, Study Abroad program, 17, 140
G
Grade point average (GPA), 306
Grading system, 304–305, 306
Graduate Architecture and Urban
Design (GAUD), 26–27
Graduate Record Examination (GRE),
266
Graduation. see also individual names
of degrees
degrees and, 310
with honors, 310–311
Grants. see Scholarships
H
Health and Counseling Services,
323–324
Health requirements, 266–267
Historic Preservation, 52–55, 196
History of Art and Design, 145–149,
236–239
Housing, 13, 316–318
Humanities and Media Studies,
Department of, 157
I
Identification cards (PrattCard), 296
I-20 forms, 266
Industrial Design, 114–121, 223–226
Information and Library Science, School
of (SILS), 128–141
accreditation, 18, 19, 130, 131
admission requirements, 132–133,
140, 265
certificate programs, 138–140
degrees offered, 162
dual-degree programs, 137–138
faculty, 233–235
M.S.L.I.S. program, 132–135
M.S.L.I.S. with Library Media Specialist
(LMS) program, 135–137
scholarships for, 281
Intensive English Program (IEP), 159
Interactive Arts (School of Art), 83
Interior Design, 122–127, 227–232
International Affairs, 324
International students
English language support, 143
enrollment of, 266
peerTransfer for, 293
scholarships, 284
Internships, 9
Development, 74
City and Regional Planning, 45
Creative Arts Therapy, 74
Dance/Movement Therapy, 74
Digital Arts, 81
History of Art and Design, 147
Media Studies, 153
Pratt Institute internship program,
320–321
and Development, 43
INDEX 345
Science, 141
51
J
Japan, Study Abroad programs, 17–18,
116
Juris Doctor (J.D.), combined degrees
with Master of Information and
Library Science in Information
Law and Society, 137–138
with Master of Science in City and
Regional Planning, 43
L
Laboratories
Science, 131
160
Late payments, 292
Leaves of absence, 301
Liberal Arts and Sciences, School of,
143–160
admission requirements, 153, 156, 157,
159, 265–266
degrees offered, 150, 153, 155, 156,
159, 162
faculty, 236–257, 246–256
History of Art and Design, 145–149
Humanities and Media Studies
department, 157
Intensive English Program (IEP), 159
internships, 147, 153
department, 157
Media Studies, 150–153
resources, 159–160
Social Science and Cultural Studies
department, 159
Writing, 154–156
Libraries, 9, 325–327
Library Media Specialist (LMS), 135–137
Loans. see also Financial aid
alternative loan checks, 292
Direct Loans, 292
fees, 292
London, Study Abroad program, 17,
140, 141
M
Manhattan campus
cultural partnerships, 16
description, 1, 5, 9
directions, 342
tours, 6
Map (Brooklyn campus), 340
Master in Industrial Design (MID), 115, 116
Master of Architecture (M.Arch.), 2, 23,
25, 30, 35, 267
Master of Arts in Media Studies, 150, 153
Master of Fine Arts (M.F.A.)
Education (combined M.F.A./
Post-baccalaureate), 96
Communications Design, 105, 106
(combined M.S.L.I.S./M.F.A.),
137
Fine Arts, 91
Fine Arts (combined M.S./M.F.A.), 96
History of Art and Art and Design
Education (combined
M.S./M.F.A.), 91
Writing, 155, 156
Master of Professional Studies (M.P.S.)
Program, 71
Development, 71, 74
Art Therapy with Special Needs
Children, 71, 74
Master of Science in Library and
Information Science (M.S.L.I.S.)
(combined M.S.L.I.S./M.F.A.),
137
Information Law and Society
(combined M.S.L.I.S./J.D.),
137–138
Library and Information Science, 132
Master of Science (M.S.)
Architecture, 30
Architecture and Urban Design, 35
Art and Design Education, 63
City and Regional Planning (combined
J.D./M.S.), 43
Dance/Movement Therapy, 73, 74
Facilities Management, 57
Fine Arts (combined M.S./M.F.A.), 96
History of Art and Art; Design
Education (combined
M.S./M.F.A.), 91
Information and Library Science;
History of Art, Design, and
Architecture (combined
M.S.L.I.S./M.S.), 137
Interior Design, 124
Package Design, 108
and Development, 41
School of Art, 63, 73, 74, 75, 96
Sustainable Environment Systems, 49
Mathematics and Science, Department
of, 157
Meal Plan, 318
Media Studies, 150–153, 240–243
My.Pratt access, 296, 302
N
National Architectural Accrediting Board
(NAAB), 19
National Association of Accrediting
Board (NAAB), 25, 30
National Association of Schools of Art
and Design (NASAD), 19
New York City. see Brooklyn campus;
Manhattan campus
New York State Education Department
certification, Library Media
Specialist (LMS) program, 19, 135–
137. see also Teacher certification
Nonmatriculated/special students, 267
P
Package Design, 108–113
Parent module (My.Pratt), 302
Paris, Study Abroad program, 17
PeerTransfer Corporation, 293
Personal data, changes to, 301
Plagiarism, 309
Portfolio/work experience credit,
298–299
Pratt Center for Community
Development, 6, 24, 43
Pratt Institute. see also Admission
requirements; Applications;
Architecture, School of; Art,
School of; Design, School of;
Faculty; Financial aid; Information
and Library Science, School of
(SILS); Liberal Arts and Sciences,
School of; Registration and
academic policies; Student Affairs;
Tuition and fees
academic calendar, 333–339
administration, 331–332
alumni of, 15
board of trustees, 329–330
Bulletin, 311
history of, 1, 5, 11
map and directions, 340, 341–342
My.Pratt, 296, 302
PrattCard, 296
Pratt email accounts, 296
students of, 13
Writing and Tutorial Center, 144, 159,
160, 257
Pratt Prepaid Discover Debit Card, 293
Pratt Student Employment Program, 270
Programs for Sustainable Planning and
Development (PSPD), 17–18, 40–43
R
RATE, 19
Readmission, 267
Refunds
for course withdrawal, 290–291
for credit balance, 291
Pratt Prepaid Discover Debit Card
and, 293
Registration and academic policies,
295–311
academic integrity code, 308–309
academic standing, 306–307
changes and withdrawals, 300–301
course attendance, 295–296
degree audits, 307
email accounts, 296
enrollment verification letters,
299–300
grade point average (GPA), 306
grading system, 304–305
graduation and degrees, 310
graduation with honors, 310–311
My.Pratt access, 296, 302
organization of course offerings, 303
personal data changes, 301
portfolio/work experience credit,
298–299
PrattCard, 296
repeated courses, 305
semester hour credits, 303–304
student registration, 296–297
student status, 299
thesis enrollment, 308, 311
transcripts, 302–303
transfer credits, 298
Veterans Affairs, 297–298
Repeated courses, 305
Residential Life and Housing, 316–318
Returned checks, 292
Rome, Study Abroad program, 17
346 INDEX
S
T
U
Scholarships. see also Financial aid
all Schools, 282–284
federal programs, 271–272
graduate merit-based, 259
grant and scholarship programs, 270
international students, 284
out-of-state programs, 273
by Schools, 140, 275–282
School of Architecture. see
Architecture, School of
School of Art. see Art, School of
School of Design. see Design, School of
Science (SILS). see Information and
Library Science, School of (SILS)
School of Liberal Arts and Sciences.
see Liberal Arts and Sciences,
School of
Semester hour credits, 303–304
Social Science and Cultural Studies,
Department of, 159
Student Affairs, 313–324
Athletics and Recreation, 319
Campus Ministry, 316
Center for Career and Professional
Development, 9, 319–321
Disability Resource Center, 321–322
Health and Counseling Services,
323–324
International Affairs, 324
Meal Plan, 318
Residential Life and Housing, 316–318
Student Involvement, 314
student organizations, 131, 315–316
Study Abroad programs, 16–21, 116,
140, 141
Summer programs
Study Abroad, 17–19
Sustainability, commitment to, 19
48–51, 192–193
Sustainable Planning and Development,
Programs for. see Programs
for Sustainable Planning and
Development (PSPD)
Teacher certification
Advanced Certificate in Art and
Design Education, 67, 96
Library Media Specialist program,
135–137
Technology, 9
Thesis enrollment, 308, 311
Title IX statement, 268
Tokyo, Study Abroad programs, 17–18,
116
Transcripts, 302–303
Transfer credits, 267, 298
Trustees, board of, 329–330
Tuition and fees, 287–293
adjustments, 292
alternative loan checks, 292
application notification and deposit,
267
billing, 291–292
collection, 293
direct loans, 292
290
general information, 287–288
graduate fees, 288–290
late payments, 292
payment plan, 288
peerTransfer for international
students, 293
refunds, course withdrawal, 290–291
refunds, credit balance, 291
refunds, Pratt Prepaid Discover Debit
Card, 293
registration and, 293
returned checks, 292
Turkey, Study Abroad programs, 16, 17–18
Undergraduate programs
degrees offered, 161
Graduate Admissions and
deficiencies in, 266
graduate program links to, 5, 41
United States Bureau of Indian Affairs
Aid to Native Americans Higher
Education Assistance Program, 274
faculty, 188–189
V
Veterans Affairs, 297–298
W
Withdrawals, 300–301
Work experience credit, 298–299
Writing, 154–156
faculty, 244–245
Writing and Tutorial Center, 144, 159,
160, 257
.