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PRATT INSTITUTE
Graduate Bulletin
2015-2016
Visit Pratt
All prospective students
are encouraged to visit Pratt.
Here’s how:
Contents
Guided Tours of Brooklyn Campus
Web
1
About Pratt Institute
105 School of Design
Guided campus tours are scheduled
Visit Pratt online at
11
The History of Pratt
109 Communications Design
Monday and Friday at 10 AM, 12 PM, and
www.pratt.edu/admissions.
22
How a Pratt Education Works
109 Communications Design
112 Package Design
2 PM and Tuesday through Thursday at
10 AM and 2 PM.
Follow us on Twitter at
27
twitter.com/prattadmissions.
31Graduate Architecture
Schedule a tour online at
School of Architecture
119 Industrial Design
127 Interior Design
and Urban Design
135School of Information and
Contact the Office of Admissions at
33 Architecture
718.636.3514 or 800.331.0834 for
41
more information.
47Programs for Sustainable
Office of Admissions
51
Questions? Call us at 718.636.3514
The Office of Admissions is open
55 S
ustainable Environmental
or 800.331.0834 or email us at
weekdays from 9 AM to 5 PM from
visit@pratt.edu.
September through May and from 9 AM to
59 Historic Preservation
157 Media Studies
4 PM during June, July, and August.
63 Facilities Management
161Performance and
Pratt Institute
67
School of Art
165Writing
169 Classes in the Liberal Arts
www.pratt.edu/visit
Arrange an appointment with your
department chair.
Urban Design
Planning and Development
to schedule a visit.
142 Library Media Specialist
City and Regional Planning
Systems
151 School of Liberal Arts and Sciences
153 History of Art and Design
Performance Studies
Manhattan Campus
Please contact your department
Library Science
139 Library and Information Science
Office of Graduate Admissions
71
Art and Design Education
Myrtle Hall, 2nd Floor
75
Arts and Cultural Management
200 Willoughby Avenue
79
Creative Arts Therapy
173 Academic Degrees Overview
Brooklyn, NY 11205
80 A
rt Therapy and Creativity
174Curricula
Development
190Faculty
tel: 718.636.3514 or 800.331.0834
80 Dance/Movement Therapy
251 Graduate Admissions
fax: 718.399.4242
80 A
rt Therapy with Special
263 Financial Aid
Needs Children
281 Tuition and Fees
83
Design Management
289 Registration and Academic Policies
87
Digital Arts
305 Student Affairs
95
Fine Arts
317Libraries
319 Library Faculty
321 Board of Trustees
323Administration
325 Academic Calendar
Produced by the Pratt Institute Office
of Communications.
Unless otherwise indicated, all images of art,
design, and architecture are of work created by
students while studying at Pratt.
© 2015 Pratt Institute.
Campus photography: © William Abranowicz;
additional photography by Josh Gerritsen, Peter
Tannenbaum, Paul Mpagi Sepuya, 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.
333 How to Get to Pratt
Opening Page: Students sketch in the
Sculpture Park
Previous Page: Students walk through
Pratt’s Brooklyn campus
335Index
1
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.
Founded in 1887, Pratt Institute
As one of the world’s multicultural
prepares its 3,144 undergraduate and
epicenters for arts, culture, design,
1,479 graduate students for rewarding
technological innovation, and
and successful careers in art, design,
business, New York City provides Pratt
architecture, information and library
students with an exceptional learning
science, and liberal arts and sciences.
environment that extends beyond the
With a 25-acre landscaped campus
Pratt campuses. From design firms
in the historic Clinton Hill neighborhood
and art galleries where students may
See Page 22 for an overview of
of Brooklyn, a creative community in the
intern to museums and concert halls
Graduate Programs including location.
midst of a renaissance, and a campus
where they enjoy all of the city’s cultural
in Manhattan, students are fortunate to
offerings, Pratt’s New York City location
have access to the resources of both—
is unparalleled.
museums, galleries, restaurants, vintage
shops and more. Graduate programs are
located on both campuses.
Pratt’s programs are consistently
ranked among the best in the country;
its faculty and alumni include the most
renowned artists, designers, architects,
and scholars in their fields. Its programs
encourage collaboration and the
development of creative strategies for
design thinking.
Previous Spread: Students walk through
Pratt’s Brooklyn campus
Opposite: Students walking to class
on Brooklyn campus
3
Why Pratt?
#1Fine Art and Studio
Programs (USA
Today, 2015)
#1Interior Design
(U.S. News & World
Report, 2013)
#2Interior Design
(DesignIntelligence,
2014)
#5Industrial Design
(U.S. News & World
Report, 2014)
#3Industrial Design
(DesignIntelligence,
2014)
#12Communications Design
(U.S. News & World
Report, 2013)
#2Digital Arts (Animation
Career Review, 2013,
Regional Rankings)
#11Archives and
Preservation, Library
Science (U.S. News &
World Report, 2014)
#6City and Regional Planning
(Planetizen Guide to
Graduate Urban Planning
Programs)
#15Fine Arts (U.S. News &
World Report, 2014)
Consistently High Rankings
Where Creative Minds are Inspired
Ranked among the top design schools
Brooklyn Campus
by Bloomberg Businessweek, Pratt’s
undergraduate and 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 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 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 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.
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 19thcentury buildings have been designated
national landmarks, including the 1897
Renaissance Revival-style Caroline Ladd
Pratt House, which serves as the official
house of the Pratt president and several
students. The Pratt Library, which was
built in 1896 in a similar style, boasts an
interior designed by the Tiffany Glass and
Decorating Co.
Beyond this rich heritage, Pratt also
has several distinctly modern buildings
that have been constructed in the
past decade. The 26,000-square-foot
Higgins Hall Center Section, designed
by Steven Holl Architects and Rogers
Marvel Architects for the School of
Architecture, 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.
Why Pratt?
4
Myrtle Hall, a LEED Gold-certified
building designed by the firm WASA/
Studio A, was completed in 2010 and
is 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 largest in New York City,
with sculptures by artists including
internationally renowned Richard Serra
and Mark di Suvero. According to Public
Art Review it is one of the 10 best campus
art collections in the United States.
Pratt’s tree-lined neighborhood,
Clinton Hill, has a history that is intimately
interwined with the Institute. A century
ago, it was home to the elite of Brooklyn.
The expansive mansions lining Clinton
Avenue belonged to the shipping
magnates and mercantile princes of the
Gilded Age. Charles Pratt, whose fortune
derived from his partnership with John
D. Rockefeller in Standard Oil, started his
Institute on family land just a few blocks
from the family mansion.
Clinton Hill is one of New York’s
Manhattan 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 sevenstory, 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 of Information and Library
Science, the Center for Continuing and
Professional Studies, the Associate
Degree programs, the graduate programs
in Design Management, Arts and Cultural
Management, Communications Design,
and the School of Architecture’s
undergraduate Construction
Management program and graduate
program in Facilities Management. The
library, exhibition space, and stateof-the-art computer labs support the
academic programs.
Ways to Get to Know Pratt
Request information at www.pratt.edu/
request, and we’ll send you information
about events, deadlines, and programs
based on your interests.
Visit: www.pratt.edu/visit
Email: admissions@pratt.edu
Call: 718.636.3514 or 800.331.0834
Twitter: @prattadmissions
Facebook: Pratt Institute Admissions
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.pratt.
edu/visit. Manhattan tours must be
scheduled through the department you
are applying to.
Most graduate departments
welcome prospective students who wish
to visit. Please contact your graduate
department for an appointment.
Pratt Institute
Myrtle Hall, 2nd Floor
premier Victorian-era neighborhoods
and is listed on the National Register
Brooklyn, NY 11205
of Historic Places. In part because of
Pratt, it boasts an extraordinary
number of creative artists, architects,
designers, illustrators, and sculptors
among its residents.
Page 2: Students relaxing on Brooklyn campus
Opposite: Brooklyn campus
Where faculty and students
are at the center of creative
exploration and innovation.
Why Pratt?
7
Professional Faculty
• At the Center for Sustainable Design
Pratt’s nearly 1,000 faculty members are
Studies (CSDS), green design principles
award-winning scholars who mentor their
are integrated into the curricula.
talented students to achieve comparable
The Design Incubator for Sustainable
success. They are also working
Innovation, a project of CSDS,
professionals in the city’s creative
supports several graduating students
sector, who bring to the classroom their
each year as they develop design ideas
experience designing buildings, creating
into marketable products.
ad campaigns, and building furniture.
• In Corporate-Sponsored Studios and
The faculty represents leaders in the art,
Projects, faculty members explore new
design, architectural, technology, and
approaches to a design or business
business communities.
problem while students gain real-world
These faculty members impart to
experience. Partners have included
students the same high standards upheld
Barnes and Noble, Colgate-Palmolive,
in their professional work. With different
General Mills, and West Elm.
views, methods, and perspectives, they
• At the Pratt Center for Community
all share a common desire to develop
Development, faculty, staff, and fellows
each student’s potential and creativity to
work for a more just, equitable, and
the fullest—to turn out competent and
sustainable city for all New Yorkers by
creative professionals who will shape the
empowering communities to plan for
world to come. Faculty members serve
and realize their futures.
as critical connections when students are
ready for employment or internships.
Academic Initiatives
Students and faculty move effortlessly
between traditional age-old techniques
and more contemporary digital software,
taking advantage of Pratt’s extensive
range of facilities from shops in metals,
wood, ceramics, and jewelry to labs for
animation, motion arts, and interactive
arts. From state-of-the-art facilities
to research initiatives, the Institute is
committed to providing students with
the best education possible. A Faculty
Innovation Fund allows faculty to initiate
new areas of investigation. A few
academic initiatives where faculty and
students collaborate:
Opposite: Student at work in the metal shop
8
Why Pratt?
Tools for Tomorrow
State-of-the-Art Technology
Libraries
Pratt’s computer labs and digital
The Pratt Library on the Brooklyn
The Center for Career and Professional
output centers have the most current
campus is located in an 1896 landmark
Development inspires, supports, and
equipment available. Computer labs offer
building with interiors by the Tiffany
educates students and alumni. The
computer workstations, color scanners,
Glass and Decorating Co. Collections
Center offers career and internship
color and black-and-white printers
and services are focused on the visual
counseling, resume and portfolio
and plotters, digital and analog output
arts, architecture, design, creative
assistance, industry mentoring,
centers, digital photography, video and
writing, and allied fields. Additional
professional development, workshops,
sound bays, multimedia video projection,
materials support the general education
entrepreneurial support, and a lifelong
and multiple servers. From film editing
curriculum. The library houses more
job search support system.
and digital animation to two- and three-
than 200,000 volumes of print materials,
dimensional rendering, all workstations
including more than 600 periodicals,
provides a distinct advantage for students
feature the latest software for the
rare books, and the college archives. The
looking for internships or job experience.
departments using them. Those working
library also includes a multimedia center
Qualified students are offered challenging
in the three-dimensional realm have
housing nearly 3,000 film and video titles
on-the-job experiences in top art
access to 3-D printers, laser cutters, and
as well as the Visual Resources Center,
galleries, publishers, architecture, and
CNC milling machines. Pratt continually
a collection of more than 120,000
design firms in both Manhattan and
upgrades lab equipment as industry
circulating architecture, art, and design
Brooklyn, giving them firsthand work
standards change.
digital images.
Exhibitions
supports the Pratt community as well
Internship and Career Support
Pratt’s New York City location
The Pratt Manhattan Center Library
experience as well as credit toward their
professional degree.
Six months after graduation,
89 percent of Pratt’s graduates are
employed and 84 percent of those are
employed in their field. Preparing for
a fulfilling, meaningful, and productive
career and understanding emerging
trends and the global job market is an
essential activity for Pratt students.
Gallery space, both on the Brooklyn
campus and at Pratt Manhattan, is
extensive, showing the work of students,
alumni, faculty, staff, and other wellknown artists, architects, and designers
throughout the academic year. Pratt
Manhattan Gallery is a public art gallery
that strives to present significant work
from around the world in the fields of
art, architecture, fashion, and design.
The Rubelle and Norman Schafler
Gallery on the Brooklyn campus mounts
faculty and student exhibitions as well
as thematic shows featuring the work of
unaffiliated artists. In addition, Pratt has
more than 15 other galleries located on
its Brooklyn and Manhattan campuses.
Opposite: Students at work
as visiting researchers. The library has
a growing collection of monographs,
serials, and multimedia, as well as stock
photography. It offers a wide range of
electronic resources, including general
and subject-specific databases, all of
which are available off-site.
11
The History of Pratt
On October 17, 1887,
12 young people climbed
the stairs of the new
“Main” building and began
to fulfill the dream of Charles
Pratt as the first students
at Pratt Institute.
Charles Pratt, one of 11 children, was born
The Institute’s success is based
the son of a Massachusetts carpenter in
largely on Charles Pratt’s philosophy of
1830. In Boston, he joined a company
education, which revolutionized teaching
specializing in paints and whale oil
by challenging the traditional concept of
products. When he came to New York,
academia as a purely intellectual exercise.
he founded a petroleum business
He created a school where applied
which would become Charles Pratt and
knowledge was emphasized and specific
Company. The concern eventually merged
skills were taught to meet the needs of
with Standard Oil, the company that
a growing industrial economy. Pratt has
made John D. Rockefeller his millions.
been a pioneer in education since its
Pratt’s fortunes increased and he
inception. Today, Pratt offers students
became a leading figure in Brooklyn,
more than 27 undergraduate majors and
serving his community and his profession.
concentrations—more than most other
A philanthropist and visionary, he
art and design schools in the country—
supported many of Brooklyn’s major
and 26 master’s degree programs.
institutions. He always regretted,
The energy, foresight, and spirit
however, his own limited education and
Charles Pratt gave to his dream remains
dreamed of founding an institution where
even today. Inscribed on the seal of the
pupils could learn trades through the
Institute is his motto: Be True to Your
skillful use of their hands. This dream was
Work, and Your Work Will Be True to You.
realized when Pratt Institute opened its
doors more than 125 years ago. To this
day, members of the Pratt family are
leading supporters of the Institute.
Opposite: Charles Pratt, founder of the Institute
13
Pratt Students
Although Pratt students come from
Student Life
Athletics and Recreation
all over the world, they share several
Pratt students regularly attend films,
The Activities Resource Center has a
characteristics. First, many have known
plays, lectures, art openings, and
200-meter indoor track, five indoor
since childhood that they enjoy creating
concerts—both on campus and around
tennis courts, basketball and volleyball
things. Second, most enjoy inventive
New York City. Recreational classes are
courts, a weight room, dance/exercise
problem solving both in and out of the
held at the Athletic Resource Center,
rooms, and saunas.
classroom. Finally, most share a deep
which has extensive workout facilities
desire to change the world and leave
including a 200-meter indoor track,
Living on Campus
their imprint.
five indoor tennis courts, basketball and
Pratt provides some apartment-style
volleyball courts, a weight room, dance/
graduate housing in Brooklyn, but most
applications for its graduate class of 464,
exercise rooms, and sauna. These
graduate students live off-campus
enabling the admissions committees to
cultural outings play an essential role in
in a variety of housing options from
select a student body with a wide variety
the Pratt experience.
apartments to brownstones and lofts,
Pratt receives approximately 3,000
of backgrounds. Thiry-four percent of
the new graduate class comes from other
countries, including China, Taiwan, India,
South Korea, Mexico, Canada, Thailand,
and Turkey. Thirty-seven percent of the
graduate enrollment comes from states
other than New York, giving Pratt a truly
national and international student body.
Although it is possible to attend
Pratt part time, 87 percent of graduate
students choose to study full time,
reflecting a high degree of commitment.
In addition to the wealth of
opportunities for exploration in the
city, on the Brooklyn campus, students
often socialize in the residence halls
and cafeteria and cafes or at the
Student Union, the Library, the Schafler
Gallery, and the Activities Resource
Center, where most sports and wellness
activities take place. In warm weather,
students often meet and sit on the
lawns amid the contemporary sculptures
that dot the campus.
The Institute’s entire student body is
composed of 4,623 undergraduate and
graduate students—33 percent men and
67 percent women.
Opposite: Students relaxing
on the Brooklyn Campus
sharing with other students. Many
opportunities are listed through the
Office of Residential Life. Various meal
plans are available for residential students.
15
Notable Alumni
What do the Chrysler
Building and Scrabble have in
common? Both were designed
by Pratt alumni. Pratt has
approximately 26,000 active
alumni, whose achievements
are a testament to the
soundness of the Institute’s
educational philosophy. Pratt
alumni have designed wellknown and award-winning
furniture, clothing, buildings,
and commercials, as well as
artworks, which are regularly
exhibited in major museums
and galleries.
William Boyer,
Beverly Pepper, sculptor
designer of the classic Thunderbird
Charles Pollock, furniture designer
Shawn Christensen,
Paul Rand,
Academy Award winner
graphic designer, created IBM logo
Tomie dePaola,
Robert Redford, actor and director
children’s book author and illustrator
Robert Sabuda, illustrator
Jules Feiffer, cartoonist and playwright
Stefan Sagmeister, graphic designer
Harvey Fierstein,
David Sarnoff,
playwright and actor, Torch Song Trilogy
president, RCA Corporation
Steve Frankfurt, advertising innovator
Tony Schwartz,
Bob Giraldi, film director
creator, Alka-Seltzer commercial
Felix Gonzalez-Torres, installation artist
Annabelle Selldorf,
Michael Gross,
gallery and museum architect
executive producer, Ghostbusters
Robert Siegel,
Bruce Hannah, furniture designer
architect, Gwathmey Siegel Kaufman
for Knoll, named Designer of the
Pat Steir,
Decade in 1990
contemporary painter and printmaker
Eva Hesse, sculptor and painter
William Van Alen,
Betsey Johnson, fashion designer
architect, Chrysler Building
Ellsworth Kelly, minimalist painter
Tucker Viemeister,
Edward Koren,
product designer, Oxo Good Grips
cartoonist, The New Yorker
Max Weber, modernist painter
Naomi Leff, interior designer
Robert Wilson, avant-garde stage
George Lois, advertising designer
director and playwright
Robert Mapplethorpe, photographer
Carlos Zapata,
Peter Max, pop artist
residential and commercial architect
Norman Norell, fashion designer
Peter Zumthor,
Roxy Paine, conceptual artist
Pritzker Prize-winning architect
Sylvia Plachy, photographer
Opposite: Chrysler Building
by William Van Alen
16
Cultural Partnerships in New York City
to stylized Shakespearean productions.
region. Path methodology techniques will
The Institute has created partnerships
Pratt students can attend BAM events at
be used to study topics including water
with a number of major cultural
discounted rates.
institutions so students may take
In Manhattan, Pratt students also
17
Trastevere district and includes
course, “Surroundings”, is a writing
instructors in the course and one of the
travel to Florence, Siena, and Venice.
seminar focused on encounters with
two PSPD co-coordinators. All courses
quality, aquatic life, water edge/coastline
Financial aid is typically available.
provocative settings.
offer three credits.
The courses involve study in
configuration, waterfront programming/
This course seeks to mine these
advantage of the vast opportunities
enjoy visiting these institutions where
land use, waterfront architecture,
intensively designed environments for
Architecture and Design in
Brooklyn both before and after the
in Brooklyn and Manhattan. Students
admission fees are waived: the Cooper
waterfront “practices of everyday life,”
contemporary principles. While the
Copenhagen Summer Program
excursion element. In alternating
participate in collaborative work as part
Hewitt National Design Museum, the Frick
land-cover, and urban form.
course is fully engaged with the historical
of their curriculum or simply have class
Collection, Museum of Arts and Design,
visits. On their own, Pratt students may
the Museum of Modern Art, and the
visit free of charge.
Whitney Museum of American Art.
Close to Pratt’s Brooklyn
campus, the Brooklyn Museum has
Study Abroad Programs
an impressive permanent collection.
Pratt’s study abroad programs combine
The Egyptian art collection is one
the Institute’s academic excellence with
of the world’s finest. The museum’s
firsthand exposure to some of the most
Asian art collection, though modest
vibrant international centers of art,
in size, is one of the more diverse
design, and architecture.
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
Architecture in Turkey
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
21st-century metropolis: rapid change
and heterogeneity in Istanbul. Students
look at existing ecological, urban, and
historical 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
significance of the material it presents,
Florence Summer Program
In partnership with Studio Art Centers
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.
London Summer Programs
Students have the opportunity to study
e-publishing and digital scholarship at
Kings College London for two weeks
in the early summer and, in a separate
program, study museums’ use of digital
media at 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.
Architecture 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
it also finds excellent opportunities
to study the relational dynamics,
socio-political developments, technomaterial innovations, and 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 the form of graphics,
diagrams, notation, and text.
Pratt Summer in Paris
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
The Pratt Summer in Paris program gives
architecture, and urban design. Students
students the opportunity to earn six
also travel to Sweden, Finland, Norway,
elective credits studying literature and
and western Denmark for field trips.
writing. It is available to all Pratt students,
but geared more toward undergraduate
Sustainable Planning Development
students. The program is housed at the
International Workshops
Cité International Universitaire de Paris,
which is located within minutes of the
Louvre, Notre Dame, the Eiffel Tower, the
Sacré Coeur, and countless other points
of interest. The program includes two
Humanities courses. The first course, “The
American Writer in Paris”, focuses on
works by the most prominent American
writers living in or passing through Paris
during the 20th century. The second
The Programs for Sustainable Planning
and Development (PSPD)—Planning,
Sustainable Environmental Systems,
Historic Preservation, and Facilities
Management—offer six courses that
include an international component.
In addition to PSPD graduate students,
these seven courses are open to other
graduate students, fifth-year architects,
and others with the permission of the
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 to Rome, Italy, for an intensive
introduction to Roman architecture
and the city’s unique ability to meld
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.
About Pratt
19
Pratt in Venice Summer Program
Commitment to Sustainability
In Venice, students may register for six
to eight credits, selecting from courses
in: Printmaking/Drawing, Painting,
Art History of Venice, and Materials
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
and Techniques of Venetian Art. The
successfully reverse global warming.
program takes place in June and July. It
Pratt Institute is taking a leadership
is open to graduate and undergraduate
role in sustainability for schools of art,
students. Pratt’s program is conducted
design, and architecture nationwide.
in collaboration with the Università
At this critical moment, when our
Internazionale dell’Arte at the Villa
environment and ways of life are at
Heriott and the Scuola Internazionale
risk, we have a responsibility to ensure
di Grafica. With its rich artistic history
that each of our graduates has a deep
and visual appeal, Venice provides
awareness of ecology, environmental
inspiration for studio and on-site work.
issues, and social justice.
Art history classes are held at various
In The Princeton Review’s 2013
sites and alternate with lectures that
Guide to 322 Green Colleges, Pratt
provide a historical context for the visits.
was recognized as one of the country’s
In the graduate course in Materials and
most environmentally responsible
Techniques students visit conservation
colleges. As active participants in
laboratories to learn from local experts
the American College and University
and research specific aspects of
Presidents’ Climate Commitment
materials and process.
(ACUPCC), Pratt seeks to be a carbon-
For more information on individual
neutral campus. In 2010, Myrtle Hall, a
programs, contact Dr. Marianthi
LEED Gold-certified building designed
Zikopoulos, Interim Director of Study
by the firm WASA/Studio A, was
Abroad and International Partnerships, at
completed. The 120,000-square-
mzikopou@pratt.edu or go to www.pratt.
foot building is a testament to Pratt’s
edu/academics/academic-resources/
commitment to sustainability.
study-abroad.
Opposite: Students take advantage of the
Institute’s many study abroad programs including
the Florence Summer Program.
About Pratt
Regardless of discipline, our
graduates must be able to integrate
best sustainable practices into
their professional lives. Within each
program, Pratt students are offered an
opportunity to learn to think in new ways
about the relationship of designer to
product, architect to built environment,
and artist to creative expression. The
Institute is continuously working to
reduce our carbon footprint, “greening”
our dorms, facilities, and classrooms and
creating an ongoing, living laboratory
from which our students can observe,
participate, and experiment.
The Institute’s Center for Sustainable
Design Studies (CSDS) is an active and
collaborative resource for sustainable
design at Pratt’s Brooklyn campus. Under
the umbrella of CSDS, the Pratt Design
Incubator for Sustainable Innovation
provides ambitious students and Pratt
alumni with a stimulating place to launch
sustainability-minded businesses,
providing office space, planning support,
and access to shop facilities. For more
information, go to csds.pratt.edu/.
21
Accreditation Statement
Pratt Institute is a coeducational undergraduate
and graduate institution chartered and
empowered to confer academic degrees by the
State of New York. The certificates and degrees
conferred are registered by the New York State
Department of Education. Pratt is accredited
by the Commission on Higher Education of
the Middle States Association of Colleges and
Schools, 3624 Market Street, Philadelphia,
PA 19104, 215.662.5606. The Commission on
Higher Education is an institutional accrediting
agency recognized by the U.S. Secretary of
Education and the Commission on Recognition of
Postsecondary Accreditation.
Programs in art and design are accredited by
the National Association of Schools of Art and
Design (NASAD).
The School of Architecture’s Bachelor of
Architecture program is accredited by the
National Architectural Accrediting Board. (For
more information on NAAB accreditation, refer to
the School of Architecture section, page 25.) Pratt
is a charter member of and accredited by the
National Association of Schools of Art and Design.
The Master in Library and Information Science
program is accredited by the Committee on
Accreditation of the American Library Association.
The Master in Art Therapy is approved by the
Education Approval Board of the American Art
Therapy Association, Inc., and as such meets
the education standards of the art therapy
profession. The Graduate Dance/Movement
Therapy program has been approved by the
American Dance Therapy Association.
Programs offered by Art and Design Education
and the M.S. for Library Media Specialists (LMS)
offered by the School of Information and Library
Science are accredited by RATE.
The B.F.A. offered by the Interior Design
department is accredited by the Council for
Interior Design Accreditation (formerly FIDER).
Opposite: Myrtle Hall, the Institute’s sustainably
designed, LEED-certified administrative and
academic building
22
23
How a Pratt Education Works
Department
Programs and Emphasis
Study Abroad
Campus
Graduate Architecture and Urban Design
M. Architecture (first professional)
Architecture M.S. (post-professional)
Architecture and 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 Planning 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.
Urban Placemaking and Management M.S.
Sustainable Planning Development International
Workshops
Brooklyn, except
Facilities Management,
which is based in
Manhattan
Art and Design
Education
M.S. in Art and Design Education (Initial/
Professional and Professional Certification)
Advanced Certificate in Art and Design Education
Brooklyn
Art Therapy and Creativity Development M.P.S.
Art Therapy SP/SU M.P.S.
Art Therapy with Special Needs Children M.P.S.
Dance/Movement Therapy SP/SU M.S.
Dance/Movement Therapy M.S.
Brooklyn
Arts and Cultural Management M.P.S.
Manhattan
Communications/Package
Design
Communications Design M.F.A.
Package Design M.S.
Design Management
Design Management M.P.S.
Digital Arts
Architecture and Design in Copenhagen
Manhattan
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
Manhattan
Humanities and Media Studies
Media Studies M.A.
Pratt Summer in Paris
Brooklyn
Industrial Design
M.I.D.
Brooklyn
Interior Design
Qualifying three-year M.F.A.
Two-year M.F.A.
Brooklyn
Information and Library Science
Library and Information Science M.S.
Library and Information Science Library Media
Specialist M.S.
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
London Publishing Summer School, Florence
Summer Program
Manhattan
Performance and Performance Studies
Performance and Performance Studies M.F.A.
Writing
Writing M.F.A.
Brooklyn
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.
24
25
—President John F. Kennedy, from a
telegram sent on the occasion of Pratt’s
75th anniversary in 1962
27
Architecture
Historic Preservation
Urban Design
Facilities Management
Urban Placemaking and Management
Sustainable Environmental Systems
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
The post-professional Master of
to build for whom, and how to enhance
Architecture and Urban Design is a
the surrounding environment, in the city
33-credit, three-semester (summer,
or country, in a public works project or a
fall, spring) program for those who hold
private home.
an accredited five-year Bachelor’s
The Graduate Architecture and
of Architecture or the equivalent. A
Urban Design programs offer three
culmination project is completed in the
graduate degrees—one professional and
final semester.
two post-professional.
The first-professional Master of
Architecture (M. Arch.) degree is an
84-credit, three-year professional degree
Students in the M.S. Arch. and the
Urban Design programs are encouraged
to develop specialized areas of research.
The School of Architecture is
program for students holding a four-
dedicated to maintaining the connection
year undergraduate degree in any field.
between design theory and practice and
This program prepares students to take
to extending the range of knowledge
the architectural licensing exam and to
necessary to fully understand the built
become practicing architects. Students
environment. The diversity of programs
may also receive advanced standing for
within the school, and the accessibility
pursuing further graduate studies.
of other programs within the Institute,
The post-professional Master of
enables students to pursue a wide range
Science in Architecture (M.S. Arch.) is
of interests within the field. Architecture
a 36-credit, three-semester (summer,
students may take electives in fine arts,
fall, spring) program for those who hold
illustration, computer graphics, industrial
an accredited five-year Bachelor’s of
design, furniture design, interior design,
Architecture or the equivalent. A thesis is
and photography, as well as electives in
completed in the final semester.
advanced architectural theory, design,
technology, and management.
Dean
Director of Production Technologies
Office
Thomas Hanrahan
Mark Parsons
Higgins Hall North, 1st floor
Tel: 718.399.4304 | Fax: 718.399.4315
Assistants to the Dean
Arch-dean@pratt.edu
Kurt Everhart
www.pratt.edu/architecture
Pamela Gill
28
29
by students and faculty that fill three
learning is emphasized through studio-
City allows students immediate and
galleries on a regular basis; and the study
based curricula and research-oriented
graduate degrees in accredited and
frequent access to the city’s resources.
abroad programs in Italy and France.
thesis programs.
nonaccredited programs. The M. Arch.
The graduate programs also have
The school publication, InProcess,
excellent internal resources: a strong
documents student work throughout
Highest Professional Standards
three-year professional program. The
faculty, good facilities, and a developing
the year.
In the United States, most state
program was accredited by NAAB in
registration boards require a degree
2010. The M.S. Arch. and Urban Design
The school’s location in New York
research network that connects the
Pratt’s Center for Community
The School of Architecture offers
first professional degree program is a
department and its students to serious
Development, formerly PICCED, one
from an accredited professional degree
programs are post-professional and
national and international work in the
of the oldest community advocacy and
program as a prerequisite for licensure.
offer a three-semester Master’s degree
field. This network brings distinguished
technical assistance organizations in
The National Architectural Accrediting
in Architecture and Urban Design. Post-
visitors to speak to graduate students in a
the United States, gives students
Board (NAAB), which is the sole agency
professional programs in the United
research forum; invites visiting faculty to
additional opportunities to work on
authorized to accredit U.S. professional
States are not accredited by the NAAB.
teach studios, workshops, and seminars;
real-life projects.
degree programs in architecture,
Pratt’s Graduate Planning Program is
recognizes two types of degrees: the
accredited by the Planning Accreditation
and forges extensive and thoughtful
Students are further exposed to
connections with international cities and
the professional world through optional
Bachelor of Architecture and the Master
Board and offers a two-year Master of
throughout the United States.
internship programs that place them in
of Architecture. A program may be
Science degree in City and Regional
outstanding New York architectural firms,
granted a five-year, three-year, or two-
Planning. The Facilities Management
is also an exciting part of the educational
public agencies, and nonprofit design
year term of accreditation, depending
program is non-accredited and offers
experience at Pratt. Post-professional
institutions, giving them firsthand work
on its degree of conformance with
a two-year Master of Science degree in
degree students come from a wide range
experience as well as credit toward their
established educational standards.
Facilities Management.
of architectural practice, and first-
professional degrees.
The opportunity to learn from peers
professional degree students come from
The School of Architecture’s mission
Master’s degree programs may consist
of a pre-professional undergraduate
Admission Requirements
Please refer to the Admissions section.
diverse fields of undergraduate study.
is to educate the future leaders of the
degree and a post-professional graduate
The student body includes many
design disciplines in the professional
degree, which, when earned sequentially,
international students, each of whom
fields of architecture, urban design,
constitute an accredited professional
brings a different perspective to the study
city and regional planning, construction
education. The pre-professional degree is
of architecture. The school encourages
and facilities management, and historic
not, by itself, recognized as an accredited
transfer students to apply and will
preservation. This effort builds upon a
degree, however.
evaluate credits from other colleges,
strong context of professional education
universities, or community colleges.
within an art and design institute that
to new programs that have developed
stresses the relationship between
viable plans for achieving initial
demonstrates daily that learning does not
intellectual development and creative
accreditation. Candidacy status indicates
occur solely within the classroom. This
activity. The school provides a broad
that a program should be accredited
is reflected in the annual undergraduate
cultural and intellectual base in the liberal
within six years of achieving candidacy, if
and graduate lecture series, which bring
arts and sciences while providing the
its plan is properly implemented.
some of the most influential architects
specialized knowledge unique to individual
in the world to campus; the Center
disciplines. The importance of lifelong
The School of Architecture
The NAAB grants candidacy status
for Experimental Structures; exhibits
Page 26: Work by Luke Cunnington (M.Arch. ’12)
Student 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.
31
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.
Opposite: Work by Victoria Maceira (M.Arch. ’13)
and Michael Grieser (M.Arch. ’13)
Students in GAUD are immersed in an
both programs come from national and
exploratory design-studio culture. The
international backgrounds.
three distinct degrees within the two
A developing research area within
programs—Architecture and Urban
GAUD is the Network for Emerging
Design—share coursework, students,
Architectural Research (NEAR), which
faculty, and events, thus allowing each
connects the department to national
program to draw upon the other’s
and international work. Commensurate
perspectives and expertise. This
with the complexities of the 21st century,
mix supports the ability to integrate
NEAR expands beyond traditional
diverse theoretical and technical
limitations of academic research, and
knowledge in speculative design work
establishes a space for experimentation
while emphasizing critical thinking/
and development in academia,
critical making. Students and faculty are
industries, and public institutions.
engaged in the design of contemporary
The Graduate Architecture programs
experimental architectural projects and
at Pratt Institute’s School of Architecture
the integration of academically rigorous
contribute to the progressive design
seminar courses in history and theory,
environment for advanced architectural
computer media, and technology.
research located in New York City. The
The Graduate Architecture programs
school’s New York City location provides
have a diverse faculty of distinguished
immediate and frequent access to
educators and practicing architects,
the city’s extensive range of creative
excellent facilities, and trans-disciplinary
opportunities. The international study
connections with the well-known art and
abroad programs extend the investigation
design departments of Pratt Institute.
of the city to Rome and Istanbul with
Distinguished visitors present their
concentrated seminars looking at both
work to graduate students on a regular
cities and their unique contributions to
basis in research forums, guest studios,
architecture and urbanity.
and seminars. Faculty and students in
www.pratt.edu/grad-architectureurban-design
33
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 transcategorical. 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.
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-professonal 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
The Graduate Architecture program
three semesters prepare students for
offers two degrees: Master of
the comprehensive architecture project
Architecture (M. Arch.) (first-
in the fourth semester. This combined
professional), and Master of Science
design and integrated building-systems
(M.S.) in architecture (post-professional).
course integrates all related disciplines
into the single project. The final two
Master of Architecture
semesters are dedicated to advanced-
(First-Professional)
option studios and seminars where
The Master of Architecture, a first-
students can explore a range of options
professional degree, is a NAAB
within all four areas of the curriculum.
accredited 84-credit, three-year
Chair
Program Coordinators
Office
William MacDonald
Alexandra Barker, Master of Architecture
Tel: 718.399.4314 | Fax: 718.399.4379
Jason Vigneri-Beane,
gaud@pratt.edu
Assistant Chair
Master of Science, Architecture
www.pratt.edu/grad-architecture
Philip Parker
Maria Sieira, Architecture History/Theory
Cristobal Correa, Technology
Assistants to the Chair
Erin Murphy
Erika Schroeder
Christopher Kroner, Media
34
Architecture
Master of Science, Architecture
(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 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 research and
design project in which students develop
specialized approaches to contemporary
architecture within year-long themes.
Page 32: Work by James Maldonado
(M.Arch. ’15)
Opposite: Work by Asli Agirbas
(M.S. Architecture ’13)
Above from top: Work by Megan Hurford
(M.S. Architecture ’14); Work by Katia Loizou (M.S.
Architecture ’13); Work by Megan Hurford
(M.S. Architecture ’14)
Opposite from top: Work by Chang-Kuang Chao;
Work by Megan Hurford (M.S. Architecture ’14);
Work by Lauren Burdelsky (M.S. Architecture ’12),
Alanna Kleine (M.S. Architecture ’12) and Mithila
Poojari (M.S. Architecture ’12)
Architecture
Opposite from top: Work by Jon Bucholtz,
Sana Iqbal (M.Arch. ’14) and Chris Yu (M.Arch. ’14);
Work by Taesoo Kim (M.Arch. ’14); Work by Elle
White (M.Arch. ’14)
Above from top: Work by Jenna Steinbeck
(M.Arch. ’14); Work by Eric Engdahl (M.Arch. ’12);
Work by Ching-Tsung Huang (M.S. Architecture ’13)
41
Urban Design
The Graduate Architecture
and Urban Design program is
a unique three-semester
program for students who
have already completed
a professional degree in
architecture. Preparing
students to take leadership
positions in the 21st century,
the program takes into
consideration the most urgent
questions confronting the
design of cities today.
Guided by leading design professionals
are designing civilization itself. Mirroring
and scholars, students develop powerful
the complexity of the contemporary
contemporary design techniques and
situation, the program is itself highly
a sophisticated conceptual outlook
international. From all corners of
in order to advance new strategies
the world, students converge on this
and new possibilities. As of 2010, for
program in New York City, a city that
the first time in human history, the
remains one of the great laboratories for
majority of the global population now
urban thought and innovation.
Chair
Coordinator
Office
William MacDonald
David Ruy
Tel: 718.399.4314 | Fax: 718.399.4379
Assistant chair
Philip Parker
Erin Murphy
lives in cities. As noted by the World
Health Organization, seven out of 10
people will be living in cities by the
year 2050. Given the astonishing scale
at which urbanization is taking place
today, how we are designing our cities
is becoming synonymous with how we
gaud@pratt.edu
Erika Schroeder
www.pratt.edu/dept-urban-design
Urban Design
42
Urban Design
Intensive and ambitious in its scope,
the program is structured around a
single urban design project that is
continuously developed by each student
across three studio semesters. Each
studio semester has a specific focus that
is supplemented by advanced seminar
topics in histories of urban design, urban
planning and zoning policies, GIS, and
digital design technologies. This year,
the program continued its speculative
investigation of producing new land
masses within the New York City estuary.
Students examined the spectacular and
problematic opportunities that come
with creating new land where none
existed before. The geo-engineering
scenarios considered how this
problem might articulate a new kind
of architectural ground leading to new
urban typologies. Projects developed
extensions of this premise into new real
estate economies, new infrastructures,
new zoning logics, and perhaps mostly
importantly, new experiences. Examining
as a precedent the astonishingly artificial
geology of New York City itself, students
were asked to consider the profound and
paradoxical coherence of a city that is
always changing.
Page 40: Work by Michalis Skitsas (M.S.AUD ‘14)
Above: Work by Francisco Patino (M.S.
Urban Design ’13)
Urban Design
Opposite from top: Work by Ana Maria Perez
Dobarro (M.S. Urban Design ’12), Niriti Porwal (M.S.
Urban Design ’12), and Celina Scheidt (M.S.AUD ‘12);
Work by Chun-Wen Chin, Achilleas Kakkavas, and
Aayushya Patel (M.S.AUD ‘12)
Above: Work by Michalis Skitsas (M.S.AUD ‘14)
47
Programs for Sustainable
Programs for Sustainable
(PSPD) is an alliance of five
programs with a shared value
placed on urban sustainability—
defined by the “triple bottom
line” of environment, equity,
and economy.
The five graduate Master of Science
is to provide a professionally oriented
• City and Regional Planning
• Sustainable Environmental Systems
• Historic Preservation
• Urban Placemaking and Management
• Facilities Management
education to a student body with
Each of the five graduate programs
maintains its independence, degree,
and depth of study. Yet with the advice
of coordinators and department chairs,
students can move between the five
programs, with the further option to
follow set tracks for specialized or
multifaceted studies. Studios bring
together students from all five graduate
programs for interdisciplinary teamwork.
PSPD also offers linkages to
the undergraduate Construction
Management program, with the
opportunity to focus on real estate
development; Brooklyn Law 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.
Programs for Sustainable Planning
The primary mission of the PSPD
programs are:
diverse cultural, educational, and
professional backgrounds. The PSPD
welcomes applicants with undergraduate
degrees in a wide range of disciplines.
In the application process, the PSPD
values creativity, civic engagement, and
depth of experience, in addition to
intellectual capacity.
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.
Chair
Coordinator
Coordinator
Coordinator
Chair
Coordinator
John Shapiro
Jaime Stein
Nadya K. Nenadich
David Burney
Regina Ford Cahill
David Burney
718.399.4391
718.399.4328
718.399.4326
718.399.4340
212.647.7524
718.399.4323
johnshapiro@pratt.edu
jstein9@pratt.edu
nnenadic@pratt.edu
dburn153@pratt.edu
hrcahill8@pratt.edu
and Development
dburn153@pratt.edu
Assistant to the Chair
Philip Ramus
Adia Ware
212.647.7524
718.399.4340
fm@pratt.edu
aware@pratt.edu
48
and Development
and Development
49
Environmental Sustainability
Professionalism and Internships
are concentrated on two weekdays
The Sustainable Environmental Systems
Relevant employment and internships
and evenings. This scheduling affords
with the New York City Environmental
as about providing opportunities for
program is entirely devoted to urban
are an important component of the
students maximum flexibility to work
Justice Alliance (NYC-EJA) and with
students to study in foreign places.
environmental policy, science, and
PSPD’s educational approach. Students
or intern, and affords the PSPD the
Project for Public Spaces (PPS). NYC-
For example, Pratt students have
design. “Green development” and
entering with work in a relevant field may
ability to tap as faculty the region’s most
EJA is the city’s leading advocate for
traveled to Brazil to consider innovative
LEED courses augment the Facilities
earn credits through work experience/
accomplished professionals. These
sustainability and resiliency for poor
approaches to affordable housing;
Management program curriculum. The
portfolio credit. Unpaid and paid
include the founders of community
and working class neighborhoods
studied climate change infastructure
Historic Preservation program is already
internships are available. The resulting
organizations, executives in development
of color. PPS is the nation’s leading
with Dutch students and experts;
“greened,” as the most sustainable action
variety of professional experiences
firms, New York City commissioners,
proponent of placemaking, traffic
and fleshed out the community details
is to preserve and reuse.
enriches seminar discussions and studio
political leaders, and more.
calming, public markets, and more,
of a regional sustainability plan for
with projects all around the world.
Goa with Indian students.
teamwork, provides students with a
The PSPD also enjoys a relationship
learning global innovations and practices
Social Equity and Economic Viability
wealth of contacts in the field,
The Pratt Center
Other internship placements include the
True sustainability considers factors such
and strengthens their job qualifications.
The PSPD collaborates closely with the
New York City Economic Development
Joint Degree in Law
Pratt Center for Community Development
Corporation and other city agencies, the
Pratt Institute and Brooklyn Law School
as social justice and financial realities.
Advocacy and participatory planning are
Impact
(www.prattcenter.net)—one of the nation’s
Landmarks Conservancy and other civic
(BLS) have created an open door allowing
core principles, further propelled by
Through internships, partnerships,
foremost university-based research and
organizations, and other environmental
Pratt students to take selected courses
the Livable Cities and the Environmental
studios, demonstrations of professional
technical assistance organizations in the
groups, and community-based
at BLS, and vice versa. Pratt and BLS
Justice movements. Sustainability is
competence, and directed research,
service of disadvantaged communities.
organizations throughout New York City.
also sponsor a program leading to the
not just a new set of technologies and
students have ample opportunity to
A number of courses relate to Pratt Center
standards; it is also a value system.
work on real-world and real-time issues.
projects, many students intern at the
Geographical Information
Regional Planning and Juris Doctor (J.D.).
Successes are illustrated in this catalog
Pratt Center, Pratt Center senior staff
Systems (GIS)
Students can also participate in BLS’s
and in the PSPD newsletter. (Check
teach in the PSPD, and other faculty work
With the graduate Communications
Community Development Clinic, which
the websites for each program.) New
closely with the Pratt Center on research
Design program, the PSPD founded SAVI—
represents community development
York’s history, diversity, and international
and advocacy efforts. Pratt Center’s
The Spatial Analysis and Visualization
corporations, cultural institutions, and
character offer a rich training ground for
services include:
Initiative. SAVI supports PSPD studios
affordable housing providers that serve
planners, preservationists, developers,
• Visioning to identify community needs
and research with depth in GIS analysis
underrepresented communities.
and sustainability practitioners.
Students graduate equipped with
the technical know-how, collaborative
skills, and critical thinking necessary to
pursue professional careers and plan
for environmental and social justice in
urban places. Alumni play leading roles in
a broad spectrum of jobs in the public,
private, and nonprofit sectors.
and workable strategies.
• Testimony and events to inform
degrees of Master of Science in City and
with an added focus on how best to
The joint degrees can be earned in
represent data, e.g., infographics. SAVI
four to five years of full-time study—less
groups and officials about community
is also a resource for community and
time and cost than if the two degrees
challenges and opportunities.
civic organizations, and in 2014 launched
were pursued independently. Students
a certificate degree in GIS and data
must apply and be accepted to both
visualization.
schools independently. Prospective law
• Research, recommendations for
action, and advocacy to advance
students must take the LSAT. The joint
community plans.
• Neighborhood to regional
Global Practice
degree can be pursued simultaneously
coalitions to advance specific
The PSPD is responding to the challenges
or sequentially so long as 15+ credits of
policy recommendations.
of the “global village” with courses that
the Pratt master’s degree are completed
the evenings, except for the Historic
run partly or entirely abroad. These
after matriculation at Brooklyn Law.
Preservation program’s courses, which
courses are as much about students
PSPD courses are offered in
Page 46: New York City is the PSPD’s laboratory
for cross-disciplinary study and internships
51
Since its inception 50 years
ago, the City and Regional
Planning program, located in
the School of Architecture
on the Brooklyn Campus,
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
Community Development and
nary study, half of the credits are in
Participatory Planning
elective seminars and studios. While by
Students focus on asset-based
no means required, students can focus
approaches to strengthen healthy
on one of six particular professional
places and revitalize distressed ones.
specializations, corresponding to the
They learn how to regulate land use with
program’s areas of strength. These are
neighborhood quality of life in mind,
described on the next two pages.
develop affordable housing, strengthen
businesses and retain jobs, and enhance
Internships
urban environments through design
Virtually every student is assured an
and amenities. The program’s alliance
opportunity for an internship, and four
with the Pratt Center for Community
out of five students do so.
Development provides the underpinning
for this specialization. For more
Studio Culture
information, visit prattcenter.net/.
All of the advanced planning studios are
interdisciplinary, drawing students from
Physical Planning
the other PSPD programs: Sustainable
Students develop an understanding of
Environmental Systems, Facilities
the interplay among physical, social,
Management, Historic Preservation, and
regulatory, cultural, and economic
Urban Placemaking and Management. The
considerations in creating viable
studios tackle real planning challenges,
physical patterns for diverse contexts—
in connection with a project of the Pratt
from large-scale development to
Center for Community Development or
neighborhoods and cities. The emphasis
another advocacy organization.
is on the experience of place and
economic and social vitality, rather
than on pure design or a particular
design ideology.
Chair
Office
John Shapiro
Adia Ware
Tel: 718.399.4340
718.399.4391
718.399.4340
www.pratt.edu/planning
johnshapiro@pratt.edu
aware@pratt.edu
52
Placemaking and Alternative
Preservation Planning
Transportation
Students learn to integrate historic
In the past 10 years there has been
preservation in the wider context of
a paradigm shift in thinking about
urbanism, real estate development, and
urbanism, from a primary focus on
sustainability. The National Council for
buildings to one on the spaces between
Preservation Education recognizes the
buildings and public space. Students
Preservation Planning specialization.
learn to create and manage successful,
(Refer to the Historic Preservation
vibrant, and equitable public spaces
program for additional electives.)
from a bottom-up, people-centric
approach. (Refer to the Urban
Public Purpose Real Estate Development
Placemaking and Management program
Students can gain the full range of
for additional electives.)
knowledge associated with expertise in
real estate development, but with an
Sustainability and Resiliency
emphasis on green development,
In considering urban air, water, waste,
affordable housing, adaptive reuse, and
and brownfield problems and best
public/private partnerships. (Refer to
practices, students learn how to
the Facilities Management program for
promote sustainable communities
additional electives).
and environmental justice. With the
creation of Recovery Adaptation
Joint Degree in Law
Mitigation Planning (RAMP), students can
Pratt Institute and Brooklyn Law School
focus on climate change and disaster
sponsor a program leading to the
planning. RAMP links multiple studios,
degrees of Master of Science in City and
seminars, and workshops directed at
Regional Planning and Juris Doctor (J.D.).
one neighborhood each semester, and
(Refer to the earlier PSPD section for
in cooperation with local, research,
more details.)
and advocacy organizations. (Refer to
the Sustainable Environmental Systems
program for additional electives.)
Page 50: Student plan for retaining industry while
addressing climate change in Brooklyn
Opposite: International courses and studios run in
Copenhagen, São Paolo, Tokyo, and India
55
Sustainable Environmental
Systems
The Master of Science in
Systems is one of the
nation’s most innovative,
interdisciplinary, systemsbased sustainability programs.
The Master of Science in Sustainable
mini-courses, the program offers a
Environmental Systems (SES), offered
uniquely comprehensive curriculum
on Pratt’s School of Architecture on
that fosters exposure to cutting-edge
the Brooklyn Campus, is designed to
practicing professionals. The program
meet today’s increasing demand for
encourages students to closely
environmental professionals. Students
examine the relationships between the
learn the interdisciplinary skills needed
environment, policy, and systems design.
to assess contemporary environmental
issues; catalyze innovative environmental
problem solving; uphold environmental
Program Is Unique in Its Emphasis on the
and social justice; and engage diverse
Urban Environment.
stakeholders in designing and developing
As integral members of the Programs for
sustainable plans, policies, and
Sustainable Planning and Development
communities. Graduates are prepared to
(PSPD), students are exposed to land
take on a range of roles as environmental
use, transportation, preservation,
designers, policy analysts, sustainability
development, and economic planning
consultants, low-impact developers,
strategies. Through this exploration,
researchers, and advocates, collaborating
students understand the complexities
with environmental scientists,
of the urban context and can analyze
policymakers, and communities.
global, federal, state, and local policies
accordingly. Students learn the
skills needed to build and preserve
Program Is Unique in Its Combination of
sustainable urban communities. Through
Science, Design, and Policy.
the Recovery, Adaptation, Mitigation,
By uniting a foundation of theoretical and
and Planning initiative (RAMP) the SES
technical core courses with innovative
program has formed an interdisciplinary
Coordinator
Office
Jaime Stein
Adia Ware
www.pratt.edu/ses
718.399.4328
718.399.4340
jstein9@pratt.edu
aware@pratt.edu
56
suite of studio courses and workshops
Internships
Career
in which students and faculty from the
Virtually every student is assured
Bringing cutting-edge New York City
School of Architecture work with local
an internship with an organization,
sustainability practitioners into the
community leaders from the region’s
agency, or professional practice. In
classroom gives students access to an
most vulnerable coastal communities.
the past, interns have been placed
invaluable network as they enter the
The collaborative approach of RAMP
with the Mayor’s Office of Long Term
professional world.
enables focused, interdisciplinary
Planning and Sustainability, Metropolitan
The Sustainable Environmental
study and implementation of resiliency
Waterfront Alliance, New York Industrial
Systems program is integrated with other
strategies for sustainable coastal
Retention Network, and Pratt’s Center
PSPD programs, with the option for
communities.
for Sustainable Design. Internship
extended study beyond the 40-credit
examples include modeling energy
Master of Science in SES, as follows:
The Sustainable Environmental
Courses in the City and Regional
Systems program welcomes students
efficiency efforts in Bedford-Stuyvesant
with a variety of undergraduate degrees,
with the Pratt Center for Community
Planning program expose students to
recognizing that sustainability is most
Development; working with local
land use, transportation, and economic
effective when integrating a number
businesses to develop sustainability
development planning strategies. Joint
of disciplines. Students entering the
plans; and working on LEED-certified
studios deal with sustainability plans for
program with relevant professional
projects. (Refer to the earlier section on
development sites, neighborhoods, and
experience, or with a Bachelor of
the PSPD for details.)
businesses.
Courses in the Facilities
Architecture or a B.S./B.E. in civil
engineering or environmental science
Design + Build
Management program allow for a focus
degree, may receive up to 10 credits of
Working alongside professionals, and
on green development and property
advanced standing.
using New York City as a laboratory,
management practices.
students learn a sustainability concept
Courses in the Historic Preservation
Diversity
and its implementation. This experience
program allow for a focus on livability
Students learn from each other as
is reflected in our Green Infrastructure
and the recognition that often the
well as from faculty. Most students
Design + Build studio as well as our Green
“least carbon footprint” approach is to
have had (or in the course of study
Infrastructure fellowships.
preserve and reuse.
will gain) work experience in the
Courses within the Center for
environmental or related fields—as
Continuing and Professional studies
architects, engineers, community
allow for an Advanced Certificate in
organizers, and entrepreneurs. As
Green Infrastructure, a 21-credit hour
the degree is particularly rewarding
professional training in urban green
for those seeking professional
infrastructure (www.pratt.edu/ccps).
development, many students have
existing professional experience.
Page 54: Students attend a climate march
Above: Segments from final student
presentations focused on sustainability
indicators and energy systems
59
Located on Pratt’s historic
Brooklyn campus, the M.S.
degree program in Historic
Preservation builds on the
energy of New York City and
Brooklyn as the place of origin
of historic preservation in
the United States and as a
place of innovation and civic
engagement.
Historic Preservation at Pratt uniquely
further relationships with Pratt’s Interior
addresses both the physical aspects of
Design program, Pratt’s new geographic
preservation and the role our discipline
information systems lab (SAVI), and
plays within a larger context of design,
Brooklyn Law School – allowing students
community revitalization, redevelopment
free access to the full range of urbanism-
and adaptive reuse, and sustainability.
related electives.
The Historic Preservation program
The PSPD’s mission is to create and
resides within the Programs for
sustain a learning community of students,
Sustainable Planning and Development
faculty, and alumni that is characterized
(PSPD) in the School of Architecture.
by studio-based learning and the wealth
The PSPD is an alliance of programs
of internship opportunities that only
including City and Regional Planning,
New York City has to offer. The program
Construction/Facility Management
attracts a “who’s who” of preservation
(including real estate development),
and urbanism practitioners as faculty. The
Sustainable Environmental Systems, and
coursework places equal emphasis on
theory, knowledge, and best practices.
(including aspects of urban design); with
Academic Coordinator
Office
Nadya K. Nenadich
Adia Ware
www.pratt.edu/historic-preservation
718.399.4326
718.399.4340
nnenadic@pratt.edu
aware@pratt.edu
60
Students spend their first year
in intensive coursework focused
on the core elements of historic
preservation practice, and their
second year specializing in a particular
aspect of urban preservation and built
environment management. For some
students this might mean focusing
on preservation-related Design,
Conservation, and Technology or Historic
Resource Management, while others
might decide to explore the other PSPD
programs through a preservation-related
focus in community planning, Main
Street revitalization, adaptive reuse and
preservation development, or the nexus
of preservation and sustainability. A
required internship in the field of historic
preservation rounds out the program
and ensures that students leave Pratt
with relevant real-world experience as
well as a network of professionals in
preservation.
Upon the successful completion
of the Historic Preservation program,
students are fully qualified preservation
practitioners with a focus that at once
deepens their expertise and broadens
their knowledge base—thus enhancing
their skills and the range of work that
they are equipped to handle as they
enter this trans-disciplinary field.
Page 58 and above: The M.S. degree in Historic
Preservation builds on the energy of New York
City as an important epicenter of historic
preservation in the United States; the program
is located in Brooklyn, a longtime bastion of civic
engagement, creativity and innovation. Dumbo,
Domino Sugar Factory, Hamptons Place, and
Masonic Temple shown.
63
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
Applicants must submit a statement of
responsibilities include: assurance of
purpose in essay format to support the
a quality environment, cost-effective
application for advanced studies.
capital and operating investments,
The essay should indicate an interest in
economically and environmentally
or an awareness of issues addressed in
sensitive operations and the management
the Facilities Management program.
of facilities and equipment as assets.
Pratt’s Facilities Management
Interviews are recommended and
may be scheduled by contacting the
Program teaches innovative approaches
department at fm@pratt.edu. Students
to emerging technologies, sustainable
are eligible for graduate assistantships
practices, and instills ethical values,
and tuition scholarships upon
which distinguish Pratt’s Facilities
acceptance into the program.
Management alumni as they lead the
Facilities management has
field’s efforts to advance the quality of
emerged as a new area of expertise
the built environment.
as communities, corporations, and
institutions systematically plan for
Special Admission Requirements
fiscal and ecological stewardship of
Undergraduate degrees in business,
the built environment.
architecture, construction management,
The Executive Facilities Management
and engineering fields are preferred
function consists of a distinct set of
for admission. Applicants receiving a
responsibilities that have proven their
bachelor’s degree in other fields are also
value to the “C” Suite. These include:
eligible but may be required to take non-
• Strategic planning.
• Financial forecasting and budgeting.
• Real-estate acquisition
credit courses in technical subjects prior
to registering for required courses.
and disposal.
• Architectural and engineering planning
and design.
Chair
Office
Regina Ford Cahill, M.S.
Philip Ramus
Tel: 212.647.7524 | Fax: 212.367.2497
rcahill@pratt.edu
fm@pratt.edu
www.pratt.edu/facilities-management
64
• Construction management,
• Manage the process of facility
maintenance, and sustainable
development to complete projects
Further real estate development
operations management.
on schedule and within budget to a
expertise can be garnered through
specified standard of quality.
a combination of construction
• The integration of new technologies
into existing and planned facilities.
• Direct and lead the specialists,
management, facilities management,
consultants, and in-house staff, as
and other PSPD electives dealing
Managing these areas of responsibility
well as outsourcing organizations
with zoning, public approvals, market
requires the integration of business
that perform specific aspects of the
studies, adaptive reuse, real estate law,
facilities management function.
environmental law, historic preservation
skills and technical expertise. With this
paradigm in mind, graduates of the
• Coordinate development activities
compliance, and more.
Facilities Management Program will
with ongoing operations to minimize
be able to:
disruptions and maintain the
Preservation
• Understand the planning,
continuity of facilities functions and
Electives can be taken in PSPD
economic viability.
programs to provide extra knowledge of
construction, and operations framework
architectural history, adaptive reuse, and
in which facilities are managed at local,
landmark approvals of buildings.
regional, national, and international
The faculty consists of professionals
levels; and act as liaison between the
actively engaged in facilities management
owner and professional service agents
in the public and private sectors as well
Work and Study
on building teams.
as in the various areas of specialization.
The Facilities Management courses
• Synthesize interdisciplinary efforts and
This combination of actively practicing
are offered in the evening at the Pratt
act across traditional administrative,
faculty and students working in the
Manhattan Center, affording students
planning, and operational boundaries to
field brings a dynamic vitality to Pratt’s
the maximum flexibility to combine work
organize, coordinate, and control diverse
Facilities Management program.
and study. Refer to the earlier PSPD
facilities and management activities.
• Perceive design requirements,
Part of Programs for Sustainable
Planning and Development (PSPD), Pratt’s
their impact on quality of life and
Facilities Management Program is unique
environmental issues, and their value in
in its opportunity for enriched study,
the engineering of facilities.
potentially leading to careers in real-
• Analyze facilities needs and develop
planning initiatives and effective
section for more information on these
opportunities.
estate development, as well as expertise
in sustainability and preservation.
implementation strategies that are
responsive to specific current and
Sustainability
projected facilities issues.
Electives can be taken in PSPD
programs to provide depth as to a
variety of sustainability practices:
LEED certification, green roofs, energy
conservation, alternative energy sources,
construction innovation, and more.
Page 62: Site visits expose students to the typical
New York City rooftop HVAC system
Above: Students explore the architecture of New
York City in a summer course
67
The mission of the School of
Art is to educate those who
will make and shape our built
and mediated environment,
our aesthetic surroundings,
and our collective future.
School of Art
Art Therapy and Special Needs Children
Design Management
Art Therapy and Creativity Development
Digital Arts
Dance Movement Therapy
Fine Arts
The School of Art’s graduate programs
The School of Art has two parallel
are dedicated to the primacy of
objectives that guide every department.
a professional standard and the
One is the emphasis on professional
transformative power of creativity.
skills development where students gain
We educate leaders in the creative
the techniques, skills, methodologies,
professions to identify, understand,
and vocabulary required for success as
and benefit from the challenges of a
productive artists, filmmakers, cultural
rapidly changing world. The School of
leaders, educators, and therapists.
Art is dedicated to developing creative
The second objective—intertwined
leadership in a world that requires it.
with the first—recognizes that this
The School of Art’s innovative
technical experience only takes root
graduate programs bring together
within a complex cultural context.
exceptional students who flourish in an
Therefore, students in the School of Art
environment that encourages autonomy
also develop the critical judgment and
and growth.
historical perspective needed to become
An internationally recognized faculty
known for its excellence in teaching
creative problem solvers and leaders in
their respective professions.
leads the graduate programs. The faculty
works individually with students and in
small seminar classes to maximize their
graduate experience.
Dean
Assistant Dean
Office
Gerry Snyder
Dianne Bellino
Main Building, Fourth Floor
Tel: 718.636.3619 | Fax: 718.636.3410
Assistant to the Dean
Director of Finance and Administration
art-dean@pratt.edu
Katherine Morris
Daisy Rivera
www.pratt.edu/soa
School of Art
68
School of Art
Programs and degrees in the
School of Art include:
Master of Fine Arts (M.F.A.)
• Digital Arts
Interactive Arts
Digital Animation & Motion Graphics
Digital Imaging
• Fine Arts
New Forms and Integrated Practices
Painting and Drawing
Photography
Sculpture
Printmaking
Master of Professional Studies (M.P.S.)
• Art Therapy and Creativity
Development
• Art Therapy with Special
Needs Children
• Arts and Cultural Management
• Design Management
Master of Science (M.S.)
• Art and Design Education
• Dance/Movement Therapy
• Dance/Movement Therapy
(Low Residency)
Page 66: Work by Trudy Benson (M.F.A. ’10)
Above: Work by Jean Paul Gomez (M.F.A. ’13)
71
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
Saturday classes were used as a vehicle
dynamic and at the forefront of our field
for art teacher training. The Saturday
while providing a stimulating, challenging,
Art School became a laboratory where
and supportive environment for our
learning how to teach and researching
students, faculty, and staff. Our students
issues of pedagogy are modeled
are passionate teachers and learners
upon artistic practice. Students test
engaged in creative individual and
ideas, develop a personal teaching
community practice as artists, educators,
style, and explore research questions
and researchers.
through participation and observation.
The earliest incarnation of the
current Department of Art and Design
Education was in the late 19th century,
when Pratt Institute opened its doors
in Brooklyn, New York. Opportunities
to combine theory and 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.
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 members, and professionals
in the field, while they learn to develop
lessons and construct environments
that promote critical inquiry and
creative practice.
The department’s conception of
art has broadened considerably from
In 1897, art classes for children
those first classes in the 19th century.
were offered in cast drawing; sketching
A range of art practices is presented
in outline, color, light, and shade; and
and explored, from traditional forms to
freehand perspective. This was to
contemporary multidisciplinary works.
be the genesis of a unique student
Our approach to art and design
teaching experience and resource for
education is distinguished by a
the community. Beginning in 1902, the
willingness to look to other disciplines
Director, Center for Art, Design,
Youth Programs Coordinator
and Community Engagement K-12
Lia Wilson
Tara Kopp
Aileen Wilson
lwilso13@pratt.edu
tkopp@pratt.edu
awilson2@pratt.edu
718.636.3681
718.636.3654
Art and Design Education Office
Youth Programs Office
Acting Chair
Tel: 718.636.3637 | Fax: 718.230.6817
Tel: 718.636.3654 | Fax: 718.230.6876
Heather Lewis
adeinfo@pratt.edu
www.pratt.edu/youth
hlewis@pratt.edu
www.pratt.edu/art-design-education
718.687.5602
718.636.3637
72
for inspiration. In recent years, we
The Program’s Structure
are contacted for a Skype interview when
have drawn upon the work of artists,
M.S. in Art and Design Education with
all materials have been received. A TOEFL
educators, and scholars in the fields
Initial Teacher Certification in Visual
of 600 (250 computer or 100 Internet)
of literature, folklore, philosophy,
Arts, Pre-K–12 (Brooklyn campus,
is required for international students. All
and anthropology. Narrative and
a 38-credit-hour degree)
applicants are encouraged to schedule a
autobiography, play and performance,
meaning and memory are threads that
play an important role in our classroom
Applicants must have completed a
four-year undergraduate program with
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,
a minimum of 25 credit hours in the
they are prepared to work effectively in
diverse cultural contexts and to apply
interdisciplinary perspectives in a variety
of educational settings.
Education, or with the equivalent of the
Through a combination of individual
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
bachelor’s degree from an international
institution of acceptable standards.
M.S. in Art and Design Education
study, observation, and reflection, along
Professional Certification (Brooklyn
with collaborative and interactive experi
campus, a 34-credit-hour degree)
ences, 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.
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)
visit to the department or attend one of
our open houses.
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 corequisites. 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
This 23-credit-hour program is open to
individuals with an M.F.A. degree, or those
These workshops must be taken with a
currently enrolled in the M.F.A. program
provider approved by NYSED.
at Pratt. For those applicants already
holding an M.F.A. degree, the program
Passing Scores on the Following
may be completed in two semesters.
Tests and Assessments:
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
• Educating All Students (EAS)
• Academic Literacy Skills Test (ALST)
• Content Specialty Test (CST)
• Education Teacher Performance
Assesment (EdTPA)
Page 70: Saturday Art School’s Sculpture Class,
Ages 9-12, with graduate student teacher
Caitlin Reller. Photo by Kevin Wick
Above: Pratt’s Saturday Art School classes
75
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.
Chair
Office
Mary McBride, Ph.D.
Tel: 212.647.7560
objective is to develop reflective
leaders who can collaborate to create
sustainable strategic advantages using
our Triple Bottom Line by Design plus
Culture (TBLD+C) strategic framework.
By expanding the coursework to
include nonprofit management
The program encourages participants
practices, public policy, and other
to consider their role in society and
contemporary issues, ACM stresses
their respective communities as cultural
the importance of simultaneously
arbiters and educators. This approach
developing business acumen and a sense
yields arts and cultural leaders who are
of social responsibility. These goals are
equipped with the necessary theoretical,
accomplished by:
analytical, and practical skills to respond
• Stretching each participant’s ability to
creatively to the changing cultural,
deal with a wide range of critical artistic,
economic, and social environments in
institutional, and business problems in
which they work. The two-year Arts and
Cultural Management (ACM) Program,
practical and theoretical terms.
• Increasing the individual’s ability to
created to bridge the creative disciplines
manage complex, cross-disciplinary,
with the strategic disciplines, provides
and competing problems and tensions
a leadership education more focused
that are inherent in arts and cultural
than an M.B.A. on the special needs
of cultural leaders managing 21stcentury creative enterprises across
the boundaries of private, nonprofit,
and government sectors. Our program
acm@pratt.edu
www.pratt.edu/arts-culturalmanagement
business environments.
• Utilizing technology and new media to
advance strategic goals.
• Providing practical skills for negotiating
organizational and artistic conflicts.
76
• Broadening outlooks on the social,
The ACM program provides
Classes are offered on alternating
economic, and political climate and
participants with the opportunity to:
weekends in Manhattan to accommodate
the role of arts and cultural institutions
• Join a creative learning
working professionals and those who may
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.
• Sharing the ideas and experiences of
a diverse group of promising arts and
cultural managers.
community of professionals with
wish to pursue full-time internships.
diverse expertise.
• Develop a strategic skill set
that bridges public, for-profit, and
The Arts and Cultural Management
nonprofit sectors.
Program is a two-year, cohort-based
• Explore the role of art, culture, and
program. Participants are required
meaning-making in shaping equity,
to take 42 credits to complete the
economy, and ecology of place.
program and receive a Master of
• 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.
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
The ACM program prepares participants
Lead the development of thriving cultures
in the program curriculum. Two five-
for a rapidly shifting cultural, economic,
and creative economies. Leadership
day intensives—at the beginning and
and social environment and political
coaching is a key component of the Arts
middle of the program—provide the
context. It provides the skills necessary to
and Cultural Management program. It
opportunity for several brief, intensive
lead and manage in a changing world and
provides participants with an opportunity
courses, including behavioral simulation
an increasingly challenged ecosystem.
to reflect on their leadership style
and negotiating modules.
and identify strengths and stretch
Coursework is concentrated in
steps. Coaches work one-on-one and
these sessions and moves at a fast pace.
with participant teams and serve as
Class attendance is critical, since each
catalysts for positive change and ongoing
alternating weekend of classes is one-
development related to career needs.
tenth of the entire course. Students are
Coaches enable and support participants.
required to complete the 42 credit hours
They assist in conducting assessments,
of the program to graduate.
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
and professional goals, including how the
applicant hopes to use the skills he or she
acquires in this program. The statement
should be no more than 500 words or
two pages. In some cases, volunteer
experience will be an acceptable
demonstration of interest in the field.
An interview (in person, by phone, or
by email) with the program director is
required for admission. 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.
enabling participants to develop specific
personal and professional development
action plans, and enabling teams to
deepen their skill in managing conflict and
encouraging innovation.
Page 74 and Above: Students make site visits to
the city’s cultural institutions
79
Established in 1970, Pratt’s
Graduate Department of
is one of the oldest graduate
creative arts therapy training
programs in the country.
Pratt offers a Master of Professional
use a complex and open theoretical
Studies in Art Therapy and Creativity
framework that makes it possible for
Development, a Master of Professional
them to respond to a multitude of clinical
Studies in Art Therapy with Special
situations. They learn to use themselves
Needs Children, and a Master of
in the most creative ways possible, while
Science in Dance/Movement Therapy.
being grounded in developmental and
Students learn creative arts therapy
diagnostic skills, group, and individual
skills as applied to a wide variety
dynamics. Each student is encouraged
of patient populations, including
to develop his or her own unique style,
psychiatric inpatient and outpatient,
informed by an experiential process.
substance abuse, geriatric, special
Our philosophy stems from the
education, therapeutic nurseries,
understanding of art therapy and dance/
after-school programs, families,
movement therapy as experiential
medical rehabilitation, Child Life, eating
therapies. Experiential learning and
disorders, AIDS, the homeless, and
process orientation are the cornerstones
traumatized populations, as well as work
of our curriculum. Every course includes
in prevention and wellness. At the end
some experiential components, and the
of their training, students are prepared
department maintains an environment
for entry work in a broad continuum
that supports and encourages the
of settings, ranging from institutions to
students’ involvement in that process.
creative work in the community.
Accordingly, we are committed to
Our students learn to combine
maintaining small class sizes, to enhancing
personal artistry with clinical acumen
communication between students and
through the integration of experiential,
faculty, and to encouraging discussion of
theoretical, and practical learning. Our
the learning process itself.
goal is to help students to be able to
Chair
Administrative Secretary
Office
Julie Miller
Jean Simmons
Tel: 718.636.3428 | Fax: 718.636.3597
adt@pratt.edu
www.pratt.edu/creative-arts-therapy
80
are given the option of a range of
of our program is the synthesis of
research methods, including quantitative
M.P.S. in Art Therapy and Creativity
the theoretical and the practical.
and qualitative. The latter may include
Development and M.S. in Dance/
Our program combines practicum/
a case study, a project implemented in
Movement Therapy
internship assignments with coursework
the community, or descriptive methods
from beginning to end, providing
investigating the experience of a
graduates with a firm grounding in
phenomenon or therapeutic process.
One of the strongest elements
the actual practice of art and dance/
The American Art Therapy
movement therapy upon graduation.
Association has approved both art
Students attend two days of practicum/
therapy degrees. The Dance Therapy
internship weekly. They must complete
program is approved by the American
one practicum/internship in each of
Dance Therapy Association. All
two years. They receive weekly on-site
programs are licensure-qualifying
supervision. In addition, they engage in
and graduates automatically satisfy
weekly group and bi-monthly individual
educational requirements for licensure
supervision with one of our faculty.
in New York State. For those considering
Because Pratt is located in a large
a career in art or dance therapy or who
urban center, there is a wide variety
want a basic introduction, we offer the
of practicum sites with a range of
Spring Institute, which is a three-
populations. Our internship coordinators
day set of courses in various areas of
assist students in finding an appropriate
creative arts therapy.
clinical placement based on the learning
needs of the student.
There is richness to be gained from
The Creative Arts Therapy program
offers its degrees in two formats. The
Academic Year format offers classes in
including both art therapy and dance/
a traditional manner, with classes in fall
movement therapy students in the
and spring semesters, for 15 weeks each
department. Students can learn about
semester. The Low Residency format
the nature of creative arts therapy in
is an innovative educational program
general and the particular strengths and
based on a low residency adult learning
limitations of their chosen modality. A
model. The program is designed for
majority of the courses are discipline
those students who do not live near
specific, although many of the classes
or are otherwise unable to engage in a
are taken with art and dance therapists
traditional master’s degree format.
combined. Graduates receive discrete
degrees, in either art or dance therapy.
Knowledge of research and
professional writing skills are developed
through completion of a thesis. Students
Admission Requirements (for all degrees)
A bachelor’s degree is required
for admission. For the Art Therapy
program, a degree in art or psychology
before starting the program. Psychology
when courses are being held in New
start of the second year.
York. Courses in New Hampshire take
Students in the academic year
Students rent resort condominiums,
only. Students in the low residency
at reasonable prices, for the duration
format are admitted for the spring
of their stay. The low residency format
semester only.
is offered to both art and dance/
of creative, aesthetic, and
program, a degree in dance or
psychotherapeutic theory. Courses
psychology is preferred. The following
offer a thorough theoretical framework
prerequisites are required for all
that is then translated into personal
programs: 12 credits in psychology
and practical application through an
(to include coursework in general,
experiential process. Artwork and/or
developmental, and abnormal psychology
The cycle of classes is as follows:
movement is done in every course and is
and theories of personality).
students take courses and practicum/
focus on a wide variety of populations
18 credits in studio art (to include
and are required to work with a different
coursework in drawing, painting, and 3-D
population for each of the two years of
to include ceramics).
internship/practicum. Both programs are
For the Dance/Movement Therapy
for students who want a broad
program only: coursework in anatomy/
body of skills, balanced with a strong
kinesiology; extensive experience in at
theoretical framework.
least two idioms of dance, one of which
must be modern dance; and experience
M.P.S. in Art Therapy with Special
in mind/body modalities, such as
Needs Children
meditation, yoga, body therapy, etc.
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.
All prerequisite courses may be
taken on an undergraduate level but must
be taken from an accredited institution
to receive academic credit. Studio
classes will be accepted for movement
experience. For the Art Therapy
program, students may start classes with
half of the psychology and half of the
studio art credits but must complete
all prerequisites before the start of the
second year. For the Dance Therapy
program, students may start classes with
half of the psychology credits, but all
other prerequisites must be completed
place in Lincoln, in the White Mountains.
format are admitted for the fall semester
is preferred. For the Dance Therapy
For the Art Therapy program only:
Housing is available on campus
credits must be completed before the
These programs provide a synthesis
used to learn therapeutic skills. Students
81
movement therapy students.
Academic Year Format
internship from September through May
for two consecutive years.
Low Residency Format
The cycle of classes is as follows:
students take one class (9 days) in midMarch in New York. During the last week
of June, they take another class (8 days),
also in New York. During the first three
weeks of July, students take courses
(over three weeks) in New Hampshire.
Students complete reading
assignments before classes and then
complete their papers after classes are
over, giving them a chance to integrate
class experience with readings and
practicum/internship experience. Two
years of practicum/internship are done
from September through May following
the first and second year of summer
classes. Supervision is completed
through weekly phone, video, and
online contacts that keep low residency
students consistently in touch with
Pratt faculty.
Page 78: Dance/Art Therapy presentation
The low residency program is
not considered full-time. Therefore
international students will be ineligible
for F-1 Visas.
83
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
The mission of the Design
was created to bridge the disciplines
Management (DM) graduate program is
of design and business management.
to build on Pratt Institute’s international
Since its launch in 1995, the two-year
reputation for developing creative
program has been providing an executive
leaders and to provide an educational
education more focused than an M.B.A.
experience that can help shape 21st-
on the special needs of design leaders
century strategic leaders who are able
managing design firms or managing
to bridge the disciplines of design and
design teams in creative industries.
business to catalyze innovation. Our
Design Management classes are
program objective is to develop reflective
designed for working professionals
leaders who can collaborate to create
and delivered by working professionals
sustainable strategic advantage using our
from the worlds of business and
Triple Bottom Line by Design plus Culture
design. Participants come from a variety
(TBLD+C) strategic framework.
of disciplines, including industrial
The program provides designers
design, interior design, graphic design,
with the opportunity to:
fashion design, communication and
• Join a learning community of
information design, interactive media
design, and architecture, engineering
and material science.
The program’s academic calendar
is modeled after successful executive
M.B.A. programs. Its schedule of
alternating weekends (Saturdays and
Sundays) allows participants to carry their
full job responsibilities while they study.
Chair
Office
Mary McBride, Ph.D.
Tel: 212.647.7538
dm@pratt.edu
www.pratt.edu/design-management
professionals with diverse professional
and cultural backgrounds.
• Develop a strong skill set in the
discipline of business and the
management of design.
Design Management
84
• Explore emerging trends and draw
Design Management
development related to career needs.
experience provides the opportunity for
from new ideas converging across
Coaches enable and support participants.
several brief, intensive courses, including
design disciplines.
They assist in conducting assessments,
behavioral simulation and negotiating
enabling participants to develop specific
modules. These weeks establish and
personal and professional development
maintain relationships among students
action plans, and enabling teams to
in each class, which many participants in
Design plus Culture (TBLD+C) to create
deepen their skill in managing conflict and
executive programs consider especially
strategic and sustainable advantage
encouraging innovation.
valuable. The program has five required
• Learn to identify and manage critical
business challenges strategically.
• Practice using Triple Bottom Line by
and social innovation.
• Analyze key global social, economic,
Graduates are prepared for
semesters—fall, spring, summer, fall,
leadership roles in strategic design and
spring. Each semester is divided into
environmental, technological, and
strategic management. They are able
two terms and participants enroll in two
political challenges.
to use design to create sustainable
courses per term, with the exception
strategic advantage and social innovation
of semesters four and five. Courses are
and to shape the way business is
taken in order as listed in the program
designed worldwide.
curriculum. Participants are required
• Meet the challenge of managing in
team-based organizations.
• Develop leadership capabilities.
• 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
to complete 42 credit hours in order to
receive the accredited academic degree
The Design Management program
Master of Professional Studies (M.P.S.) in
curriculum is designed to develop
Design Management.
strategic management skills in five
areas related to design management:
operations management, financial
project management, finance, and
management, marketing management,
budgeting.
organization and human resource
• Apply strategic thinking to marketing,
management, and management of
new product development, and brand
innovation and change. Courses are
management.
relevant and offer active learning
• Create and extend professional
networks worldwide.
experiences that provide participants
with an integrated focus on the role of
design in the creation and management
Leadership coaching is a key component
of strategic and sustainable advantage
of the Design Management program. It
and social innovation.
provides participants with an opportunity
Offered at Pratt’s West 14th Street
to reflect on their leadership style
campus in Manhattan, classes meet
and identify strengths and stretch
every other weekend for two full days
steps. Coaches work one-on-one and
or 12 hours. In addition, students attend
with participant teams and serve as
for a full week at the beginning and
catalysts for positive change and ongoing
middle of the program. This integrative
Admissions Requirements
Design Management program applicants
should ideally have an undergraduate
degree in one of the design disciplines
and a minimum of three years’
professional experience prior to
admission. Qualified applicants without
design degrees will also be considered. 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.
Page 82: Join our online conversation
at www.catalystreview.net
Above: Students at work
87
Digital Arts
Imagine you’re an artist who
knows how to use every piece
of hardware and software in
the world…now what?
Students in the M.F.A in Digital Arts
advantage of exhibition opportunities
program at Pratt are immediately
that exist nowhere else in the country.
engaged in the creation of artwork
Graduates become leading contributors
utilizing digital technologies. These artists
to the digital arts with a commitment to
come together to study interactive arts,
the cultural enrichment of their world.
digital animation and motion arts, and
digital imaging. Within a context of new
media, students use critical thinking,
Students are able to follow one of three
creative problem solving, technical
tracks: interactive arts, digital animation
facility, and conceptual skills to develop a
and motion arts, and digital imaging.
sophisticated body of work.
This 60-credit, full-time program is to
Studio practice is essential for
be completed in two calendar years.
students of interactive art and imaging.
Students complete required coursework
Students working in these areas of study
in their primary area of emphasis and one
are provided with studio space for the
year of work on a thesis, which culminates
completion of their theses. This intensive
in a thesis paper, exhibition, or screen-
course of study is augmented by
ing of the completed work. Additional
internships, special topics courses, and
degree requirements include completing
lectures and critiques by visiting artists.
six credits of extra-departmental studio
Students create work with the guidance
electives, one course in art history, and
of a faculty of professional practicing
one course in liberal studies.
artists and scholars, who serve as models
in the pursuit of artistic excellence.
Digital art students become part of the
thriving New York art scene, establishing
a professional network and taking
Chair
Office
Peter Patchen
Deidre Carney
Tel: 718.636.3411 | Fax: 718.399.4494
Assistant Chair
Lab Managers
Carla Gannis
Igor Molochevski
dda@pratt.edu
Phillip Allen
www.pratt.edu/digital-arts-grad
88
Digital Arts
Interactive Arts
Facilities
Imaging Center
Applicants must have an undergraduate
• 9 digital studios
• Imaging center
• Audio room
• Gallery/test space
• Graduate studios
The Digital Arts Imaging Center has
Students use computer-human interaction to convey meaning in the form of
physical installations, interactive objects,
and online artworks. This includes the
combination of video, animation, text,
audio, and imagery in an interactive
environment. Recommended electives include courses in history of new
media, sculpture, creating exhibitions,
prototyping, programming, interactive
degree in art, design, or animation and
should submit a strong visual portfolio
demonstrating a conceptual and
aesthetic focus. A
pplicants whose first
language is not English must achieve a
English as a Foreign Language (TOEFL).
Additional Resources
In addition to the TOEFL requirement, all
• B/W laser printers
• 3-D printer (ABS)
• 3-D scanner
• Color laser and inkjet printers
• DVD and CD-ROM duplicator
• Flatbed scanners
• Slide scanner
• RAID file storage and transfer system
• Plasma screen
• Render farm
• Laser cutter
enrolling students whose first language
is not English will be tested for English
proficiency unless they have a TOEFL
physical computing, electronic music,
score of 600. Pending the outcome of
and sound.
this test, individuals may be assigned
to ESL courses. For more information,
Digital Animation and Motion Arts
contact the Office of Admissions at
Students create evocative narrative and
admissions@pratt.edu or the department
nonnarrative films and installations using
chair at 718.636.3411.
niques, live action, and motion graphics.
Recommended electives include history
of animation, film criticism, traditional
animation, character design and rigging,
lighting and rendering, audio and video,
compositing and special effects, and
advanced digital animation techniques.
Digital Imaging
This area of study employs digital and
traditional processes in the creation of
large-format digital prints, installations,
artist books, and other tactile media. It
addresses critical issues and techniques in
the development, printing, and presentation of digitally based art. Recommended
electives include critical history of photography, etching, silkscreen, lithography,
(by concentration)
minimum score of 550 on the Test of
installation, online media, robotics and
2-D and 3-D digital animation tech-
Digital Arts
Digital Arts Graduate Assistantships
are available beginning in the first
semester of attendance. Positions
Software
range from assisting faculty research to
• 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
creative or technical support. Graduate
Assistantships are awarded based on
individual skills or degree goals and are
available throughout the Digital Arts
M.F.A. degree program.
|class-related equipment and other
services available only to registered
Digital Arts students. Services include:
• Wide format 2-D printing
• 3-D printing (ABS)
• 3-D scanning
• Flatbed and slide scanning
Equipment for checkout includes
• HD digital video cameras
• Digital still cameras
• Portable lighting kits
• Digital audio recorders
• Headphones
• Microphones
• 11’ × 12’ portable
green screen
• 35mm 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
and much more
and digital photography.
Page 86: Eleftherios Benetos
(M.F.A. ’14), digital print
Above: Jing Bao (M.F.A. ’14),
interactive performance
Page 90: Heidi Peelen (M.F.A. ’14),
digital imaging
Digital Arts
Digital Arts
Opposite from top: Jun Chen (M.F.A. ’14),
animation still; Jing Bao (M.F.A. ’14),
interactive performance
Above: Li Zheng (M.F.A. ’14),
interactive wearable
95
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 thinkers, makers,
and professionals.
Centrally located in Brooklyn’s thriving
programs (M.S./M.F.A.) are offered in
art community, Pratt’s M.F.A. program
the History of Art and in Art and Design
in Fine Arts immerses students in the
Education.
culture of contemporary art, supported
Students work in individual studios
by a faculty of working artists and peers.
and have access to shared shops and
The graduate curriculum is both rigorous
labs, including a fully equipped wood
and flexible, allowing wide latitude
shop, metal shop, print shop, ceramics
for interdisciplinary exploration while
studios, darkrooms, digital labs with
fostering critical perspectives and a
high-resolution scanners and printers,
deeper understanding of the histories,
as well as dedicated campus galleries.
issues, and cultural contexts that inform
There are many opportunities to show
artmaking today.
work in a variety of traditional and non-
Pratt’s M.F.A. degree is in Fine
traditional spaces on campus. Each
Arts rather than in a specific discipline.
semester, students open their studios
Students build their program of study
to the public and second-year students
in consultation with a Thesis Advisor
mount individual thesis shows that are
and departmental faculty. Graduate
also open to the public. In addition to
instruction is offered in a wide range
a regular schedule of studio visits by
of media, including painting, drawing,
faculty members, the department’s
printmaking, photography, video,
Visiting Artist Lecture Series (VALS)
sculpture, and integrated practices (i.e.
brings internationally renowned artists
installation, public art, performance).
and critics to give public lectures
Beyond departmental courses, M.F.A.
and have individual studio visits with
students may choose graduate-level
graduate students. Pratt Artists League
electives in any department in Pratt
(PAL), the graduate student club,
Institute and concurrent dual degree
invites visiting artists and critics for
Chair
Jason Segall
Deborah Bright
Lisa Banke-Humann
Christopher Verstegen
Assistant Chairs
Technicians
Office
Dina Weiss
Adam Apostolos
Tel: 718.636.3634
Nat Meade
Alexia Cohen
www.pratt.edu/fine-arts-grad
Yasu Izaki
Caitlin Riordan
96
Fine Arts
Fine Arts
97
studio visits and funds other student-
elective credits may be used for a wide
Art and Design Education Advanced
Application Guidelines
generated programming and exhibitions.
variety of interdisciplinary, studio, or
Certificate (Fall and Spring)
An interdisciplinary five-week summer
technics courses across the Institute. A
course in Rome, City as Studio, offers
minimum of 60 credits and two years of
students the opportunity to research and
study are required for the Master of Fine
create work in an international context.
Arts degree. The time and number of
Pratt’s faculty members in Fine Arts
credits may not be reduced but may be
are distinguished by their achievements,
extended. All work for the degree must
exhibiting internationally, as well as
be completed within seven calendar
receiving major awards from the
years after initial registration as a
Guggenheim Foundation, National
graduate student.
Endowment for the Arts, Tiffany
M.F.A./Post-Baccalaureate (Certificate
Skowhegan, Pollock-Krasner Foundation,
in Art and Design Education)
graduate students in Fine Arts come
from around the world and are selected
for their promise and readiness for the
intensive, self-directed experience of
graduate study.
The Master of Fine Arts program at Pratt
Institute offers the following areas of
emphasis: painting/drawing, printmaking,
sculpture, photography, and integrated
practices (nontraditional investigations).
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 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.
Students complete two semesters of
coursework in their area of emphasis
and one year of work on a Master of Fine
Arts thesis, including a written thesis
statement and a solo exhibition in the
graduate galleries. Degree requirements
include 27 studio elective credits, nine
credits in art criticism/history, and six
credits in the liberal arts. The 27
This 23-credit-hour program is open to
admissions requirements, applicants
individuals with an M.F.A. degree, or those
to the Fine Arts M.F.A. program must
currently enrolled in the M.F.A. program
upload the following materials to pratt.
at Pratt. For those applicants already
slideroom.com:
holding an M.F.A. degree, the program
1. A portfolio of up to 20 well-selected
may be completed in two semesters, and
images (including detail views) of works
the application requirements are the
made in the last 2-3 years.
same as those listed for the M.S. in Art
and Design Education.
2.Information for each image including
the work’s title, dimensions, materials
used, and date of completion. For
Foundation, Joan Mitchell Foundation,
Creative Capital, and Art Matters. Pratt’s
In addition to Pratt’s general graduate
M.S./M.F.A. in Fine Arts/History of Art
Applicants for admission to the M.F.A.
degree program in Fine Arts must have
a bachelor’s degree from an accredited
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
U.S. college, university or art/design
stage of the admissions process will be
school or the equivalent degree from
interviewed on Skype.
a recognized international institution.
It is not required that applicants have
The Graduate Admissions Committee
majored in studio art as undergraduates,
is looking for work that shows the
only that they demonstrate their
artist’s conceptual and aesthetic
readiness for the challenges of M.F.A.
direction as well as the potential for
studies. The 60-credit M.F.A. program
successful growth over the two years
in Fine Arts comprises four consecutive
of the program. Candidates whose
15-week fall/spring semesters and begins
applications are completed and
in the fall. We welcome visits to Pratt
submitted by the January 5 deadline will
at any time and interested applicants
be given priority consideration for merit
(or potential applicants) should contact
scholarships.
Students will complete the normal
Nat Meade, Assistant Chair of Fine Arts,
requirements for the M.F.A. (15 credits of
to schedule an appointment and tour
History of Art courses), plus 30 additional
of facilities/studios (tel. 718.636.3792,
credits of art history, including the
email: nmeade@pratt.edu).
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.
Page 94: Work by Jessica Adams, M.F.A. ’14
Page 98: M.F.A. Exhibition at The
Boiler, Williamsburg
Fine Arts
Above from top: Work by YiPei Wen (M.F.A. ’14);
Work by Jean Paul Gomez (M.F.A. ’13)
Opposite: Work by Yasunari Izaki (M.F.A. ’14)
former Pratt faculty member
Internationally renowned sculptor and
—John Pai, M.F.A. ’64,
world; studying
in New York
at Pratt was a
very special
experience.
I can’t
overemphasize
the importance
of New York as
the center of the
art and design
105
School of Design
Communications Design
Industrial Design
Package Design
Interior Design
Two major objectives guide every
The faculty’s works, projects, and
program. The first is an emphasis on
publications are recognized and
professional skills development. Students
respected around the world.
NEED HIGH-RES IMAGE
The School of Design is home
to the most comprehensive
design education available.
gain the techniques, skills, methodology,
The School of Design offers graduate
and vocabulary required for success
degree programs in Communications
as productive artists, designers, and
Design, Industrial Design, Interior
scholars. The second objective—
Design, and Package Design. Exceptional
imperative so that the professional
technical and studio resources support
expertise is not simply technical
all programs. Pratt’s distinguished
training—is development of the critical
programs in the School of Art and the
judgment and historical perspective
School of Architecture also enrich the
needed to become a problem solver. Art
School of Design programs.
and design history, melded with studies
Perhaps best of all, the school’s
in the liberal arts and sciences, provides
disciplines are taught in the broader
the context for stimulating intellectual
cultural context of New York City. The
and creative inquiry.
main campus is located in Brooklyn, the
Gifted students from across the
city’s epicenter of design and culture,
United States and the world collaborate
and provides inspiration and opportunity
and learn at Pratt, weaving creative
to learn from, and interact with, the
energy and opportunity into an
multitude of creatives who make this
unmatched educational experience.
borough their home.
The faculty consists of professional
artists, designers, and practitioners,
including numerous recipients of
prestigious awards such as the Tiffany,
Fulbright, and Guggenheim fellowships.
Dean
Acting Assistant Dean
Office
Anita Cooney
Shannon Price
Juliana Curran Terian Design Center
Director of Finance
Tel: 718.687.5744 | Fax: 718.687.5722
Donna Gorsline
Jerry Risner
sod@pratt.edu
Steuben 304
www.pratt.edu/sod
School of Design
106
School of Design
The mission of the School of
Design is to educate those who will
make and shape our built and mediated
environment, our aesthetic surroundings,
and our collective future. We are
dedicated to the primacy of studio
practice and the transformative power
of creativity. We educate leaders in
the creative professions to identify,
understand, shape, and benefit from
the challenges of a rapidly changing
world. Our courses are designed to
develop critical thinking skills, deepen
understanding, enable practice, and
empower visionary action. The School
of Design is dedicated to developing
creative leadership in a world that
requires it.
Page 104: Work by Xiaoping Ma (M.F.A. ’14)
Above: Work by Heidy Garay (M.I.D. ’12)
109
Pratt Institute’s Graduate
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.
Pratt offers the Master of Fine Arts
opportunity to talk and work with
degree in Communications Design
some of the best designers.
(M.F.A., terminal degree) and the Master
As a result, many students
of Science degree in Package Design
secure industry positions even before
(M.S., initial master’s degree).
their graduation.
The department is located in the
A diverse body of students from
Manhattan neighborhood of Chelsea at
different cultural, professional, and
144 West 14th Street, between Sixth and
educational backgrounds—over 28
Seventh Avenues, and our student studios
countries are represented—come to
are four blocks north on West 18th Street.
Pratt to further their careers in the
The department’s faculty includes highly
design industry, begin a journey towards
regarded, award-winning professional
becoming a design educator, or alter a
designers, authors, and marketing and
career course. Our graduate programs
media specialists. The faculty serves as
provide students the opportunity to
important professional contacts for the
develop and refine their design process,
students—several have written pivotal
design voice, and creative skills, leading to
design books and articles, and many have
professional competence and leadership.
been honored with design awards from
prestigious arts and design organizations.
Our location in one of Manhattan’s
M.F.A. in Communications Design
Design plays a central and formative role
most creative areas provides a wealth
in shaping communities, technology,
of opportunities available nowhere else.
and business. Never have designers
With access to world-famous design
been expected to cultivate such a
firms—and through the department’s
diverse set of skills and knowledge. Our
internship opportunities and professional
M.F.A. program prepares individuals to
faculty—the students have the
pursue design with passion and cultural
Chair
Office
Santiago Piedrafita
Lauren Davis
Tel: 212.647.7573 | Fax: 212.367.2481
des@pratt.edu
Acting Assistant Chair
www.pratt.edu/grad-
Warren Bernard
communications-design
relevance. Our distinctive program
Applicants who hold an
111
are invited to synthesize theory with
emphasizes design as a means for
undergraduate degree in graphic design,
practice. These are intense studios
communicating meaningful messages,
visual communications, or the equivalent,
taught by resident and visiting faculty,
organizing information, creating
and/or have professional graphic design
sharing a common foundation with
compelling experiences, and effecting
experience, are typically able to complete
the other studios offered in a given
social change.
the degree requirements within two years
semester. Each student is encouraged to
if attending full-time. Up to 12 credits of
search for connections and relationships
and successful designers are cultural
qualifying courses may be required for
between the studio projects and thesis,
innovators who use media to inform,
applicants who do not meet all entrance
with an emphasis on discovering his
persuade, and entertain. Our graduates
standards but whose applications
or her own design voice. A significant
develop voices as authors and
indicate a strong aptitude for graduate
proportion of the work will be self-
entrepreneurs engaged in identifying and
study. This includes those who studied
directed and independent, with
solving design problems within cross-
in fields such as industrial and interior
collaborative and community-based
disciplinary environments. We approach
design, architecture, fine arts, media
projects as well. Studios will consist of
design as an agent of change—a strategy
arts, communications and journalism,
group discussions, critiques, student
for transforming behaviors of individuals
liberal arts, business, and the sciences.
presentations, individual faculty
in desirable and sustainable ways.
Students required to take qualifying
meetings, and visits with guest designers.
We believe the most intriguing
The program provides a framework
courses can expect to complete the
These core studios are supported
for both professional practice and
degree requirements within three years
by study in design process and
academic careers, while emphasizing
if attending full-time. A portfolio review
methodology, technology, history,
full-time studio practice in graphic
is required for admission. Classes are
visual thinking, narrative strategy, social
design—communications, identities,
offered both day and evening, and part-
interaction, visual identity systems, and
objects, environments, and systems.
time attendance is optional.
typographic and information design.
Graduates enter the professional world
The components of the 62-credit
Elective opportunities include design
with a confident design voice and an
M.F.A. program include an emphasis
management and marketing, typeface/
outstanding body of work, prepared
on studio practice, research
letterform design, color studio,
to become innovative leaders in
and scholarship, design teaching
advertising, and illustration. Students may
communications design areas—i.e. print
methodologies, and academic studies
also take electives in graduate programs
media, typographics, identity systems
of visual media such as history, theory,
across the Institute.
and branding, package design, design
critical analysis, aesthetics, and related
strategy, social media and interaction
humanities and social sciences. There
design, motion design, environmental
are seven M.F.A. Studios—courses that
design, data visualization and information
investigate current practice and the
design, and advertising design.
future direction of communications
design. Courses emphasize research,
critical thinking, and design strategy,
coupled with entrepreneurship and
an iterative design process. Students
Page 108: Work by Simone Simin Li (M.S. ’14)
Opposite: Work by Kristin Myers (M.F.A. ’15)
112
Seminars are offered as a forum
Learning Outcomes of M.F.A.
M.S. Package Design
for critical analysis and discussions of
Communications Design degree:
The M.S. in Package Design, a degree
theoretical, historical, and contemporary
1. The ability to identify a problem
first offered in 1966, educates students
issues in communications design. Design
(problem seeking) and apply design
from diverse cultural, professional,
Writing will focus on core writing skills
process and research methodology
and educational backgrounds in design
and effective methods for researching,
towards a solution;
thinking, technical skills, collaborative
analyzing, evaluating, and chronicling
2.Advanced professional competence,
design issues. Independent studies,
demonstrating depth of knowledge
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
Design will be required to present a thesis
and final body of work demonstrating
professional competence, which must
be approved by a thesis committee and
the department chairperson in order
to be eligible for degree conferral. The
and achievement, in a well-developed,
defendable, and significant body
of work;
3.The ability to demonstrate knowledge
of necessary theory and practice and
the desire for a leadership position in
the profession and academia;
4.Advanced capabilities with
technologies, demonstrated in the
creation, dissemination, presentation,
documentation, and preservation
of work.
abilities, academic knowledge, and
managerial competence. While
focusing on creative problem solving,
the curriculum is pragmatic and
industry-oriented. Graduates enter the
professional world with an outstanding
body of work, prepared to become
innovative leaders in the 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,
department will support students in
featuring direction in package design,
frequent opportunities to present their
typography, brand development,
work both publicly and in circumstances
marketing, structural packaging,
that develop connections with the
packaging technology, fragrance
communication design profession.
packaging, and the business aspects of
the package industry.
Opposite: Work by Simone Simin Li (M.S. ’14)
A minimum of 48 credits, which can
115
The final stage of the curriculum is
be completed within two to three years
the thesis, which provides knowledge
of study, is required for the M.S. Package
of the problem-solving process
Design degree program. Students
through directed research and, over
accepted into M.S. Package Design
the succeeding two semesters, gives
typically hold undergraduate degrees in
students the opportunity to develop
graphic design or related design fields
an extensive, innovative project. The
such as industrial or interior design,
comprehensive thesis demonstrates
architecture, fine arts, or media arts. We
professional competence and
welcome applicants from non-design
fields as well, such as business, liberal
arts, and the sciences.
A qualifying program of up to an
additional six credits of prerequisite
classes may be required for applicants
whose 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—
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.
Learning Outcomes of the M.S. Package
Design degree:
1. Advanced professional competence,
demonstrating depth of knowledge
and achievement, in a welldeveloped, defendable, and
significant body of work;
2.Advanced capabilities with
technologies, demonstrated in the
challenges their creativity to its furthest
creation, dissemination, presentation,
potential. A portfolio review is required
documentation, and preservation
for admission. Classes are offered
of work;
both day and evening, and part-time
attendance is optional.
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.
Opposite from top: Works by Saana Hellsten,
(M.S. ’14); Work by In-young Bae (M.S. ’14)
Above from top: Work by Kristin Myers (M.F.A. ’15);
Work by Miki Murata (M.S. ’15)
Opposite from top: Work by Lillian Ling (M.F.A. ’15);
Work by In-young Bae (M.S. ’14); Work by Kristin
Myers (M.F.A. ’15)
119
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
aviation, and music. We choose an
the world waiting for the enlightened
amazingly diverse group of students and
and entrepreneurial participation of
encourage them to exploit their previous
designers, waiting to hear the insights
academic pursuits and experience,
that come from our years of work and
and they do so while gaining a solid
study—real interventions that can touch
understanding of current design thinking.
the lives of all citizens of the world
Likewise, each faculty member
via the language of design, showing
within the program has his or her
what’s possible in life. The Industrial
particular path, and there is surely an
Design Department at Pratt is united
understanding that, in the expanding
in a common, rigorous pursuit of
design profession, disciplines often
creativity, explored through projects
cross lines. As such, Industrial Design
large and small, and translating ideas
students and faculty share an important
into a wide variety of forms, systems and
mission: to encourage individual
structures. With this focus, the Pratt
growth to its highest potential. Pratt
Master’s program in Industrial Design
also maintains strong ties to industry
(MID) is consistently ranked in the top 10
through corporate-supported programs,
nationally by U. S. News and World Report
bringing essential industry knowledge
and DesignIntelligence.
into the classroom. Internships in design
A strong legacy feature of the MID
consultancies and corporate offices
is that it welcomes students without
are encouraged, and have proved to
previous bachelors degrees in ID. These
be valuable learning experiences
students are talented not only in related
that cannot be duplicated in a purely
fields of architecture, engineering, and
academic setting.
interior design, but also fine art, biology,
economics, neuroscience, dentistry,
Chair
Technical Coordinator
Office
Constantin Boym
Melissa Skluzacek
Tel: 718.636.3631 | Fax: 718.636.3553
Shop Technicians
Audrey Lapiner
Gary Hou
id@pratt.edu
Alejandro Morales
Acting Assistant to the Chair
Ramona Allen
Julia Wheeler
www.pratt.edu/grad-industrial-design
122
Industrial Design
Industrial Design
and skills, in commercial, historical,
global design and entrepreneurship
The Master of Industrial Design degree
societal and global contexts, they will
that no single institution could
consists of a six-semester, 60-credit
need to become successful design
conceivably provide.
program for all students, regardless
professionals.
For a more on GID, visit
http://globalinnovationdesign.org.
of previous background, to promote
collegiality and cohesion in each
GID: Global Innovation Design Track
incoming group of grad students. This
(2nd year option abroad)
M.I.D. Thesis
cohesion is absolutely essential to a
Beginning in the 2014-2015 academic
The third-year thesis provides the
program that creates an environment
year, a select group of ID graduate
greatest possible freedom and
where “learning from each other” and
students are offered the option to
opportunity for investigating a selected
teamwork happen, and where
spend their entire second year abroad
topic under the direction of a faculty
the richness of the program is enhanced
for full credit—the fall semester at Keio
mentor. Candidates are expected to
by a strong sense of community.
University in Tokyo and spring semester
demonstrate the full range of design skills
While our M.I.D. is admittedly a
at the Royal College of Art (RCA) and
and methodology in their thesis projects.
generalist, humanist scheme designed to
Imperial College London—in the new
Subjects range from consumer products
support the varying skills and interests
Global Innovation Design (GID) program.
and packaging to systems and exhibition
of the students, we recognize that
This groundbreaking international study
design, and to the impact of emerging
professors and students alike need to be
partnership will also allow students from
philosophies, materials, and technologies
able to comprehend and articulate the
London and Tokyo to spend a semester
in a global context. Students register for
structure and content of the program.
at Pratt. At Keio, studies will be devoted
six credits of thesis over one year, which
Therefore, we have clearly designated
to media design and culture, utilizing the
culminates in a formal presentation of
these three years of study as: first
school’s advanced facilities, including
work at the conclusion of the program.
year “core” (design thinking, ideation,
prototyping and robotics. In London,
process, skills); second year “research”
the curriculum will focus on engineering
be completed within seven calendar
(methodology, topics, sources, electives,
and invention. The Pratt component
years after initial registration as a
pre-thesis); and third year “thesis”
will emphasize the core principles of
graduate student.
(major individual project). In addition,
industrial design. Pratt GID students then
and looking to integrate the future
return to New York to complete their
the Industrial Design Department’s
areas of expertise of grads, we have
final two semesters of thesis work and
ID VIEWBOOK, an annual overview
grouped courses in three general areas:
required courses. In addition to their
celebrating end-of-term presentations,
“exploration” (studio, thesis, workshop);
local studies, students at each location
the range of projects produced in the
“technology” (digital tools, form,
will collaborate globally on a large-scale
department, and some of the results of
visualization, materials); and “context”
project. By capitalizing on the expertise
the hard work of amazing students and
(seminar, special projects, business) to
of each school and the distinct cultures
professors.
give them the professional knowledge
of the three locations, the GID program
All work for the degree must
We invite you to have a look at
will give students a rich academic
program and unique perspective on
Page 118: Work by Dana Oxiles (M.I.D. ’11)
Page 120: Cappellini Showroom exhibition
of Furniture Studio designs by grad
students of Professor Mark Goetz
Above: Work by David Steinvurz (M.I.D. ’10)
Opposite: Work by Chris Richard
(M.S. Interior Design ’13)
Above from top: Work by Mahtab Pedrami
(M.I.D. ’13); Work by David Hsu (M.I.D. ’13)
127
Interior
Design
Beginning with the fall 2015
semester, Pratt will offer a new
Master of Fine Arts Degree
in Interior Design to replace
the current Master of Science
Degree. 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.
The graduate Interior Design program
by the diversity of students’ interests.
was ranked first in the country by U.S.
For instance, the designer who comes
News & World Report and second by
from a background in economics has a
DesignIntelligence in 2014. Students are
very different approach from one coming
drawn from all parts of the world and,
from dance, and each has something to
by way of the Qualifying Program, from
learn from the other.
a variety of disciplines, which creates
Our faculty members are practicing
an intellectually and aesthetically
professionals who bring real-world design
stimulating environment in the studios.
experience into play in their classroom
These students are a select group who
teaching. Their varied backgrounds and
come to Pratt to work hard and prepare
expertise allow students to explore many
to enter a profession in which the
avenues of design.
designer must be multifaceted and able
Building upon its reputation as
to provide innovative design solutions.
one of the top graduate programs
An important part of Pratt’s mission is to
in the country, the graduate Interior
prepare graduates to become leaders in
Design program seeks to expand its
the profession; the M.F.A. will carry on
leadership role, setting standards for
this proud tradition and expand it, thus
critical thought, exemplary expression,
challenging and preparing our students
professional aptitude, and responsible
to develop to their fullest potential. The
action in transforming the human
new M.F.A. degree will focus attention
environment. The curriculum brings the
on the preparation of individuals who
rigor as well as broad and deep thinking
are ready to contribute to the academic
of architectural study to focus on the
discipline as well as the profession. Many
scale, use, and materiality of the interior,
come to the program for career change,
connecting interior design to
so classroom interchange is enhanced
Acting Chair
Office
Karin Tehve
Aston Gibson
Tel: 718.636.3630 | Fax: 718.399.4440
int@pratt.edu
T. Camile Martin
www.pratt.edu/interior-design-grad
Interior Design
128
larger issues of inhabitation, cities, and
The new curriculum will allow
architecture, but whose applications
society. The program instills values in its
for students to develop areas of
students, not as mere competencies but
specialization with concentration options
study. These students complete 84
as opportunities for critical engagement
and will encourage interdisciplinary
credits in three years. It should be
in the contemporary world. In support
work and cross-disciplinary course
noted that while applicants to the
of this transformative responsibility, the
registration. Concentrations will
Qualifying Program are not required to
program fosters an inquisitive dialogue
include topics in emerging technology,
submit a portfolio, we do encourage
among its faculty and students, and open
sustainability and exhibition design.
applicants with academic or professional
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
Students are encouraged to take
experience to submit a portfolio of
advantage of the many courses offered
work from other disciplines such as
at Pratt that will enable them to fully
fine arts, fashion, industrial design, or
develop their interests and talents.
communications design.
Electives may be chosen from any
department in the Institute; an enormous
Master of Fine Arts in Interior Design
menu of courses is available for the
The M.F.A. in Interior Design guides
pursuit of individual interests. The new
students in generating creative solutions
M.F.A. establishes a platform that draws
that integrate an understanding of
content from existing electives across
craft and making, material research,
campus, which expands the graduate
changing technologies, sustainable
will continue to be an architecturally
experience and enhances the student’s
practice, current issues, and a critical
oriented program with emphasis
area of focus.
understanding of the global cultural
contributes to the body of knowledge in
the discipline.
The Graduate Interior Design Program at
Pratt, like its undergraduate counterpart,
on spatial design as well as surface
The program culminates in a thesis
history and context affecting the
embellishment. All aspects of space—
project. The thesis provides the greatest
interior environment. The program
scale, proportion, configuration, and light
possible freedom and opportunity for
prepares students with a high level of
sources, as well as textures, materials,
pursuit of a selected topic. Work is done
critical inquiry and explorative capacity
and colors—are studied in relation to
under the direction of thesis advisors
that will establish them as leaders and
their effect on the human spirit.
and is completed within one year.
innovators in the field and, in turn, lead
The new M.F.A. enriches the
Applicants with an undergraduate
academic experience through greater
degree in interior design, architecture,
emphasis on cultural and technological
or other closely related design fields
innovation, interdisciplinary
may be eligible for the 60-credit two-
collaboration, and theoretical and
year graduate program. An application
applied research. It is a degree program
portfolio is required. A two-semester
for students who wish to study interior
Qualifying Program of an additional
design as an academic discourse as well
24 credits is required for applicants
as a professional endeavor.
whose undergraduate backgrounds
are unrelated to interior design or
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Opposite: Work by Allen J. Kim (M.S. Interiors ’14)
to an ongoing exploration of the larger
potentials of interior design practice,
education and research.
Interior Design
Opposite from top: Work by Allen J. Kim
(M.S. Interiors ’14); Work by Marika Sorimachi
(M.S. Interiors ’14); Work by Dana Suster
(M.S. Interiors ’14)
Above: Work by Cody Leung (M.S. Interiors ’14)
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.
132
133
—Samuel Botero, B.F.A.
Interior Design ’68, Renowned interior
designer; principal, Samuel Botero
Associates, Inc.
135
School of Information
and Library Science
Library and Information Science
In our global digital world,
the field of library and
information science is at the
heart 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.
A Real Education for the Digital World
A Global Education in Manhattan
Pratt’s School of Information and Library
SILS’s graduates are uniquely prepared
Science (SILS) prepares students to
for the many new and changing
harness the latest digital technology to
opportunities available to information
design a more usable and understandable
professionals across a wide range
world. At the same time, SILS also
of environments, including libraries,
prepares students to be leaders in the
archives, and museums, the IT sector,
field of library and information science
law, and health information. Our fall
by imbuing them with the values
2013 survey of recent graduates
of the profession and teaching them to
showed 90 percent were working in
uphold and advocate for intellectual
professional positions obtained within
freedom, equal access to information,
a year of graduation.
and lifelong learning.
And, most important, students
learn and participate with an
outstanding, creative, and innovative
faculty,each on the cutting edge of his/
her area of research and teaching and
recognized internationally through
their publications and conference
papers and presentations.
Dean
Advisor for Academic Programs
LMS Coordinator
Tula Gianinni, Ph.D., M.L.S., M.M.
Quinn Lai, M.A., M.S.L.I.S.
Jessica Lee Hochman, Ph.D.
infosils@pratt.edu
qlai@pratt.edu
jhochman@pratt.edu
Assistant to the Dean for
Administrative Assistant
Office
Administrative Services
Katie Merlie, b.a.
Tel: 212.647.7682 | Fax: 212.367.2492
Vinette P. Thomas, M.S.L.I.S.
mmerlie@pratt.edu
infosils@pratt.edu
vthomas@pratt.edu
www.pratt.edu/sils
136
SILS’s programs build on the
and Library Science
and Library Science
Studying Library Science at a School
theory and research of the LIS field
of Art and Design
and a pedagogy that offers students
The history of SILS dates back to
an unparalleled opportunity to engage
1887, the year Pratt Institute itself was
in an immersive, hands-on educational
founded. SILS takes pride in being
experience. As the only LIS school
the oldest library school in the United
headquartered in Manhattan — a world
States and in having our program
capital of art and culture — we say
continuously accredited by the American
that Manhattan is our campus as our
Library Association since 1924, when
students participate in collaborative and
accreditation was introduced. Since its
interdisciplinary programs, partnerships,
founding, Pratt has been a leading school
and internships with New York’s great
of design, art, and architecture, and SILS
cultural institutions such as the Brooklyn
complements and aligns with its mission.
Museum, the Metropolitan Museum of
By being part of Pratt, SILS brings
Art, the Brooklyn Public Library, and
innovation and creativity to information
the New York Public Library. Students
and library science while drawing on
carry out internships and other work-
Pratt’s many academic offerings in the
study opportunities that can be found
arts to offer unique programs blending
nowhere else.
the arts with library and information
Students also have the unique
science, such as our dual degree
opportunity to learn from leaders in
programs with the history of art and
the information professions who hold
design and with digital arts.
key positions in academic, public,
and research libraries, and New York’s
premier cultural institutions. Finally,
SILS’s international summer programs in
Florence and London make the promise of
a global education a reality for students.
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Opposite: Students at work
139
Library and
Information Science
A Creative and Vibrant Community
SILS Facilities are Designed for
What Makes SILS Your First
SILS attracts students from top
Teaching and Learning
Choice for a Library and Information
universities who come to study with
SILS features specialized learning
Science Education?
leading practitioners and researchers.
environments to support our in-depth
• An outstanding job-placement rate as
Our full-time faculty members are leaders
curriculum: we have labs for cultural
in information research. Connecting
informatics, user experience, and the
their research and teaching, students
iLab for Digital Culture and Information,
benefit from a rich and immersive
and the research/seminar lab. Each
institutions providing students venues
learning environment that challenges
supports learning activities with
for experiential learning, including the
them intellectually and to think creatively.
the latest technology and software
New York Public Library, the Brooklyn
Part-time faculty members are leaders
for courses such as information
Public Library, the Brooklyn Museum,
in practice, holding key positions across
architecture and interactive design,
and the Metropolitan Museum of Art
the information professions. Students can
information visualization, research
participate in a wide variety of student
methods in the social sciences, and
certificates in archives and in museum
organizations to enhance their SILS
knowledge organization. Our cutting-
libraries within the M.S.L.I.S. degree
experience. Among the organizations they
edge seminar/lab classrooms are
can join are: SILS Student Association
designed for participatory hands-on
within overarching program concepts:
(SILSSA), and student chapters of the
learning experiences.
Cultural Informatics, Information Policy
a result of strong relationships with the
profession
• Partnerships with major cultural
• The chance to earn advanced
• The opportunity to take courses
American Library Association, Special
and Society, LEO (Literacy Education
Libraries Association, Association for
and Outreach) for Library Media
Information Science and Technology, and
Specialist, and Children and Young
the Society of American Archivists.
Adult Librarianship
• International summer partnership
programs in Florence with Studio
Art Centers International and in
London with Kings College London,
Department of Digital Humanities
Dean
Advisor for Academic Programs
LMS Coordinator
Tula Gianinni, Ph.D., M.L.S., M.M.
Quinn Lai, M.A., M.S.L.I.S.
Jessica Lee Hochman, Ph.D.
infosils@pratt.edu
qlai@pratt.edu
jhochman@pratt.edu
Asistant to the Dean for
Office
Administrative Services
Katie Merlie, b.a.
Tel: 212.647.7682 | Fax: 212.367.2492
Vinette P. Thomas, M.S.L.I.S.
mmerlie@pratt.edu
infosils@pratt.edu
vthomas@pratt.edu
www.pratt.edu/sils
140
• The opportunity to earn dual degrees,
including creation, storage and retrieval,
Student Learning Assessment/Outcomes
including the M.S.L.I.S. with: a master
communication, description and access,
and E-Portfolio with Outcomes
of science in art history, a master of
selection, acquisition, organization,
Assessment Program
fine arts in digital arts, and law degrees
preservation, dissemination, use, and
with Brooklyn Law School
management.
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
The Master of Science in Library and
Information Science (M.S.L.I.S.)
Structure 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 are expressed through
areas of concentration, advanced
certificates, and dual-degree 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,
Some students enroll directly from
their undergraduate degrees; others
Entering students are required to create
decide to change careers after having
an e-portfolio and participate in SILS’s
established themselves in other
e-portfolio assessment program. Working
professions such as law or teaching.
with their faculty advisors, students select
Among our entering students, about 30
Students must complete 36 credit
three to five of their assignments that best
percent hold subject master’s degrees
hours with a B average or better and
demonstrate mastery of the M.S.L.I.S.
and some enter with a Ph.D. or J.D.
meet other prescribed requirements of
program-level learning objectives and
the Institute. Students entering with a
outcomes. Students must demonstrate
Program Themes: Design Your Degree
master’s degree complete 30 credits.
that they can do the following: carry
Program to Meet Your Interests and Needs
All SILS courses are 3 credits. The
out and apply research; communicate
degree includes four core courses (12
effectively and create and convey
credits) and eight elective courses (24
content; use information technology and
credits). Students must complete degree
digital tools effectively; apply concepts
requirements within four years from the
related to use and users of information
date of registering for the first course.
and user needs and perspectives;
• Small classes averaging 15 students
support participation and interaction
Current SILS Students
Course and Credit Requirements
and perform within the framework of
The Core Curriculum
All students must take the four-course
core curriculum that prepares them
for more advanced courses and to
pursue focused areas of study. Required
courses:
LIS-651 Information Professions
LIS-652Information Services and
Sources
professional practice.
E-portfolios at Pratt run on the Mahara
platform, open source software, and are
supported by the Office of Educational
Technology and the Technology Advisory
subcommittee on Teaching and Learning.
We invite you to visit the e-portfolio
website at http://eportfolio.pratt.edu/.
Cultural Informatics: Information Studies
at the Intersection of Culture, Digital
Technology, and Information Science
closely tied to digital culture across
libraries, 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 collections;
exhibitions and catalogs; image
LIS-653 Knowledge Organization
databases; Web design; and preservation
LIS-654 Information Technologies
and conservation and digital humanities.
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.
IPS (Information Policy and Society)
141
that affect how we create, use, reuse,
Student Learning Objectives and Outcomes
repurpose, and share information.
Students will gain expertise in the nature
and use of information resources of the
federal government and its agencies, as
well as nonconventional NGO information
opportunities such as bibliographic and
statistical sources, online databases,
technical report centers, public
information facilities, and sources of
technical assistance. You will be able to
write policy briefs and reports for your
Viewed through the lens of information
studies in the digital age from digital
libraries to global networks and social
media, the SILS program in learning
objectives represent what students
learn and what skills they have acquired
at the completion of their MSLIS
degree program.
1. Research
2.Communication
3.Technology
institution, make recommendations for
4.User-Centered Focus
information policies, locate data from
5.LIS Practice
international organizations such as the
World Bank, and much more. Courses in
E-Portfolio and Assessment:
the IPS Concentration include:
A Graduation Requirement
LIS-607Digital Information Economics
and Management
LIS-611
Information Policy
LIS-613
Government Information Sources
LIS-616
Business Economics and
Statistical Sources
LIS-627 Online Databases: Business
LIS-617 Legal Research
Methods and Law
LIS-626 Online Databases: Law
LIS-684 Contemporary Issues in Law
All students entering the MSLIS degree
program are required to complete an
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)
For more information on the IPS program
From public and school libraries to
email Professor Debbie Rabina, program
museums, this area of study is supported
coordinator, at drabina@pratt.edu.
by our programs in Library Media
The IPS concentration will give students
Specialist and Children and Young Adult
the theoretical knowledge and practical
Librarianship.
skills to work in today’s information
environments. You will learn about
the legal, economic, and social forces
142
M.S.L.I.S. with Library Media Specialist
To comply with the New York State
(L.M.S.) Program Leading to NY State
Education Department’s (NYSED)
Teacher Certification
requirements for certification, students
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 practice, 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 students must fill out an
additional application after acceptance to
SILS. This application includes:
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)
SILS Required coursework for LMS
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
connections with the Institute. These
areas are described below.
Digital Humanities
Students includes:
Reflecting the latest trends in LIS,
• Four SILS Core Courses (LIS 651, 652,
SILS introduced a digital humanities
653, 654)
• Six LMS Required Courses (LIS 648, 676,
677, 680, 690, 692)
• An interview with the LMS Coordinator • Two electives
• A brief application form
LMS Students must complete 100 hours
• An additional brief essay
of field observation in school libraries in
• Three recommendation letters
at least eight different schools. At least
• Undergraduate GPA of 3.5 or above
15 hours must be in schools that serve
• GRE scores, upon request
concentration in 2011. Bringing focus to
digital cultural heritage, data collection,
data analysis, and visualization, as well
as the changing natures of scholarship
and publication in the digital age, its
foundational courses are:
LIS-657 Digital Humanities
LIS-658 Information Visualization
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 www.pratt.edu/academics/
information-and-library-sciences/
degrees-and-certificates/advancedcertificate-program/lms/.
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Amanda Favia and Chris Alen Sula
Above: Student in Class
144
Knowledge Organization and
to the design and evaluation of
Cultural Heritage
interactive technologies. Recommended
Growing out of traditional studies of
cataloging and classification, database
design, storage, and retrieval, this area
has emerged as one central to the latest
developments in Internet and Webbased information studies.
It prepares students for careers in
online services, digital collections and
libraries, Web libraries, and information
systems and networks. Recommended
electives:
LIS-608 Human Information Behavior
LIS-630 Information Science Research
LIS-662 Advanced Cataloging
LIS-663 Metadata, Description
and Access
LIS-670 Cultural Heritage
Description and Access
electives:
LIS-630Information Science Research
LIS-643Information Architecture and
Interaction Design
LIS-681 Community Building and
Engagement
LIS-644 Usability Theory and Practice
LIS-693 Digital Libraries
LIS-658 Information Visualization
LIS-645Management of Digital
Content
Preservation/Conservation
Research and Assessment
Health Information
LIS-634 Conservation Lab, Brooklyn
College Archives
LIS-697 Cultural Heritage
Intellectual Property: Protection
Arts and Information)
of Digital Information
The expanding role of technology in the
process is valuable in many professional
provision of health sciences and medical
This three-year, 75-credit dual degree
activities, including data management,
information offers students new and
prepares students to work at the
academic and medical librarianship,
challenging opportunities. Librarians in
intersection of digital arts and
leadership, grant writing, scholarly
this field work in a wide range of settings,
information. It offers students the
communication, research, and usability.
from medical schools and academic
opportunity to develop high-level
Involvement in research enables an
libraries to pharmaceutical firms and
knowledge and skills in using digital
individual to be an effective professional
hospitals. The program permits students
tools creatively across media in such
and leader, and strengthens an
to take Pratt courses on site at Cornell
emerging areas as virtual information
organization’s status within the larger
Medical Library, where they study the
and learning environments for a wide
professional community.
latest theories and practices in the field.
range of information settings.
Recommended electives:
LIS-685 Medical Librarianship
Library and Information Science and
LIS-605 Digital Resources and
LIS-697 Contemporary Issues in
Law (Two Dual-Degree Programs With
User Interaction
Health Information
LIS-632 Preservation and
Conservation
M.S.L.I.S. and M.F.A. in Digital Arts (Digital
A solid understanding of the research
LIS-630 Information Science Research
Law Librarianship
Given the rapid growth of information
services over the Internet and Web,
Dual-Degree Programs
M.S.L.I.S. and M.S. in History of Art,
Design, and Architecture
Brooklyn Law School)
M.S.L.I.S. and J.D.: 104 credits; M.S.L.I.S.
and L.L.M. (Law Master’s) in Information
Law and Society: 45 credits In affiliation
with Brooklyn Law School, this program
as well as global contexts, information
This program is especially designed for
prepares students for careers in law
policy and law have become a new
students who wish to pursue careers
librarianship and related fields. Today’s
and demanding area of focus for legal
in art-related fields—where art,
employers often give preference to
research, adding to the field’s scope and
information, and technology converge.
law librarians holding a J.D. as well as
influence. Law schools, law firms, court
Students will be prepared to work in
an M.S.L.I.S. The joint degree requires
(e.g., websites, mobile/tablet apps, etc.)
system libraries, and corporations are
any number of settings from academic
completion of 86 credits for the law
from a user-centered perspective. While
typical places of work for law librarians.
libraries and museums to galleries and
degree and 36 credits for the M.S.L.I.S.
UX is a field in its own right, UX skills are
For recommended electives for this
auction houses, as well as other cultural
degree; nine of the 36 LIS credits
becoming increasingly important within
concentration, see the section under
settings. The program requires 30 credits
can be taken at Brooklyn Law School,
the LIS profession as libraries, museums,
dual-degree programs with Brooklyn
at SILS and 30 credits in history of art, for
subject to the approval of the dean of
archives, and information organizations
Law School.
a total of 60 credits. Students must apply
SILS. Students wishing to pursue the
expand their digital offerings. Drawing
to and be accepted as matriculated in
M.S.L.I.S./L.L.M. must already hold a J.D.
from the Human-Computer Interaction
both programs. Application may be made
Recommended courses:
(HCI) discipline, students in the UX
initially to the dual-degree program, or
Accounting for Lawyers
concentration will be trained in the
to one of the two programs, with later
Administrative Law
methods used to understand users and
application to the other, provided that
American Legal History
their contexts and apply that knowledge
the student has not yet graduated from
Comparative Law
the first program entered.
Copyright Law
UX (User Experience)
The User Experience (UX) concentration
teaches students how to design usable,
useful, and desirable digital interfaces
Conservation, Florence,
SACI School
LIS-655 Digital Preservation
and Curation
145
Information Privacy
International and Foreign
Law Research
Similarly, nine of the 86 credits required
for the J.D. may be taken at Pratt
Recommended courses:
LIS-613Government Information
Sources
LIS-616 Business, Economics and
Statistical Sources
LIS-617 Legal Research Methods and
Law Literature
LIS-619 International Information
Sources
LIS-626 Online Databases: Law
LIS-627Online Databases: Business
LIS-684 Law Librarianship:
Contemporary Issues
147
This dual degree can be completed in
Advanced Certificate in Archives (12
Advanced Certificate in Library
three to four years of full-time study,
Credits within the M.S.L.I.S. program
Media Specialist Program Leading to
or four to five years of part-time
or Post-Graduate)
New York State Teacher Certification
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, a student follows the joint
degree program leading to the conferring
of both degrees. Students who have
already earned a library science or law
degree before applying to Pratt are not
eligible for the joint degree program. To
obtain a Brooklyn Law School application
and catalog contact:
Brooklyn Law School
This program can be taken within
Pratt’s M.S.L.I.S. program. It can also
To be eligible for this post-master’s
be taken as a stand-alone program
program, applicants must hold an M.L.S.
by holders of an M.L.S. degree from an
degree from an ALA-accredited program.
ALA-accredited program.
LIS-648 Library Media Centers
LIS-625Management of Archives and
LIS-676 Literature and Literacy
Special Collections
LIS-698Practicum/ Seminar
Two electives from
LIS-680 Instructional Technology
LIS-690 Student Teaching I
LIS-692 Student Teaching II
Advanced Certificate in Museum
Libraries (12 credits within the M.S.L.I.S.
Program or Post-Graduate)
of library and information science to
718.780.0385
offer a museum libraries certificate
program. Based on four pillars of
SILS Certificate Programs
knowledge—research/curatorial; digital
SILS offers several certificate programs
technology; education, outreach, and
within the M.S.L.I.S. program, or for
field experience—it prepares students
people who already hold library science
for careers not only in museums, but
degrees and wish to earn a specialization.
also research libraries, art libraries, and
in digital archives and humanities. This
Advanced Certificate Programs in
program can be taken within Pratt’s
Archives and in Museum Libraries
M.S.L.I.S. program. It can also be taken
the 36-credit master’s), as the program
curricula are complementary within the
contexts of cultural informatics and arts
and humanities perspectives.
Above:Maker Known: Data Quilt by Deimosa
Webber-Bey (M.S. Library Science ’13)
for Young Adults
courses (6 credits)
Brooklyn, NY 11201
(24 credits plus the 12-credit core for
for Children
LIS-677 Literature and Literacy
recommended archives
Pratt-SILS is the first and only school
12-credit certificates within the M.S.L.I.S.
Required courses:
Required courses:
250 Joralemon Street
Students choose to complete one or both
in LMS (18 credits)
as a post-M.L.S. certificate by holders of
an M.L.S. degree from an ALA-accredited
L.I.S. school. Students select one threecredit course from a selection of courses
for each of the four required areas.
One hundred hours of field observation in
school library media centers plus 40 full
days of student teaching (20 elementary
and 20 secondary) are required. Student
teaching is conducted in the fall or
spring terms in New York City under the
supervision of a certified LMS. Field hours
and student teaching must be completed,
documented, and submitted to the
coordinator in order to graduate.
In addition, New York State requires
a firm background in liberal arts and
sciences for all certified teachers, to be
determined prior to admission. In some
cases students may earn these credits as
they complete their SILS degree.
Required courses:
ED-608 Roots of Urban Education
ED-610Child and Adolescent
Development
LIS-691 Serving Youth with Disabilites
148
149
For more information, contact Professor
Scholarships
Internships and Practicum
1. Florentine Art and Culture, Museum and
Merit scholarships are awarded
To gain hands-on experience studying
to entering students based on
and working in one’s area of emphasis,
their academic record. Continuing
we strongly encourage students
scholarships are awarded to students
to participate in our program of
for their second year of study based
internships and practicum. Students
Jessica Hochman, coordinator of the
Library Media Specialist Program, at
jhochman@pratt.edu.
Advanced Certificate in Library and
Information Studies (30 credits)
on their work at SILS, including student
select their work site based on program
To meet the needs of experienced
research and international study in our
interests and career goals and have the
professionals, Pratt offers a post-
London and Florence programs and
opportunity to work in such leading
master’s certificate requiring 30
practicum study abroad. We also award
cultural organizations as the Metropolitan
credits of coursework. Of these, six
tuition scholarships for two courses tied
Museum of Art, the New York and
must be research-oriented independent
to a two-semester internships program
Brooklyn Public Libraries, Brooklyn
study. Of the remaining 24 credits,
at a NYC cultural institution such as the
Historical Society, Brooklyn Museum,
students may take up to nine in related
Metropolitan Museum of Art.
Teachers College and Brooklyn College
subject areas. Required courses:
(eight 3-credit courses)
Advisement and Mentoring
MoMA, and Pratt libraries in addition to
Admissions
Students may begin their program fall,
spring or summer. Applications are
reviewed on a rolling admissions basis.
Admission as a Special Student
is assigned a faculty advisor to help
with course planning 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.
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, threecredit program. It features visits to
Cambridge, and Oxford, and lectures
Archives, Frick Reference Library,
Upon entering SILS, each student
including rare books, manuscripts, and
publishers and libraries in London,
Planning Your Program
Independent Study (six credits)
which focuses on paper conservation
Library and Archives, Lesbian Herstory
24 elective credits
LIS-699Research-oriented
Library Research and Documentation
2.Cultural Heritage Conservation,
numerous other academic and special
by noted academics.
2.Museums and Digital Media with the
libraries in the metropolitan area in fields
Ravensbourne College of Design and
such as IT, publishing, and the corporate
Communication
sector. The practicum serves to bridge
students to the professional world and
facilitate career development.
International Programs
Workshops
SILS provides students with a series
of all-day workshops taught by
experts in their fields. Past workshops
Responding to the globalization of
included Paper Conservation, Rare
information and library service, SILS’s
Book Cataloging, Introduction to EAD,
the program as a special student, defined
a team of knowledgeable and caring
new program in international librarianship
Introduction to Archivists Toolkit, Grant-
as a non-matriculated student. As such,
professionals, are ready to assist
offers courses in Florence and London.
writing for Digitization Projects, Graphic
a student may take up to six credits. To
students and to make their educational
proceed in the program, a student must
experience at Pratt rewarding
Art Centers International (SACI) is a
apply for admission and be accepted as
and personally fulfilling. All students
five-week, six-credit program offering
matriculated. See www.pratt.edu/apply
should establish a Pratt email account
two three-credit courses that run
for more information.
and sign up for the SILS listserv to stay
concurrently and are taught by SACI
informed about school activities and
Italian faculty:
Students eligible for admission may begin
In addition, the SILS office staff,
job postings.
Florence in partnership with Studio
and Sequential Novels, and Podcasting
and Information Visualization.
151
School of Liberal Arts
and Sciences
Writing
Media Studies
Classes in the Liberal Arts
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
at Pratt because our inherent cross/
its students to make continuing
transdisciplinary nature gives us the
contributions as critical thinkers and
freedom to fundamentally rethink the
creative professionals. On the graduate
way we approach our given subjects.
level, the School of Liberal Arts and
The School of Liberal Arts and
Sciences offers the M.A. in Media Studies,
Sciences also provides English language
the M.S. in History of Art and Design,
support for international students in the
the M.F.A. in Writing, and the M.F.A. in
Intensive, full-time Certificate of English
Performance and Performance Studies.
Proficiency, and summer certificate
Our graduate programs are unique to
Programs (IEP, CEP, and SCP). The
a liberal arts school located within an
courses in these programs help students
art and design institution in that they
to prepare for academic and studio
work with and interrogate social spaces
courses by incorporating elements of
that are configured and reconfigured
literature, as well as critical theories and
using a creative lens influenced by
examinations of the visual arts. The
artists, designers, and architects. In
SCP is strongly recommended for
addition, the School of Liberal Arts
students whose TOEFL score is below
and Sciences offers graduate classes
600 (PbT). Students who complete the
for students majoring in the fine arts,
SCP program are not required to take
digital arts, communications design, and
the placement exam.
architecture, among others.
Our faculty members in the School
Finally, our Writing and Tutorial
Center gives support to students in their
of Liberal Arts and Sciences are nationally
graduate thesis by giving them the tools
and internationally known creative artists,
to better articulate and present their
performers, writers, scholars, critics,
final projects.
and scientists who have chosen to be
Dean
Office
Andrew W. Barnes, Ph.D.
Gloriana Russell
Tel: 718.636.3570 | Fax: 718.399.4586
las-dean@pratt.edu
www.pratt.edu/las
153
Pratt Institute is an exceptional
place to study the history of
art and design. Our landmarked
campus attracts leading artists,
designers, historians, and
theorists and is only minutes
from the studios, galleries,
private collections, libraries,
and museums that make New
York a premier center of art
and design.
Our faculty is composed of distinguished
Every graduate student’s program
scholars and mentors who focus on the
includes “behind-the-scenes”
intellectual and professional growth of
experiences, not only at exhibitions and
our students. They bring a broad range of
museums but also in the Institute itself.
expertise and different methodologies
Connections with other departments in
to the classroom; in addition, about
all areas of fine arts and design—interior,
half of our faculty also has extensive
industrial, communication, and fashion—
museum and curatorial experience.
offer a unique platform for an interaction
Their expertise, dedication, and original
between practitioners and theoreticians.
thinking are evident in our curriculum
Our students witness the making of art
and in the academic opportunities
and design firsthand, which adds a real-life
and professional connections faculty
perspective to their scholarly studies.
members create for their students, and
The History of Art and Design
most importantly, are reflected in the
department offers exciting lectures and
quality of our students’ work.
seminars on a wide range of approaches,
Explore our degree options and you
from connoisseurship to the most recent
will find students studying 17th-century
theoretical approaches. Frequent
frescoes in Venice, 20th-century product
excursions and internships result from
design at first-rate auction houses, and
our extensive working relationships with
21st-century performance art at the
the city’s museums, galleries, and cultural
Museum of Modern Art. Students come
organizations and are a crucial part of
from a wide range of backgrounds, and
the curriculum.
leave with knowledge, experience, and a
professional network that will inform and
support their careers for many years.
Chair
Assistant chair
Office
Dorothea Dietrich, Ph.D.
Gayle Rodda Kurtz, Ph.D.
Tel: 718.636.3598
ha@pratt.edu
www.pratt.edu/history-of-art-
Jill Song
design-grad
154
Graduate Degrees
for the Certificate may be taken within
The Department of the History of Art
the credits required for the M.S. degree.
and Design offers the M.S. degree,
requiring 36 credits as described below,
and a thesis.
Two dual degree programs requiring
30 credits are available: History of Art
and Design with Fine Arts, leading to
M.S/M.F.A. degrees; and History of Art
and Design with Library and Information
Science, leading to M.S/M.S degrees.
Advanced Certificate in Museum Studies
Materials, Techniques, and Conservation
Art’s historical concern with materials
and techniques exists naturally in
connection with studio programs in the
practice of art. This is an emphasis in all
our courses, but it takes specific form
in our required Materials, Techniques,
and Conservation course, augmented by
additional courses in Conservation and
Materials. In addition, issues related to
The Certificate in Museum Studies
conservation problems in Venetian art
complements the M.S. degree in the
history are explored with the help of local
History of Art and Design Department
experts on site in our Venice program.
by offering both a solid base in art and
design history and practical, in-depth
experience in the museum world.
History of Art and Design courses
are augmented by Pratt’s School of
Information and Library Science,
Department of Art and Design Education,
and the Arts and Cultural Management
program. Many members of our faculty
are museum professionals who bring
their expertise and experience to the
classroom. As part of the program,
students do two internships at premiere
New York institutions.
The Certificate is intended to give
graduates an “edge” for those who
seek museum and gallery employment.
The Certificate is available to graduate
students enrolled in the History of Art
and Design master’s program as well
as those in the dual programs with the
Department of Fine Arts and the School
of Information and Library Science and is
only awarded upon completion of those
master’s degrees. Some of the courses
Pratt in Venice
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 nine 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
extraordinary museums and libraries.
Page 150: Students in class
Page 152 and above: Class trip to the Metropolitan
Museum of Art, New York
157
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.
Media Studies at Pratt is an intensive
program developed in relation to
The program emphasizes studies of
Pratt’s art, design, and architecture
media in their various forms, including
environment and to the burgeoning
film, video, television, radio, writing,
mediascape, lively social space, and
and computer-mediated forms of
theoretical scene of Brooklyn and New
convergence. Students study the logics
York City. Classes are small, following
and logistics of media and mediation,
both the seminar and workshop format,
and they explore cultural technologies
and all classes are taught by professors.
of expression, representation, and
The program has been conceived
manipulation, along with the aesthetic,
and instituted in a way that understands
economic, and political contexts in which
that media emergence is rapidly
such media necessarily operate. Students
transforming experience, society, and
gain expertise in media history, theory
knowledge. It is designed to foster the
and practice, and in textual analysis,
investigation of many of the significant
interpretation, and semiotics.
social, political, cultural, economic,
The Master of Arts in Media Studies
and aesthetic questions of our time by
graduate program consists of 30 credits
drawing both on the historical record
taken over three semesters and a thesis.
with regard to media forms and on
The program can be completed in three
cutting-edge theory regarding gender
semesters if the student finds a final
and sexuality, race, nation, political
thesis/project topic during the first year
economy, aesthetic form, screen studies,
and prepares to complete it in the third
and the like.
semester. Even so, an extra semester is
generally recommended to allow more
time to find, explore, and develop the
thesis/project that will best serve the
student’s particular interests.
Chair
Coordinator
Office
Maria Damon, Ph.D.
Jonathan Beller, Ph.D.
Tel: 718.678.5770
mdamon@pratt.edu
jbeller@pratt.edu
www.pratt.edu/grad-media-studies
Kate Ryan
cryan4@pratt.edu
Media Studies
Media Studies
The core sequence for the M.A.
The Final Project/Thesis Workshop
objects. Foci will vary based upon
consists of Mediologies I and II (six credits
(HMS-659A) offers an intensive small
specific expertise and interests of
total) and Encounters I and II (two credits
support group in which students can
involved faculty and students.
total), Practices I and II (elective courses
develop and write their thesis; students
totaling six credits), seminars and project
who want more time to finish their thesis
Studies Program will host a conference,
courses (electives totaling 12 credits), an
may take HMS-659B (Thesis in Progress).
Mediologies, which will include
Internship course (optional) and a final
Students may also choose to
Each year in late April, the Media
presentations of work and works-in-
thesis with required Final Project/Thesis
undertake an internship for academic
progress by students, faculty, and
Workshop (four credits total).
credit (HMS-9700, 9701, 9702, 9703) and
guest presenters. Seminar courses
professional enrichment.
being offered in the spring will enable
Mediologies courses (HMS-650A/B)
provide students with crucial critical
In addition to the core courses
students to develop papers and
and theoretical tools; students take a
described above, the program offers
projects specifically for presentation
sequence of two required introductory
a range of electives in areas of
at Mediologies.
courses during their first year. These
specialization and interdisciplinary
courses are designed to address
constellations within media studies,
students with substantial experience in
enabling students to develop particular
Applications for admission to the Master
media studies as well as students with
areas of concentration, first through
of Arts in Media Studies are due January
less exposure.
coursework and then in their one-on-
5 for the following fall; the program
one work with thesis advisors. Faculty
accepts fall entrants only. Applicants
of electives, including those taught in
represent areas that include New Media,
should have a B.A., B.S., or B.F.A. from
other programs, such as Digital Arts.
Documentary Studies, Global Media,
an accredited institution. Candidates
These courses enable students to acquire
Media and the Urban Environment, Media
must submit (1) a statement of purpose
basic competence in media aesthetics
and Performance, Music/Sound Studies,
in which they describe their interest
and production.
Media/Attention Economies, Media
in the program; (2) 10–20 pages of
Practices courses comprise a range
Ecology, Archaeology of (New) Media,
relevant writing sample(s), with emphasis
enable students to engage directly with
and Media, Activism, and Social Change.
on analytical writing about media; (3)
others working in media fields, and with
Elective seminars run in the format
Encounters courses (HMS-549 A/B)
transcripts of undergraduate coursework;
timely issues and ideas, in an open-
of small discussion courses focused
and (4) two letters of recommendation.
discussion “salon” environment.
on individual or team presentations
All applicants must follow the standard
on the analysis of texts, films, objects,
admission process for graduate programs
themes, and theories. Elective project
at Pratt: see www.pratt.edu/apply.
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
Above: Student in class
159
161
Through the simultaneous
development of practice and
study, students earning an
M.F.A. in Performance and
Performance Studies at Pratt
are grounded in creative
practices with a strong
emphasis on conceptual
framing, and develop a
theoretical foundation they can
apply directly to their work.
The program is guided by a set of
as teachers in colleges/universities
principles about the integral nature and
and other institutions in a variety of
importance of performance, community,
fields—such as theater, performance
and politics, where students explore how
studies, art criticism, movement, creative
effective theater is artistically engaging
writing—and in community settings, arts
and is a catalyst for social change.
education and youth programs and
This new degree was developed
other venues; (3) work as curators, arts
with a wide range of practitioners,
administrators, art critics, or production
scholars, and students in mind, including
staff, and in media; and (4), pursue a
professionals in the field who are
Ph.D. in a range of fields, including
seeking terminal career credentials;
performance studies, cultural studies,
working performers and artists who
theater and others.
seek to gain a more critical/theoretical
depth and background (as well as new
performance skills) for their work;
The goal of the M.F.A. in Performance
scholars with some artistic training who
and Performance Studies is to prepare
seek to complement their work with
students as artists and thinkers. Students
training in performance technique; and
will move from a basic command of the
students from other disciplines who
field of performance studies to become
understand what opportunities they can
active artists/scholars who contribute to
gain by focusing on the performative
the field’s evolution.
dimensions of their fields.
With an M.F.A. in Performance and
Students in the program will take
four semesters, or 60 credits worth of
Performance Studies from Pratt, artist
courses. Of this, 33 credit hours will
scholars will be able to: (1) work as artists
be in required courses, 27 in electives
and performance practitioners; (2) work
selected based on students’ needs
Chair
Coordinator
Office
Maria Damon, Ph.D.
Tracie Morris
DeKalb Hall 316
mdamon@pratt.edu
tmorris@pratt.edu
718.636.3607
Assistant
Kate Ryan
cryan4@pratt.edu
162
and interests. Throughout, students
professional practice; and (5) Thesis /
will combine study in performance
Project Workshops (PPS 659a and 659b)
practice with theoretical inquiry in
to support students in developing viable
performance studies. After taking a
and fully realized visions and incarnations
series of foundation courses in the
of their own work.
first year, students will develop their
Students will also take Open
own body of work in the second year.
Electives (totaling 27 credits), which will
In their last semester the students will
be theory and practice seminars offered
focus on rounding out the competencies
by full and part-time faculty and covering
they are building and on refining their
a wide range of topics and areas.
concluding academic and performance
art presentations.
We also offer opportunities for
As part of the program’s community
focus, students are also strongly
encouraged to do an internship to fulfill
students to work with community-based
one of their electives. The required
organizations in which performance and
second-semester workshop on
constructs of performativity are central.
community-based practice will provide
The students will work intimately to serve
important preparation and, in some
these communities in conceptual and
cases, specific venues and contacts to
practical contributions to art practice
accommodate a broad range of interests.
and community empowerment for
underserved populations.
The Performance and Performance
Applicants for admission to the Master
Studies program is anchored around
of Fine Arts (fall entrance only) must
a series of core, required classes: (1)
have either a B.A., B.S., or B.F.A. from
Introduction to Performance Theory
an accredited institution. Candidates
(PPS 650a), where students focus on
must submit (1) a statement of purpose
conceptual underpinnings of the field;
in which they describe their interest in
(2) Introduction to Performance Practice
the program, as well as their own goals
(PPS 651a), providing core competencies
and preparation; (2) 10-20 pages of rel-
in crucial aspects of performance
evant writing sample(s); (3) transcripts
and presentation; (3) workshops with
of undergraduate coursework; and (4)
an artist-in-residence (PPS 549a), on
two letters of recommendation. Collab-
cross-cultural performance (PPS 550a)
orative pairs will be welcomed, but each
and on community-based practice
member must apply separately under
(PPS 550b); (4) a Critical Writing course
the above guidelines. All applicants
(PPS 652a) to support writing skills
must follow the standard admission
increasingly vital as a component both
process for graduate programs at Pratt:
of creative/collaborative processes and
see www.pratt.edu/apply.
Opposite: Students in class
163
165
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.
The premise of the program is that
writing become now that the landscape
writing can be transformative at all scales,
for its production, distribution, and
from the personal to the social, and we
exchange includes not only books and
aim to incubate such cosmopolitan,
journals, but also internet platforms,
local, pleasure-filled, and potentially
digital technologies, video, audio, pdf,
revolutionary poetic practices.
blogs, and social media?
Our approach to the M.F.A.
This program engages a vision of
curriculum emphasizes interdisciplinary
writing that is not genre-specific, but
group critiques (with core faculty, guest
rather inclusive of multiple modes of
artists, and peers engaging in weekly
inscription—from fiction to poetry,
discussions and presentations of student
performance to nonfiction, translation to
work). Additionally, students take part in
cultural criticism, investigative journalism
one-on-one guided mentorships, civic
to digital media, documentary to science
and urban exploration and fieldwork,
fiction. There is also a special focus
and seminars in Literature, Media
on alternate or hybrid approaches to
Studies, Performance, Experimental
writing, with hybridity defined as a set of
Practices, Activism and Critical Theory,
interactive processes that can potentially
to name a few.
generate new social spaces. What
The Pratt M.F.A. therefore offers
avant-garde experiments, what research,
contemporary writers the tools and the
what interventions, what archives, what
support they need to build a practice
speech acts, what literary and artistic
that is responsive and adaptive (and
traditions, what genres, what media
even a form of resistance) to our rapidly
technologies, what theoretical frames,
evolving environmental and political
what narratives, and what materials are
times and to the enormous shifts taking
most suited to your artistic inquiries?
place in media technologies. What can
Chair
Coordinator
Office
Maria Damon, Ph.D.
Christian Hawkey
Tel: 718.678.5770
mdamon@pratt.edu
chawkey@pratt.edu
www.pratt.edu/grad-writing
Kate Ryan
cryan4@pratt.edu
Writing
166
We will help you figure that out as you
Other notable features of the Pratt
Writing
To apply, follow the standard admission
begin to establish a creative practice that
M.F.A. in Writing include:
process for graduate programs at Pratt:
is sustainable across a lifetime of change.
• Student-led collaborative Writing
www.pratt.edu/apply.
Our core faculty of writers is diverse
Practice Seminars that explore the
and internationally renowned. Their work
intersections of writing, research,
traverses and often combines numerous
activism, radical pedagogy, and
disciplines: activism, performance art,
critical theory.
translation, media and cultural theory,
• Sustained focus on 21st-century
theater, fine art. Our course of study
modes of authorship including:
emphasizes collaboration, radical
activism, transdisciplinary and cross-
pedagogy, administrative transparency,
genre experiment, performance,
and non-hierarchical learning.
innovative uses of new media,
investigative and research techniques,
Course of Study
conceptual frameworks, collaborative
The Graduate Program in Writing M.F.A.
methods, and site-specific
consists of several core classes and
approaches.
seminars taken over four semesters
• A course of study stressing a writing
(two years), with the goal of producing
process that takes into account the
a final manuscript, performance, or
material and technological aspects of
collaborative event.
writing, the human body that produces
There are three notable features
it, and the larger social, sexual,
of the new program. First, the heart
historical, economic, racial, and cultural
of the program is a once-a-week core
contexts in which and through which all
class, the Writing Studio, which is an
imaginative writing takes place.
open, democratic forum dedicated to
the collective critique and discussion
Admission Requirements
of student works-in-progress. Second,
Applications for admission to the Master
each student is offered one-on-one
of Fine Arts are due January 5 for the
guided Mentorship with a chosen faculty
following fall; the program accepts fall
member. Third, the program provides
entrants only. Applicants should have a
students with support and guidance to
B.A., B.S., or B.F.A. from an accredited
extend their cultural productions and
institution. Candidates submit (1) a
research interests into the world in the
statement of purpose in which they
form of Fieldwork Residencies: ongoing
describe how their writing interests align
residencies conducted in collaboration
with the vision of the program; (2) 10–20
with an outside institution, community
pages of relevant writing samples of any
organization, archive, occupational
genre; (3) transcripts of undergraduate
domain, or activist group.
coursework; and (4) two letters of
recommendation.
Above: Brooklyn Campus
169
Pratt provides a wellrounded education in the
liberal arts that encompasses
Humanities and Media Studies,
Mathematics and Science,
Social Science and Cultural
Studies, and the History of Art
and Design. In addition, the
Institute supports international
students in gaining the English
language skills they need to
pursue their education and to
interact as vital members of
the community.
The Graduate Programs in the School of
other computerized forms of media
Liberal Arts and Sciences are one-of-a-
convergence. Alongside their theoretical
kind: programs that rethink disciplinary
investigations, students are also
boundaries and take advantage of their
encouraged to become media makers.
location within a leading art and design
institution. We do things differently here.
Master of Fine Arts in Writing
A new and unique two-year program,
Master of Arts in Media Studies
the Pratt M.F.A. in Writing is specifically
The graduate program in Media Studies
designed to support and encourage
offers freedom and flexibility for students
intellectually rigorous and inspired
to design their program of study. We offer
writing practices that are philosophically,
exciting and challenging opportunities
culturally, and politically informed. The
for students to confront the most
premise of the program is that writing
pressing issues of our time: questions
can be transformative at all scales, from
around social justice, sustainability, race,
the personal to the social, and we aim
sexuality, nationalism, militarization,
to incubate such radically cosmopolitan,
economics, and celebrity. The curriculum
resolutely local, pleasure-filled,
emphasizes studies of media in various
and potentially revolutionary poetic
forms, including film, video, television,
practices. Our innovative approach
radio, writing, smartphones, and
to the M.F.A. curriculum emphasizes
Intensive English Program
Mathematics and Science
Social Science and Cultural Studies
Certificate of English Proficiency
Chair
Director
Chair
Chair
Chair
Coordinator
Dorothea Dietrich, Ph.D.
Nancy Seidler
Maria Damon, Ph.D.
Carole Sirovich, Ph.D.
Gregg M. Horowitz, Ph.D.
Dana Gordon
nseidler@pratt.edu
mdamon@pratt.edu
csirovic@pratt.edu
ghorowi2@pratt.edu
dgordon@pratt.edu
Assistant Chair
Assessment and Educational
Kathryn Cullen-Dupont
Margaret Dy-So
Sophia Straker-Babb
Technology Coordinator
kcullend@pratt.edu
sci@pratt.edu
ss@pratt.edu
Rachid Eladlouni
Laboratory Technician
Danielle Skorzanka
Tiffany Liu
Assistant chair
Gayle Rodda Kurtz, Ph.D.
reladlou@pratt.edu
Jill Song
hms@pratt.edu
Assistant to the Director
Fanny Lao
hlao@pratt.edu
cep@pratt.edu
170
interdisciplinary group critiques with
in independent and critical thinking and
Pratt Institute and the School of Liberal
core faculty, guest artists, and peers
understanding of the historical roles
Arts and Sciences welcome international
assessed at or below Level 5 are required
please refer to the catalog listing for
engaging in weekly discussions and
and responsibilities of art and design.
students and offer an array of programs
to enroll full time in the Certificate of
particular schools and departments.
presentations of student work.
Internships at museums, libraries,
and services to improve English-language
English Proficiency (CEP) Program. Any
New international students are strongly
nonprofit art organizations, and galleries
skills and academic readiness. All
graduate international student who has
encouraged to enroll in IEP summer
Master of Fine Arts in Performance
provide opportunities for students
international students with TOEFL scores
been enrolled in one Intensive English
courses in order to be fully prepared
and Performance Studies
to work in professional areas of their
below 600 (PbT), 250 (CBT), or 100 (iBT)—
course without having expempted from
for the academic requirements of their
Through the simultaneous development
interests and prepare for future careers.
including transfer students—whose first
(passed) the program will be moved
degree programs.
of practice and study, students
The department also offers two dual
language is not English must demonstrate
to probationary status during his/her
earning an M.F.A. in Performance
degrees: M.S./M.F.A. with Fine Arts,
proficiency in English by taking an English
second semester. Students who have
The Certificate of English
and Performance Studies at Pratt are
and the M.S./M.S. with Information and
Placement Test upon arriving at the
registered for two (fall and spring)
Proficiency Program
grounded in creative practices with a
Library Sciences.
Institute. The Intensive English Program
semesters and who do not assess at
(IEP) in the Language Resource Center
the exempt level may be required
strong emphasis on conceptual framing,
Students whose proficiency is
and develop a theoretical foundation
Resources in the School of Liberal
on Pratt’s Brooklyn campus administers
to withdraw voluntarily from Pratt or
they can apply directly to their work. The
Arts and Sciences
the test.
register for the full-time CEP program.
program is guided by a set of principles
Intensive English Program
about the integral nature and importance
of performance, community, and politics,
where students explore how effective
theater is both artistically engaging and a
catalyst for social change.
Master of Science in the History
of Art and Design
The graduate studies in the History of
Art and Design provide students with
the skills and knowledge to pursue
careers as art and design historians and
professionals in museums, galleries,
and libraries, or to pursue graduate
work at the doctoral level. Through
comprehensive study of global art and
design within historical and cultural
contexts and intensive research and
scholarship in specialized areas, students
develop a critical understanding of the
The Intensive English Program (IEP)
provides academic English language
instruction to matriculated graduate and
undergraduate students. In addition, two
certificate programs run under the IEP’s
umbrella: the full-time Certificate (CEP)
and Summer (SCP) programs. The mission
of all programs in the IEP is to support
successful matriculation of international
students by providing appropriate English
language instruction. Internal assessment
and advisement ensure students’ proper
placement in English language courses,
as well as successful matriculation and
degree attainment. The curriculum
includes art, design, and architecture
content and is enhanced by direct
exposure to related cultural experiences
This placement test consists of
Good communication skills are
a reading test, a writing test, and a
essential to academic success at
personal interview with an IEP faculty
Pratt Institute. Instruction in the IEP
member. Students assessed at the
emphasizes language use for general
exempt level of English proficiency satisfy
academic and specific purposes in the
their Intensive English requirement and
professions in which Pratt specializes,
may enroll in all Institute courses without
namely, art, design, architecture, and
restriction. Students who are assessed as
information and library science. IEP
being in need of English instruction must
faculty are trained and experienced in
register in consecutive Intensive English
teaching English as a second language,
courses (including summer IEP classes
as well as in integrating art and design
should they wish to take other Institute
content into their courses. Our classes are
courses during those sessions) until they
small (8 to 12 students per session), and
achieve exempt status based on IEP exit
enrolled international students benefit
proficiency criteria.
from their use of the Language Resource
and Writing and Tutorial Centers for
additional language learning practice.
For information on the Test of
171
requirements at Pratt Institute,
Laboratories and Computer Facilities
The science laboratories (chemistry,
physics, biology), located in the Activities
Resource Center, are interdisciplinary
research facilities. Sophisticated
instruments and equipment are available,
and undergraduates are encouraged
to use them under faculty supervision.
Computer facilities are available for use
by all students of the Institute. Specialized
facilities are employed in the sciences.
The Certificate of English Proficiency
(CEP) program at Pratt Institute is a oneyear 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 fulltime English-language instruction. At the
end of the two-semester program of
English study, those students completing
CEP coursework receive a certificate of
English language proficiency.
Courses focus on speaking, listening,
reading, and writing within the context
of art and design, 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 cep@pratt.edu.
Writing and Tutorial Center
The Writing and Tutorial Center provides
free tutoring for all Pratt students in
English, math, physics, art history,
thesis preparation, and other academic
areas. Special assistance is provided for
students for whom English is a second
language. Small-group and regularly
scheduled one-on-one conversation
sessions are also offered.
The Writing and Tutorial Center
staff consists of a director, faculty
and staff tutors, and trained student
peer tutors. The director coordinates
scheduling and appointments in all
areas. Any faculty member, staff
member, or adviser may recommend
students who need assistance.
The Writing and Tutorial Center is
located in North Hall 101 (opposite the
bank). Appointments can be made by
English as a Foreign Language (TOEFL)
phone, Skype IM, or in person.
and language-learning technology.
field as well as research and analytical
skills. Graduates demonstrate excellence
172
Above: Students on the Brooklyn Campus
173
Academic Degrees Overview
Undergraduate Programs
Graduate Programs
Architecture
B.Arch.
0202
Construction Management B.P.S.
0201
Construction Management B.S.
0201
Building and Construction
5317
A.A.S.
School of Art
Digital Design and
Interactive Media
A.O.S.
Graphic Design
5012
A.O.S.
5012
Graphic Design/Illustration A.A.S.
5012
Illustration
A.O.S.
5012
Painting/Drawing
A.A.S.
5610
B.F.A.
0831
Digital Arts
B.F.A.
1009
Film
B.F.A.
1010
Fine Arts
B.F.A.
1001
Photography
B.F.A.
1011
School of Design
B.F.A.
0601
Fashion Design
B.F.A.
1009
Industrial Design
B.I.D.
1009
Interior Design
B.F.A.
0201
School of Liberal Arts and Sciences
Critical and Visual Studies
B.A.
4903
B.A.
1003
B.F.A.
1003
Writing
B.F.A.
1599
Combined Degree Programs
B.F.A./M.S. 0831
School of Design
Architecture
(first-professional)
M.Arch.
0202
Architecture
(post-professional)
M.S.
0202
Architecture and Urban
M.S.
Design (post-professional)
0205
M.S.
M.F.A.
1009
M.S.
0601
Industrial Design
M.I.D.
1009
Interior Design
M.F.A.
0201
Interior Design
M.S.
0201
0206
Package Design
M.S.
1009
M.S.
0201
School of Information and Library Sscience
M.S.
0299
1601
M.S.
0206
Library and Information
Science
M.S.
Systems
0899
M.S.
0206
Science: Library Media
Specialist
M.S.
Urban Placemaking and
Management
Archives Certificate
Program
ADV. CRT.
1699
Studies
ADV. CRT.
1699
Library Media Specialist
ADV. CRT.
0899
ADV. CRT.
1699
M.S.
0702
School of Art
(init./prf. certification)
M.S.
0831
(prf. certification)
M.S.
0831
ADV. CRT.
0831
Museum Libraries
Arts and Cultural
Management
M.P.S.
0599
Museums and Digital
Culture
Art Therapy and Creativity
Development
M.P.S.
1099
Art Therapy and
Creativity Development
(spring/summer)
M.P.S.
1099
M.S.
1003
Media Studies
M.A.
0601
Museum Studies
ADV. CRT.
1003
M.F.A.
1007
M.F.A.
1599
Art Therapy with Special
Needs Children
M.P.S.
1099
Performance and
Performance Studies
Art Therapy with
Special Needs Children
(spring/summer)
M.P.S.
1099
Writing
Combined Degree Programs
Science/Digital Arts
M.S./M.F.A. 1601/
1009
1099
Science/Law
M.S./J.D.
1601/
M.S./L.L.M. 1401
M.P.S.
0599
M.F.A.
1009
History of Art and
Design/Fine Arts
M.S./M.F.A. 1009/
1001
M.F.A.
1001
History of Art and
Design/Information
and Library Science
M.S./M.S.
Science/Information Law
and Society
M.S./L.L.M 1601/
1401
Planning and Law
M.S./J.D.
1099
(spring/summer)
Design Management
Digital Arts
Fine Arts
1009/
1601
0206/
1401
Curricula
174
Curricula
175
M.S. in Sustainable
M.S. in Historic Preservation
M.Arch. in Architecture
M.S. in Architecture (Post-Professional)
(First-Professional)
(Post-Professional)
Semester 1
Semester 1
ARCH-601
Design Studio I: Fundamentals
5
ARCH-611
Computer Media I: Multimedia
3
ARCH-631
ARCH-651
Structures I
History and Theory I: Modern
History
Credit subtotal
3
ARCH-612
Design Studio II: Context
14
5
3
ARCH-632
Structures II
3
ARCH-652
History and Theory II:
Architectural Theory
3
14
Semester 1
Pro Seminar I
3
UD-803
UD Studio I
5
GAUD Elective
6
UD-813
Methods and Computer
Applications
3
Urban Design Theory
3
Summer Design Studio VI:
Vertical Option
5
UD-993
14
Semester 2
Credit subtotal
11
ARCH-901
Fall Design Studio
5
UD-901
UD Studio II
5
ARCH-982
Pro Seminar II
3
UD-981A
Culmination Project Research
3
ARCH-988
Thesis Research
Credit subtotal
3
UD-991
3
14
ARCH-912
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
Thesis
5
All-Institute Elective
3
Credit subtotal
8
PLAN-604
Planning Law
3
PLAN-605
Planning Methods I
3
3
All-Institute Electives
3
Elective Credits
8
14
Credits subtotal
14
Semester 3
UD-902
Semester 2
Urban Design and
Implementation: Case Studies
Credit subtotal
Semester 3
Semester 1
Semester 1
PLAN-600
Semester 2
GAUD Elective
Semester 3
ARCH-703
ARCH-803
Environmental Systems
Semester 1
Credit subtotal
Computer Media II: Advanced
Multimedia
Credit subtotal
ARCH-781
3
Semester 2
ARCH-602
M.S. in City and Regional Planning
M.S. in Architecture and Urban Design
Semester 3
UD Culmination Project
5
PLAN-701
Planning Methods II
3
Credit subtotal
8
PLAN-810
or
Studio: Sustainable
Communities
PLAN-820
or
Studio: Land Use and Urban
Design
PLAN-850
3
SES-633A
Environmental Law
3
PR-640
History/Theory of Preservation 3
SES-631
Sustainable Communities
3
PR-643B
MSCI-610
Science of Sustainability
3
History I: Europe
PR-641
Documentation/Interpretation 3
PR-651
Building Technology
3
Credit subtotal
12
PR-661
Preservation Law and Policy
3
Concepts of Heritage
3
History II: United States
3
Preservation Elective
3
Credit subtotal
12
3
Professional Elective Credits 5
Credit subtotal
14
Semester 2
3
Environmental Economics
SES-633B
Environmental Impact Assessment
3
PR-642A
SES-634A
Climate Change and Cities
1
PR-643A
SES-634B
Sustainability Indicators
1
SES-634C
Life Cycle Analysis
1
SES-635A
Solid Waste Management
1
Semester 3
SES-635B
Water Quality Management
1
PR-891
SES-635C Urban Energy Management
1
Demonstration of
Professional Competence
All-Institute Elective Credits
2
PR-652A
Interventions, Alterations, and 3
Adaptive Reuse
Credit subtotal
14
5
5
ARCH-753
History and Theory III:
Non-Western History
3
Environmental Controls
3
Studio: Sustainable
Development
5
ARCH-761
ARCH-762
Material and Assemblies
3
Elective Credits
3
PLAN-820
Land Use Studio
14
Credits subtotal
11
SES-660A
Demonstration of Professional Competence
2
Credit subtotal
Semester 4
Total credits required
33
Design Studio IV: CAP
5
ARCH-861
Professional Practice
3
History/Theory Elective
3
GAUD Elective
3
Credit subtotal
14
Semester 5
ARCH-805
Design Studio V: Vertical
Option
5
ARCH-861
3
3
GAUD Elective
3
Credit subtotal
14
PLAN-810
or
Studio: Sustainable
Communities
PLAN-820
or
Studio: Land Use and Urban
Design
PLAN-850
Studio: Sustainable
Development
5
PLAN-891
Directed Research
2
Elective Credits
5
Credits subtotal
12
Semester 5
PLAN-892
Demonstration of Professional
Competence
3
Elective Credits
6
Credits subtotal
Semester 6
Design Studio VI: Vertical
Option
5
3
6
Credit subtotal
14
84
Preservation Elective
3
Credit subtotal
9
PR-840
Preservation Studio
5
PR-670A
Intro to Real Estate
Development
1
Semester 3
Semester 4
ARCH-704
ARCH-806
36
Semester 2
SES-632
Design Studio III:
Urban Mixed Use
9
60
3
Semester 4
Elective Credits
5
Credit subtotal
12
PR-670B
Real Estate Market Analysis
1
40
PR-670C
Preservation Tax Credit
Projects
1
Elective Credits
3
Credit subtotal
11
44
Curricula
176
Curricula
177
School of Art
M.S. in Facilities Management
Semester 1
Computer Applications
3
FM-631
Principles of Facilities
Management
3
FM-663
Managerial Accounting and
Finance
3
Real Estate Development
3
Credit subtotal
12
Semester 2
FM-632
Project Management
3
FM-634
Facility Programming and
Design
3
Facility Maintenance and
Operations
3
Elective Credits
Credit subtotal
FM-636

Advanced Certificate in
and Management
(Initial/Professional Certification)
(Professional Certification)
Semester 1
FM-621
FM-633
M.S in Urban Placemaking
History and Theory of
Public Place
2
UPM-609
Lab: Analysis of Public Space
5
Take 3 of 4 one -credit courses offered
as Proseminar:
UPM-602A
UPM-602B
UPM-602C
UPM-602D
FM-733
UPH-611
3
Democracy, Equity, and Public 2
Space
12
“Area of Focus” Electives
Economic Evaluation of
Facilities
3
FM-735
Telecommunications:
Concepts and Strategies
3
FM-771
Legal Issues
3
12
Semester 4
FM-798
HMS-697A
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
3
3
6
11
UPM-622
Open Space and Parks
3
UPM-612
Economics of Place
1
UPM-613
Place, Politics, & Management 2
“Area of Focus” Electives
4
Credit subtotal
10
Semester 4
UPM-698
Demonstration of Professional 3
Competence
Placemaking Workshop
5
Thesis Writing I
1
Civic Engagement
1
Elective Credits
9
Credit subtotal
9
Credit subtotal
14
30
50
UPH-614
Roots of Urban Education
Credit subtotal
ADE-522
or
ADE-524
3
ADE-616A
or
ADE-616B
ADE-616C
Media and Materials: From
Studio to Classroom
3
Elective
2
10
3
Student Teaching:
In the Galleries
Survey of Art Education
Literature
3
ED-605
The Teacher in Film and Fiction
3
Elective
3
Credit subtotal
9
Directed Research in Art and
Design Education
2
Credit subtotal
9
ADE-517A
Student Teaching: Saturday Art
School
3
or
ADE-517B
Student Teaching: After School
ADE-621
The Art of Teaching Art and
Design
3
Thesis I
3
Elective
2
Credit subtotal
11
Student Teaching:
In the Public Schools
4
ED-660A
Semester 4
or
ADE-531B
ADE-532A
Student Teaching Seminar
ED-660B
Thesis II
3
Credit subtotal
8
(Plus courses and credits listed under
"Certification Requirements")
Directed Research in Art and
Design Education (with Special
Populations)
Special Topics in Art and
Design Education
1
38
3
Thesis I
3
Credit subtotal
8
Thesis II
3
Semester 4
ED-660B
Elective
3
Credit subtotal
6
Student Teaching:
With Special Populations
1
ADE-521
Student Teaching:
Saturday Art School
3
or
ADE-523
ADE-616B
Student Teaching: After School
2
ADE-620
The Art of Teaching Art and
Design
3
ED-608
Roots of Urban Education
3
34
12
Semester 2
or
ADE-524
ADE-531A
or
ADE-531B
Student Teaching:
Saturday Art School
3
Student Teaching:
In the Galleries
Student Teaching:
In the Public Schools
4
3
Course in a Foreign Language
3
The courses may be taken at Pratt or
transferred from another accredited
post-secondary institution.
Completion of the following workshops taken
with a provider approved by NYSED:
Child Abuse Identification Workshop
0
School Violence Prevention and Intervention
Workshop
0
Training in Harassment, Bullying,
Cyberbullying, and Discrimination in Schools:
Prevention and Intervention
0
Passing scores on the following tests
and assessments:
Academic Literacy Skills Test (ALST)
Content Specialty Test (CST)
ADE-532A
Student Teaching Seminar
1
ADE-619
Foundations in Art and
Design Education
3
Course in Child/Adolescent Development
Educating all Students (EAS)
Student Teaching:
With Special Populations
Credit subtotal
The following requirements must be fulfilled
prior to applying for New York State Education
Department (NYSED) Initial Certification in Visual
Arts, Pre-K–12.
Academic Courses
Education with Special
Populations
ADE-522
Semester 3
Semester 3
Literacy and Language
Acquisition in the Art
Classroom
Credit subtotal
ED-602
3
ADE-531A
11
NYSED Certification Requirements
ADE-506
Semester 2
Survey of Art Education
Literature
ED-660A
1
ADE-630
ED-602
ADE-620
The Inclusive Art Room
3
3
or
ADE-523
Education (with Special
Populations)
Credit subtotal
Student Teaching:
Saturday Art School
2
Play and Performance: From
Childhood to Pedagogy
Foundations in Art and Design
Education
ADE-521
Semester 1
Education
ADE-625
ADE-619
Semester 3
UPM-699
Demonstration of Professional 4
Competence
1
Semester 2
Urban and Contextual Design
3
Literacy and Language
Acquisition in the Art
Classroom
ED-608
UPM-621
Strategic Planning and
Management
Semester 1
ADE-506
10
Semester 2
Credit subtotal
Credit subtotal
3
Proseminar: Design and
Infrastructure
Proseminar: Planning & Policy
Proseminar: Economics
Proseminar: Management
Credit subtotal
Semester 3
FM-731
Semester 1
UPM-601
11
23
Education Teacher Portfolio
Assessment (edTPA)
178
Curricula
M.P.S. in Arts and Cultural Management
Development and M.P.S. in Art Therapy
Development and M.P.S. in Art Therapy
with Special Needs Children
with Special Needs Children
Leadership and Team Building
Low Residency Program
Year 3
Academic Year Program
Low Residency Program
Year 1
Semester 7 (spring)
Semester 1
Year 1
ADT-641/
621
Creative Arts Therapy I/
Special Ed. I
3
Semester 1 spring)
Group Creative Arts
Therapy I/ Special Ed. I
3
Creative Arts Therapy I
Theory and Practice of Dance 3
Therapy I
Semester 1 (spring)
ADT-641/
621
ADT-664/674 Fieldwork Experience and
Supervision IV
DT-671
DT-673
3
ADT-641
3
DT-673
Movement Behavior I
3
ADT-640
Development of Personality I
Studies in Movement
Behavior I
ADT-641
3
ADT-640
3
ADT-645
Group Creative Arts
Therapy I
3
Semester 2 (summer)
ADT-661
Fieldwork Experience and
Supervision I
2
Credit subtotal
14
DT-672
Theory and Practice of
Dance Therapy II
3
Semester 3 (fall)
DT-674
Studies in Movement
Behavior II
3
ADT-661/ 671 Fieldwork Experience and
Supervision I
ADT-632
Research and Thesis
3
ADT-642
Creative Arts Therapy II
3
Management Communications
2
Behavioral Simulation
1
Management of Arts and
Cultural Organizations
2
ADT-645/
625
2
Supervision I/Special Ed. I
2
Art in the Urban Environment
ADT-661/
671
Credit subtotal
9
TECH-634/
635
Materials in Creative Arts
Therapy/Special Ed I
3
Credit subtotal
11
Semester 2 (spring)
ACM-623
Financial Planning and Budget
Management
2
ACM-624
Arts and Cultural Education
2
ACM-632
Organizational Behavior
2
ACM-642
Nonprofit Law and Governance
2
Credit subtotal
8
Semester 3 (summer I and summer II)
ACM-626
Managing Innovation
and Change
2
ACM-633
Negotiating
1
ACM-646
External Relations
2
ACM-652
Directed Research
1
ACM-664A
Capstone Planning: Advisement
1
Credit subtotal
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
2
Credit subtotal
8
Semester 5 (spring)
Semester 2
ADT-632/
633
Research and Thesis/
Research and Thesis: Special
Education
3
ADT-642/
622
Creative Arts Therapy II/
Special Ed. II
3
ADT-640
3
ADT-647
Art Diagnosis
3
ADT-662/
672
Supervision II/Special Ed. II
2
14
Semester 3
or
ADT-651
or
ADT-653
Advertising and Promotion
2
ACM-644
Cultural Pluralism: Designing
Cultures of Inclusion
2
Finances and Financial
Reporting for Nonprofit
Managers
2
ACM-664B
Shaping the 21st Century:
Integrative Capstone
2
ACM-671
Managerial Decision-Making
1
DM-643
Intellectual Property Law
1
10
42
3
ADT-645/
625
Group Creative Arts Therapy I 3
TECH634/635
Materials in Creative Art
Therapy
3
Semester 3 (fall)
Supervision I
2
Credit subtotal
17
Year 2
3
Advanced Seminar I in Creative
Arts Therapy Adults
Developmentally Disabled
ADT-630
Clinical Diagnosis and
Treatment Issues
3
ADT-662/
672
Supervision II
2
ADT-647
Art Diagnosis
3
Semester 5 (summer)
Children and Adolescents
ADT-632
Research & Thesis
3
ADT-649
Advanced Seminar I in Creative 3
Arts Therapy Adults
Treatment Issues
3
ADT-663/
673
Supervision III/Special Ed. III
2
ADT-688
Family Art Therapy
3
ADT-655
Development of Personality II
3
or
ADT-651
or
ADT-653
14
ADT-688
Family Art Therapy
ADT-655
Development of Personality II 3
Credit subtotal
ADT-646/
626
ADT-650
or
ADT-652
or
ADT-654
ADT-664/
674
Group Creative Arts Therapy
II/Special Ed. II
Advanced Seminar II in
Creative Arts Therapy Adults
Semester 6 (fall)
3
ADT-663/673 Fieldwork Experience and
Supervision III
Credit subtotal
The Psychology of Intergroup 3
Relations and Institutional
Process
Expressive Modalities
3
ADT-646/
626
Group Creative Arts
Therapy II
3
ADT-660
Psychology of Intergroup
Relations
3
ADT-650
Advanced Seminar II in
Creative Arts Therapy Adults
3
or
ADT-652
or
ADT-654
Semester 2
Credit subtotal
14
53
ADT-642
3
ADT-645
Group Creative Arts
Therapy I
3
DT-671
Theory and Practice of
Dance Therapy I
3
Credit subtotal
2
ADT-640
3
Credit subtotal
17
or
ADT-651
or
ADT-653
ADT-630
Treatment Issues
3
DT-674
Movement Behavior II
3
Advanced Seminar I in Creative
Arts Therapy
3
Advanced Seminar I in Creative 3
Arts Therapy Adults
ADT-630
Treatment Issues
3
DT-675
Improvisation
3
ADT-663
Supervision III
2
ADT-655
Credit subtotal
2
22
3
ADT-649
or
ADT-651
or
ADT-653
Adults
ADT-655
ADT-662
Supervision II
2
Semester 5 (summer)
14
Semester 4
ADT-632
Research & Thesis
DT-672
Theory and Practice of Dance 3
Therapy II
3
Semester 6 (fall)
ADT-646
Group Creative Arts Therapy II
3
ADT-650
Advanced Seminar II in Creative
Arts Therapy Adults
3
or
ADT-652
or
ADT-654
20
Year 2
Supervision II
ADT-649
2
Semester 4 (spring)
ADT-662
3
ADT-643
Semester 3
ADT-630
ADT-660
Credit subtotal
3
ADT-642/
622
ADT-661/
671
2
Semester 8 (summer)
Semester 4 (spring)
Credit subtotal
ADT-649
3
Semester 2 (summer)
Semester 4
ACM-628
ACM-651
M.S. in Dance/Movement Therapy
Semester 1
ACM-631
ACM-645
M.S. in Dance/Movement Therapy
Academic Year Program
ACM-627
ACM-641
179
2
Semester 1 (fall)
ACM-625
Curricula
ADT-660
The Psychology of Intergroup
Relations and Institutional
Process
3
ADT-664
Supervision IV
2
Supervision IV/Special Ed. IV
2
Elective
3
Credit subtotal
14
Credit subtotal
53
11
56
ADT-663
Supervision III
2
Credit subtotal
22
Curricula
180
M.P.S. in Design Management
Year 3
Semester 1
Semester 7 (spring)
DM-631
Leadership Behavioral
Simulation
DM-632
Leadership and Team Building 2
Semester 8 (summer)
DM-652
Design Management
2
ADT-646
Group Creative Arts Therapy II 3
DM-654
Strategic Technology
2
Advanced Seminar II in Creative
Arts Therapy
DM-661
Financial Reporting and
Analysis
2
ADT-664
Supervision IV
2
ADT-660
The Psychology of Intergroup 3
Relations
ADT-650
or
ADT-652
or
ADT-654
Adults
DT-675
Improvisation
3
Credit subtotal
14
56
3
Credit subtotal
9
Semester 2
DM-622
Advertising and Promotion
2
DM-633
Managing Innovation and
Change
2
International Environment of
Business
2
DM-641
DM-651
Management Communications 2
Credit subtotal
8
DM-634
Negotiating
1
DM-653
Design Operations
Management
2
Semester 3
M.F.A. in Digital Arts
Arts Concentration)
(Digital Imaging Concentration)
DDA-606A
Graduate Seminar I
3
DDA-606A
Graduate Seminar I
3
DDA-610
Digital Arts Practicum
3
DDA-610
3
DDA-610
DDA-617
Languages
3
DDA-617
Languages
3
DDA-617
Languages
DDA-643
Animation Studio
3
DDA-622
Interactive Media I
3
DDA-645
Studio Elective
3
Studio Elective
3
Credit subtotal
15
Credit subtotal
15
Semester 2
2
DM-642
Business Law
2
DM-643
Intellectual Property Law
1
DM-663
Financing: Companies and New 2
Ventures
DM-671
Managerial Decision Making
1
Credit subtotal
8
DM-623
Building Entrepreneurial
Courage
2
DM-644
Design Futures: Theory and
Practice
2
DM-655
New Product Management and 2
Development
DM-672
Business Strategy
2
DM-674
Shaping the 21st Century:
Integrative Capstone
2
Credit subtotal
10
42
Semester 5
3
Studio Major
3
3
Art Criticism/Analysis/History
3
Imaging Studio
3
Studio Electives
6
Studio Elective
3
Credit subtotal
15
Credit subtotal
15
Semester 2
Semester 2
Studio Major
3
3
DDA-585
Interactive Installation
3
DDA-606B
Graduate Seminar II
3
3
Animation Studio
3
DDA-587
Art of Electronics
3
DDA-614
3-D Modeling
3
Liberal Arts
3
DDA Elective
6
DDA-606B
Graduate Seminar II
3
DDA-645
Imaging Studio
3
Studio Electives
6
Studio Elective
3
DDA Elective
3
DDA Elective
3
Credit subtotal
15
Credit subtotal
15
Studio Elective
3
Studio Elective
3
Credit subtotal
15
Credit subtotal
15
Thesis I
6
Semester 3
3
Post-Production
3
Semester 3
DDA-660A
Thesis I
6
DDA-660A
Thesis I
6
Art History Elective
3
DDA-646
Interactive Arts
3
DDA Electives
6
DDA Elective
3
DDA Electives
3
3
Semester 4
3
Credit subtotal
15
FA-601
Thesis Statement I
2
Credit subtotal
15
FA-650B
Thesis II
5
Thesis II
6
Studio Electives
7
Thesis II
6
Liberal Arts Elective
3
Credit subtotal
14
60
Credit subtotal
15
Semester 3
Semester 3
DDA-653
DDA-660B
Strategic Marketing
3
Graduate Seminar II
2
DM-621
Aesthetics
DDA-643
Money and Markets
Semester 4
Semester 2
PHIL-604
DDA-606B
DM-662
7
Semester 1
3
1
Credit subtotal
Semester 1
Graduate Seminar I
Directed Research
1
Semester 1
DDA-606A
DM-656
Capstone Planning:
Advisement
M.F.A. in Fine Arts
M.F.A. in Digital Arts (Interactive
Motion Arts Concentration)
Semester 4
DM-673
181
M.F.A. in Digital Arts (3-D Animation and
Semester 1
1
Curricula
DDA-660A
FA-650A
Semester 4
Thesis II
6
Semester 4
3
DDA-660B
DDA Elective
3
3
DDA Elective
3
DDA Elective or Internship
3
DDA Elective
3
3
DDA-660B
Credit subtotal
15
3
Credit subtotal
15
60
Credit subtotal
15
60
60
Thesis I
5
Studio Electives
8
Credit subtotal
16
Curricula
182
183
School of Design
M.F.A. in Communications Design
Semester 1
Semester 4
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
DES-730A
Graduate Studio:
Transformation Design A
Elective Credits
9
DES-795A
M.F.A. Thesis Resource A
1
DES-795B
or
DES-607
M.F.A. Thesis Resource B
1
HD-641
Graduate Seminar A
3
3
Origins of Contemporary
Comm. Design
3
Credit subtotal
15
Semester 2
3
Elective Credits
6
Credit subtotal
15
DES-760B
Graduate Seminar B
3
DES-794A
M.F.A. Thesis Resource A
1
DES-794B
or
HMS-697A
M.F.A. Thesis Resource B
1
DES-796
Semester 2
DES-619
Design Process & Methodology
3
HA-601
or
HD-662
Credit subtotal
History of Western Art
DES-602
Design Technology
3
History of Communications
Design
DES-603
Design Ideation & Visualization
3
Credit subtotal
DES-604
Typography
3
3
Credit subtotal
12
2
11
Semester 3
DES-629
Fragrance Packaging Research
Workshop
3
DES-631
Packaging: Graphics II
3
DES-660
Directed Research
2
DES-680
Digital Design
3
Credit subtotal
11
Semester 4
DES-634
or
DES-640
DES-699A
Graduate Thesis Writing
M.F.A. Thesis I
Typography II
3
Thesis Research
3
3
12
3
DES-791
Graduate Studio:
Transformation Design B
Credit subtotal
Packaging: Graphics I
DES-601
DES-730B
Electronic Pre-press
Structural Packaging Design
3
Graduate Studio: Technology B 3
IND-612A
3
DES-630
Design Writing
DES-720B
3
Visual Perception
DES-628
DES-751
or
DES-640
3
Visual Communications I
DES-625
62
Prerequisite Courses
Graduate Studio: Visual
Language B
DES-620
IND-667B
or
IND-516
3
DES-710B
Semester 1
15
Cross-Disciplinary Studio
Semester 3
Semester 4
3
Credit subtotal
DES-741
Design Management
Year 1 (Core)
Typography I
DES-677
Portfolio Development
3
17
M.F.A. in Interior Design
DES-618
Semester 1
DES-710A
DES-760A
M.I.D. in Industrial Design
M.S. in Package Design
Marketing
3
Design Management
Thesis I
6
Credit subtotal
9
Semester 5
HD-505
or
HD-506
History of Modern Design
DES-699B
Thesis II
3
Credit subtotal
5
2
Concepts of Design
IND-614A
IND-672
48
DES-608
Design Procedures
3
DES-676
Computer Graphic Systems
3
Graduate Color Workshop I
(2-D)
3-D I
2
2
IND-694
or
IND-515
Drawing I
IND-608
History of Industrial Design
2
Credit subtotal
11
2
Prototypes I
Semester 2
IND-612B
Industrial Design Technology II 3
(with Seminar)
IND-614B
Graduate Color Workshop II
(2-D)
Elective (Graphics)
2
3-D II
2
or
IND-673
or
IND-516
Prototypes II
IND-543
or
IND-541
Digital Ideation
IND-615
or
IND-690
Model Making
IND-669
Business of Design for I.D.
2
Credit subtotal
13
2
Solidworks I
2
IND-587
Sustainable Production
Methods
2
Directed Research I
2
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
IND-667A
or
IND-515
Global Research Seminar
3
Interior Design Studio
6
INT-713
Ideation and Representation
3
INT-715
Light, Color, and Material
3
INT-717
Interior Design Theory
3
Credit subtotal
15
Process/Product Studio
INDC-622
Interdepartmental Studio
Semester 2
INDC-624
Design Methodology
INT-722
Interior Design Options Studio 6
INDC-626
Design Strategies
INT-724
Construction and Fabrication 3
INDC-628
Furniture Design
INT-726
INDC-630
Exhibit Design
Environmental Technology and 3
Sustainable Elements
INDC-632
Tabletop Design
INDC-660B
3
Directed Research II
2
Elective
3
Credit subtotal
10
Theory Elective
3
Credit subtotal
15
INT-731
Interior Design Options Lab
3
INT-799A
Thesis II
6
Elective
3
Elective
3
Internship
1
Credit subtotal
16
INT-799B
Thesis II
6
INT-641
2
Elective
3
Elective
3
Credit subtotal
14
60
Semester 3
Year 3 (Thesis)
Semester 5
IND-515
or
IND-658
Prototypes I
HD-668
Thesis Seminar
2
IND-699A
Thesis I
3
Elective
2
Credit subtotal
9
2
INT-9401
Special Project
Semester 4
Semester 6
Thesis II
3
Elective
3
Credit subtotal
6
Take 3 credits from the industrial design core
courses.
IND-620
Prototypes II
INT-711
INDC-620
IND-699B
Semester 3
2
Take 3 credits from the industrial design core
courses.
Industrial Design Workshop I
Year 2 (Research)
IND-660A
prerequisite courses
Industrial Design Technology I 3
(with Seminar)
Semester 1
Global Research Seminar
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.
*Students accepted into the three-year M.F.A.
program must complete the qualifying year
classes before starting the program as described
above. The qualifying program is described under
the M.S. as semesters 1 and 2.
2
Prototypes I
Elective
2
Credit subtotal
11
Curricula
184
Curricula
185
School of Information and
Library Science
M.S. in Library and Information Science
M.S. in Library and Information Science:
M.S. in Museums and Digital Culture
M.S./M.F.A. in Library and Information
Library Media Specialist
Semester 1
Science/Digital Arts
Semester 1
Semester 1
LIS-651
Information Professions
3
LIS-651
3
LIS-652
Information Services and
Sources
3
LIS-653
Knowledge Organizations
3
LIS-648
Library Media Centers
3
Elective Credits
3
Credit subtotal
9
Credit subtotal
9
Semester 2
Resources
3
3
LIS-654
Information Technologies
3
Elective Credits
3
ED-610
Child Development
3
Credit subtotal
9
LIS-691
Serving Children and Youth
with Disabilities
3
Elective Credits
9
Credit subtotal
12
Credit subtotal
9
Knowledge Organization
3
LIS-654
Semester 3
Semester 4
Elective Credits
9
Credit subtotal
9
Museums & Digital Culture:
Theory and Practice
3
LIS-681
Community Building and
Engagement
3
LIS-653
Semester 2
LIS-652
LIS-653
Semester 3
LIS-676
Literature and Literacy for
Children
3
LIS-677
Young Adults
3
Credit subtotal
36
6
Semester 4
LIS-690
Student Teaching: Elementary 3
ED-608
The Roots of Urban Education 3
Elective Credits
Credit subtotal
3
9
LIS-680
LIS-654
LIS-655
3
Elective credits
3
Credit subtotal
9
Total Credits required
45
3
Credit subtotal
9
Digital Preservation and
Curation
LIS-669
Digital Asset Management
LIS-663
Metadata, Description and
Access
LIS-670
Cultural Heritage Access and
Description
LIS-663
Programming for Cultural
Heritage
LIS-647
Visual Resources Management
LIS-695
Photography Collections
Credit subtotal
3
LIS-651
3
LIS-657
Digital Humanities
3
Information Visualization
DDA-572
or
DDA-626
Electronic Music and Sound
LIS-658
LIS-680
Instructional Technologies
DDA-600
Digital Arts In Context
3
LIS-675
Museum and Library Education and
Outreach
DDA-610
Fundamentals of Computer
Graphics
3
Museums & Library Research at
Metropolitan
DDA-616
Design for Interactive Media
3
Credit subtotal
15
LIS-652
Sources
3
LIS-653
3
DDA-500
Interactive Studio, or
DDA-585
Interactive Installation
3
DDA-622
Interactive Media
3
Electives may be selected from the below
lists of required or recommended courses.
Credit subtotal
12
DDA-587
Physical Computing
3
DDA-660
Thesis II
3
Credit subtotal
17
86
LIS-665
Projects in Digital Archives
LIS-668
Projects in Moving Image and
Sound Archives
9
LIS-669
Digital Asset Management
3
LIS-630
Information Science Research 3
Elective
3
Credit subtotal
9
LIS-643
Information Architecture &
Interaction Design
NYSED certification requirements
LIS-608
Human Information Behavior
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.
LIS-644
Usability; Theory and Practice
LIS-698
3
Elective
3
Seminar/ Practicum with
Research Project
3
Course in Child/Adolescent Psychology
3
Credit subtotal
9
One semester of a foreign language
3
Total Credits required
36
Workshop in Child Abuse Prevention
0
Workshop in Life Safety and
0
Violence Prevention
0
3
DDA-614
3-D Modeling
3
DDA-660
Thesis I
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
asterisks (See List).
Electives (See List)
3
Credit subtotal
18
LIS
Elective Course
3
LIS
Elective Course
3
Semester 6
3
LIS
Course from the list of
3
“Required Electives” (See List)
DDA-620
Graphics Programming
3
DDA-625
Video Editing
3
Credit subtotal
12
Semester 4
Subtotals by Degree:
M.S. in LIS
30
M.F.A. in DA
45
Elective Courses—M.F.A. in DA
Recommended Electives
LIS
3
“Required Electives” (See List)
LIS
“Recommended Electives”
(See List)
3
DDA-645
Digital Imaging Studio
3
DDA-650
Thesis Research
3
Credit subtotal
12
Semester 4
Elective Course (Electives
may be selected from lists of
required or recommended
courses.)
DDA
Semester 2
LIS-654
LIS
Audio for Digital Media
Semester 3
Semester 3
Choose one from the following:
Semester 5
Information Policy
3
3
Semester 1
LIS-611
LIS-629
Choose one course from the following:
Student Teaching: Secondary 3
Semester 2
Semester 5
LIS-692
Electives
LIS-679
DDA-587
Physical Computing
3
DDA-612
Digital Imaging
3
DDA-614
3-D Modeling
3
DDA-620
Graphics Programming
3
Other Electives
DDA-510
Artist Books in the Digital Age 3
DDA-513
3-D Lighting and Rendering
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
3
Curricula
186
Curricula
187
School of Liberal Arts
and Sciences
Advanced Certificate in Archives
Elective Courses—M.S. in LIS
Semester 1
Recommended Electives
LIS-625
Required Electives: 6 credits (two 3-credit
courses) related to digital technology and
information; students select two courses from
the following:
LIS-608
Human Information Behavior
Conservation and Preservation 3
LIS-643
Information Architecture and 3
Interaction Design
LIS-665
Metadata, Description and
Access
3
LIS-680
Instructional Technology
3
LIS-693
Digital Libraries
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.
Credit subtotal
3
Advanced Certificate in Library
Information Studies
Media Specialist
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
Pratt-SILS or another accredited library school.
LIS-699
3
Museum Library Research
LIS-632
Conservation and Preservation
LIS-667
Art Librarianship
Credit subtotal
3
LIS-686
Performing Arts Librarianship
12
LIS-688
Map Collections
LIS-689
Rare Books and Special
Collections
LIS-697
Special Topics in Florentine Art
and Culture
LIS Elective courses:
LIS-632
Conservation and Preservation
LIS-650
Principles of Records
Management
Credit subtotal
LIS-686
Performing Arts Librarianship
LIS-643
Information Architecture
Special Topics in Electronic
Collections and Sources (SS)
3
LIS-688
Map Collections
LIS-665
Online Databases Humanities
and Social Sciences
3
3
LIS-642
Special Topics in Thesaurus
Design and Construction
3
LIS-686
Special Topics in Performing
Arts Librarianship
3
LIS-696
Special Topics in Special
Collections Institutes
3
LIS-698
Practicum/Seminar
3
9
LIS-629
3
3
Credit subtotal
3
Special Topics in the Art
World: Services and Sources
Information Systems Analysis
3
Credit subtotal
LIS-618
Abstracting and Indexing
Student Teaching I
LIS-677
Management of Electronic
Records
LIS-641
LIS-690
Curatorial:
LIS-669
LIS-634
3
LIS Elective from the following courses:
3
3
Children
3
Information Policy
Academic Libraries and
Scholarly Communication
LIS-676
LIS Elective (See list below)
LIS-611
LIS-631
30
3
Semester 2
Special Topics in Museum and 3
Library Research
Library Media Centers
Semester 1
LIS-665
LIS-629
30
LIS-689
Rare Books and Special
Collections
LIS-694
Film and Media Collections
LIS-695
Photography Collections
LIS-634
Conservation
LIS-635
Archives Application
LIS-655
Digital Preservation
3
3
Semester 1
LIS-648
3
Special Topics in Online Data- 3
base Searching and Services
LIS-623
Credit subtotal
M.S. in History of Art and Design
Semester 1
Credit subtotal
Metadata
LIS-621
24
LIS-698
LIS-663
LIS-605
6
LIS Elective Courses (8)
(See Concentration Advisor)
3
Seminar and Practicum
Independent Study
LIS Elective (See list below)
Semester 4
LIS-698
Museum Libraries
1 course is required:
Semester 3
3
LIS-663
3
Semester 2
3
LIS-632
Management of Archives and
Special Collections
Advanced Certificate in
HA-602
or
HA-650
Art History (Film/Design
Electives)
Digital Technology:
9
3
Instructional Technology
3
Semester 2
Student Teaching II
3
HA-602
or
HA-650
Theory and Methodology
HA-650
Materials, Techniques, and
Conservation
9
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.
LIS Elective from the following courses:
Credit subtotal
LIS-692
NYSED certification requirements
Semester 2
3
LIS-680
18
Course in Child/Adolescent Psychology
3
One semester of a foreign language
3
Workshop in Child Abuse Prevention
0
Workshop in Life Safety and
Violence Prevention
0
3
Art History (Architecture
Electives)
3
3
Conservation
Young Adults
Credit subtotal
3
Conservation
Art History (Non-Western
Electives)
3
Elective Credits
3
Credit subtotal
9
Art History (Pre-Renaissance
Electives)
3
Semester 3
Art History (Renaissance/
Baroque Electives)
3
Elective Credits
3
LIS-680
Credit subtotal
9
LIS-693
Digital Libraries
Semester 4
LIS-697
Special Topics in London/
E-Publishing
HA-605
Thesis
3
LIS-651
Web Design
Art History (Renaissance/
Impressionism Electives)
3
Credit subtotal
Elective Credits
3
3
3
Semester 3
Credit subtotal
LIS-668
Projects & Moving
LIS Elective from the following courses
LIS-670
Cultural Heritage
Museum Library Education and Outreach:
LIS-697
Special Topics in Research
Local Histories
LIS-675
LIS-697
Special Topics in Cultural
Heritage Conservation
Museum and Library Education 3
Outreach
Credit subtotal
3
3
Credit subtotal
3
12
Semester 4
LIS-698
9
36
188
Curricula
M.S./M.S. in History of Art and Design/
M.S./M.F.A. in History of Art and
Design/Fine Arts
Semester 1
LIS-651
LIS-652
HA-602
or
HA-650
3
Sources
3
3
Semester 1
Semester 1
HA-602
3
Studio Elective
3
Studio Major
3
Art Criticism/Analysis/History 3
2
Credit subtotal
11
Credit subtotal
3
Mentored Studies I
1
HA-560
Museology
3
HMS-549A
Encounters I
1
WR-602A
Writing Practices I
3
HA-610
Internship
6
6
WR-601
The Writing Studio
4
HA-610B
Internship
6
Credit subtotal
10
Writing Elective
2
A choice of 6 elective credits from:
Credit subtotal
10
HA-600I
Materials and Techniques
of Venice, Pratt in Venice
Program
3
ADE-524
Student Teaching in
the Gallery
2
LIS-629
Museum and Library
Research
3
LIS-632
Conservation and
Preservation
3
ACM-621
Strategic Marketing
2
ACM-622
Fundraising for the Arts
and Culture
2
Semester 2
HMS-549B
HMS-650B
Semester 3
Studio Elective
3
3
HMS-659A
Studio Major
3
HA-602
or
HA-650
Conservation
2
Credit subtotal
11
3
Elective
3
Credit subtotal
Semester 3
Required core courses:
WR-600A
3
LIS-654
HA-650
Semester 1
3
3
3
Advanced Certificate in Museum Studies
Methodologies I
Conservation
189
HMS-650A
15
Semester 2
LIS-653
M.F.A. in Writing
M.A. in Media Studies
Theory, Criticism, and History of Art, Design,
and Architecture Requirements
Conservation
Semester 2
Encounters II
1
Semester 2
6
WR-600B
Mentored Studies II
1
Methodologies II
3
WR-601
The Writing Studio
4
Credit subtotal
10
HMS Elective
3
Writing Elective
2
Thesis Workshop
4
Credit subtotal
10
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
ACM-624
Arts and Cultural Education
2
Writing Elective
2
ACM-642
2
Credit subtotal
10
Nonprofit Law and
Governance
ACM-651
2
21
18
Semester 3
WR-601
The Writing Studio
4
Finance and Financial
Reporting for Nonprofit
Managers
WR-603B
Fieldwork Residency II
4
6
Elective
3
WR-604A
Final Thesis Project
1
6
Credit subtotal
14
Credit subtotal
9
39
FA-601
Thesis Statement I
2
FA-650B
6
Library Science Elective
6
Credit subtotal
12
FA-650A
Semester 4
Thesis 1
5
Semester 4
Studio Elective
3
Credit subtotal
12
5
Thesis II
5
6
Studio Elective
3
Credit subtotal
11
Elective
3
Thesis
3
Credit subtotal
13
Credit subtotal
3
60
Electives
9
Credit subtotal
9
Thesis
3
Elective
3
Credit subtotal
6
75
Semester 5
Semester 4
Semester 6
HA-605
Curricula
Semester 5
Semester 6
HA-605
(For the M.S. degree—one elective in each of
the distribution requirement fields: Film/Photo/
Design, Architecture, Non-Western, PreRenaissance, Renaissance through 18th Century,
19th/20th/21st Centuries)
190
Architecture Faculty
Vito Acconci
Adjunct Associate Professor
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 bridge-system 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.
Carlos Arnaiz
Adjunct Assistant Professor
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.
191
Kutan Ayata
Robert Cervellione
Manuel De Landa
Catherine Ingraham
Mehmet Ferda Kolatan
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.
Visiting Instructor
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.
Adjunct Professor
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.
Visiting Assistant Professor
M.S. Advanced Architectural Design, Columbia
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.
Alexandra Barker
Steven Chang, AIA
Adjunct Assistant Professor; Coordinator,
M.Architecture
B.A., Harvard University; M.Arch., Harvard
University; has coordinated the M.Arch 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.
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.
Professor
B.A., St. John’s College; M.A., Ph.D., The
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.
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.
Cristobal Correa
Assistant Professor
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, longspan 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
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.
Professor
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.
Deborah Gans
Professor
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, Hastingson-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.
Hina Jamelle
B.A., Denison University; M.Arch., University
of Michigan; co-director and a principal architect
at Contemporary Architecture Practice with
Ali Rahim.
James Garrison
Robert Kearns
B.Arch., Syracuse University; founder of Garrison
Architects, a firm founded in 1991 and located in
DUMBO, Brooklyn; since its inception, the firm
has risen to the forefront of modular building
and sustainability innovation; working across
a diverse range of project types, from private
residential to large-scale public work, Garrison
Architects pairs a research-driven approach to
design with highly refined modernist aesthetics;
the firm collaborates with designers, engineers,
and manufacturers to produce architecture that
responds to economic, cultural, technical, and
environmental challenges.
B.A.E., 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.
Erik Ghenoiu
Karel Klein
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.
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.
Jose Gonzalez
University; cofounder and principal, SOFTlab, a
design studio.
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.
Sulan Kolatan
Adjunct Professor
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.
Craig Konyk
B.Arch., Catholic University; M.Arch., University
of Virginia; founder of Konyk Architecture, a selfdescribed creative architectural design studio,
a characteristic that is evident in all of its work,
ranging from the smaller-scale designs, such as
its Hybrid House, to its larger-scale proposals for
the Museum of Polish History; the firm creates
eye-catching structures that are rooted on the
contextual underpinnings of the site, supported
by their studies of sustainability, or constitute a
redefinition of the public realm; the firm has been
awarded two NYFA fellowships, two ACSA Design
Awards, six AIA New York Chapter Design Awards,
and has exhibited work at Parsons School of
Design, the Architectural League of New York, and
the Storefront for Art and 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.
192
Sameer Kumar
Ariane Lourie-Harrison
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.
A.B., Princeton University; M.Arch., Columbia
University; Ph.D. (modern architecture), Institute
of Fine Arts, New York University; registered
architect; principal and co-founder of Harrison
Atelier: recent projects include a theaterpavilion at Architecture OMI (Ghent, NY, 2014)
and installation-performances VEAL (The Invisible
Dog Art Center,2013), Pharmacophore (Storefront
for Art and Architecture, 2011), and Anchises
(Bournemouth, Bristol, and New York, 2010); has
been recognized for innovative installation design
(World Stage Design, 2013); editor of an anthology,
Architectural Theories of the Environment:
Posthuman Territory (Routledge, 2013) and
contributed to a number of architectural journals
(Log, Perspecta, Speciale Z, Volume); received
fellowships from the AIA/AAF, the Marandon
Foundation, and the Mellon Foundation; has
taught at Yale and MIT.
Sanford Kwinter
Professor
B.I.S. University of Waterloo/University of
Toronto; D.E.A., Université de Paris; M.A., M.Phil.,
Ph.D., Columbia University; founder/editor
ZONE 1984-2001; co-director, Master of Design
Studies, Harvard University Graduate School
of Design, 2008-2014; author: Architectures of
Time: Toward a Theory of the Event in Modernist
Culture; Mutations: the American City; Far From
Equilibrium: Essays on Technology and Design
Culture; Requiem: For the City at the End of the
Millennium; recipient of Arts and Letters Award,
American Academy of Arts and Letters, 2013.
Thomas Leeser
Associate Professor
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.
John Lobell
Professor
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., M.Phil., 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 (SCIArc), Paris (ESA, Malaquais), Mexico City (UNAM),
and Tokyo (TUS).
William MacDonald
Chair of Graduate Architecture 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, 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 start-up.
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.
193
Deborah McGuinness
Brian Ringley
Paul Segal
Visiting Associate Professor
B.S., Civil Engineering, Villanova University; joined
Robert Silman Associates in 1994 and was named
an associate with the firm in 2001; works on a
range of building types, from private residences to
university laboratories; has extensive experience
with new construction and renovation projects
for primary and secondary schools in both the
public and private sector; Professional Engineer
registered in New York State; has been on the
Board of Directors for SEAoNY as a director and
secretary and is currently active in the education
and scholarship committees.
B.Arch., M.Arch., University of Cincinnati; design
technology platform specialist at Woods Bagot
leading global efforts on computation, fabrication,
and building analysis; has also taught at the
University of Cincinnati and the City University
of New York and led workshops at Rensselaer
Polytechnic Institute, +FARM, and ACADIA with a
focus on data-driven parametric workflows for
automated manufacturing.
Adjunct Professor
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.
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.
Bruce Nichol, ARB, RIBA
Visiting Professor
B.A. (Hons), Huddersfield Polytechnic; Graduate
Diploma, Architecture, Oxford Brookes University;
a licensed architect in the U.K. and a founding
partner of Front Inc.; formerly with Foster and
Partners and the Renzo Piano Building Workshop;
has over 25 years of architectural experience;
an exponent of protean practice and design
innovation, his built work includes the Morgan
Library and Museum, and the New York Times
Building, New York, Perez Art Museum, Miami, and
the Kimbell Art Museum expansion in Fort Worth.
Signe Nielsen
Adjunct Professor
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
Assistant Chair of Graduate Architecture and
Urban Design, Adjunct Associate Professor
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
Associate Professor
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.
Richard Scherr
Director, Facilities Planning, Adjunct Professor
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.
Benjamin Shepherd
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
10, 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
Maria Sieira
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 ; also one of the founding members
of the Compostela Architecture program in
Santiago de Compostela, Spain.
Henry Smith-Miller
Adjunct Professor
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.
Urban Design Faculty
195
Stéphanie Bayard
Carla Leitao
Benjamin Martinson
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.
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.
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.
194
Roland Snooks
Nanako Umemoto-Reiser
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.
Adjunct Professor
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.
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 Columbia University.
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-Ohouse, an interactive artwork in The Netherlands,
and Maison Folie, a cultural center in Lille.
Jason Vigneri-Beane
Adjunct Associate Professor; Coordinator,
M.S., Architecture
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.
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 and
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.
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 bridge-system 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.
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® 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 Professor
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 The New 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.
William MacDonald
Chair of Graduate Architecture
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.
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.
Signe Nielsen
Adjunct Professor
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
Assistant Chair of Graduate
Architecture 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
Associate Professor
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.
City and Regional Planning Faculty
197
Frank Lang, R.A.
Larisa Ortiz Pu-Folkes
Lacey Tauber
M.Arch., University of Pennsylvania; B.Arch.,
Columbia University; Director of Housing,
St. Nick’s Alliance.
M.C.P., Massachusetts Institute of Technology;
principal, Larisa Ortiz Associates.
M.S., City & Regional Planning, M.S., Historic
Preservation, Pratt Institute; Legislative Director,
NYC City Councilmember Reynoso.
196
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 Professor
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.
City and Regional
Planning Faculty
Moshe Adler
Ph.D., University of California, Los Angeles; Adjunct
Associate Professor, Columbia University.
Caron Atlas
M.A., University of Chicago; B.A., University of
Chicago; Director, Arts Democracy Project.
Eddie Bautista
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.
Mindy Fullilove
M.S., Nutrition, M.D., Columbia University;
Co-Director, Columbia University Community
Research Group; Professor, Columbia University.
Moses Gates
M.S.C.R.P., Pratt Institute; Executive Director,
New York City Environmental Justice Alliance.
M.U.P., Hunter College; Director, CHAMP,
Association for Neighborhood Housing
Development.
Jennifer Becker
Eva Hanhardt
M.S.C.R.P., Pratt Institute; consultant, Pratt
Center for Community Development.
Bethany Bingham
M.S., Pratt Institute; B.A. University of Cincinnati;
Community Specialist, Partnerships for Parks.
Jessica Braden
M.A., Geography and Planning, University of
Toledo; B.A., University of Toledo; Director, Pratt
Center for Spatial Analysis Visualization Initiative.
David Burney
M.U.P., New York University; B.A., Brown
University; advisor to the NYC Environmental
Justice Alliance and other civic organizations.
Daniel Hernandez
M.Arch., University of California; B.S., California
State University; Director of Planning Practice,
Jonathan Rose Companies.
George Jacquemart, P.E.
M.S.U.P., Stanford University; principal,
BFJ Planning.
Associate Professor
M.S., University of London; Dip. Arch., Heriot
Watt University, Edinburgh; Dip. Arch., Kingston
University, London; former Commissioner, NYC
Department of Design and Construction.
David Kallick
Joan Byron
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.
B.Arch., Pratt Institute; Urban and Regional Policy
Fellow, Harvard University; Director of Policy, Pratt
Mike Flynn
University of Vermont; M.S.C.R.P, Pratt Institute;
Director of Capital Planning, NYC Department of
Transportation.
Michael Freedman-Schnapp
M.S.U.P, New York University; Director of Policy,
NYC City Council.
B.A., Yale University; Grundstufe, Goethe Institut;
Senior Fellow, Fiscal Policy Institute.
Nicholas Klein
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
Kottamasu Video and Design.
Tanu Kumar
M.S., Cornell University; B.A., Williams College;
Senior Planner for Economic Development, Pratt
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.
Elliott Maltby
Juan Camilo Osorio
M.S., University of Massachusetts; B.Arch.,
Universidad Nacional de Columbia; Director of
Research, NYC Environmental Justice Alliance.
Stuart Pertz
M.Arch., B.Arch., Princeton University; École
des Beaux Arts, Fontainebleu, France; former
member, New York City Planning Commission;
founding chair, Pratt Institute Graduate Urban
Design Program.
Steven Romalewski
M.L.A., University of California at Berkeley;
principal, Thread Collective.
M.S., Columbia University; Director, CUNY Mapping
Service, Center for Urban Research at The
Graduate Center/CUNY.
Michael Marrella
John Shapiro, AICP
M.C.P., Certificate in Urban Design, Massachusetts
Institute of Technology; Director, Waterfront
and Open Space Planning, NYC Department of
City Planning.
Associate Professor
Chair, Graduate Center for Planning and the
Environment; M.S.C.R.P., Pratt Institute; formerly
principal, Phillips Preiss Shapiro Associates,
Planning Consultants.
Jonathan Martin
Ronald Shiffman, FAICP, FAIA
Associate Professor
Ph.D., Cornell University; M.R.P., Cornell
University; B.S.D., Arizona State University;
Associate, Buckhurst, Fish and Jacquemart,
Planning Consultants.
Professor
M.S.C.R.P., Pratt Institute; B.S.Arch., Pratt
Institute; founder, Pratt Center for Community
Development.
William Menking
Professor
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.
Mercedes Narciso
M.S.C.R.P, Pratt Institute; B.A., Simon Bolivar
University; formerly Senior Planner, Pratt Center
for Community Development.
Signe Nielsen
Adjunct Professor
B.L.Arch., City College of New York; B.A., Smith
College; B.S., Pratt Institute; principal, Mathews
Nielsen Landscape Architecture.
Toby Snyder
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.
Daniel Steinberg
Doctoral Candidate, Urban Planning, Columbia
University; B.A., University of Chicago.
Samara Swanston
J.D., St. John’s University; counsel to the
Environmental Protection Committee, NYC
City Council.
Petra Todorovich
M.S.C.R.P., Rutgers University; former Director of
America 2050, Regional Plan Association; Senior
Officer of Outreach, Amtrak.
Meg Walker
M.Arch., Columbia University; Vice President,
Project for Public Spaces.
Ben Wellington
Ph.D., M.S., Computer Science, New York
University; Quantitative Research Analyst Two
Sigma Investments; Co-Founder, Cherub Improv.
Andrew Wiley-Schwartz
Former Assistant Commissioner,
NYC Department of Transportation; consultant
at Bloomberg Associates.
Barika Williams
M.C.P., Massachusetts Institute of Technology;
B.A., Washington University in St. Louis; Policy
Director, Association for Neighborhood and
Housing Development.
Edward Perry Winston, R.A.
M.A., Harvard University; M.Arch., Rice University;
Senior Architect, MAP Architects.
Ayse Yonder
Professor
Ph.D., University of California at Berkeley;
M.C.P., University of Pennsylvania; Diploma for
Architecture, Istanbul Technical University.
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199
Systems Faculty
Tom Jost
Ronald Shiffman, FAICP, FAIA
M.U.D. Urban Design, Pratt Institute; B.A.
Economics, Lehigh University; senior urban
strategist, Parson Brinckerhoff.
Professor
M.S.C.R.P., Pratt Institute; B.S. Arch.,
Pratt Institute.
Bridget Anderson
Gavin Kearney
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.
Assistant Professor, Department
of Mathematics and Science
Ph.D., Rensselaer Polytechnic Institute.
Carter Craft
Visiting Assisting Professor
J.D., University of Minnesota; B.A., Lawrence
University; director, Environmental Justice
program, New York Lawyers for the Public
Interest.
Katie Kendall
Visiting Assisting Professor
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.
Sarah Kogel-Smucker
J.D., Boston College Law School; Senior Counsel,
New York City Law Department
Elliott Maltby
M.L.A., University of California at Berkeley; B.A.,
Kenyon College; principal, Thread Collective.
Paul Mankiewicz, Ph.D.
Ph.D., City University of New York; founding
director, Gaia Institute.
Michael Marella
Director of Waterfront and Open Space Planning,
NYC Department of City Planning.
M.U.P., New York University; co-founder,
Metropolitan Waterfront Alliance; managing
member, Outside New York.
Gita Nandan
Adam Friedman
Carolyn Schaeberle
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
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).
M.Arch., University of California at Berkeley;
principal, Thread Collective.
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.
Sarah Kogel-Smucker
Visiting Assistant Proffessor
J.D., Boston College Law School; Senior Counsel,
New York City Law Department
Jaime Stein
Coordinator, Sustainable Environmental Systems
M.S., Pratt Institute; B.S., Millersville University.
Ira Stern
Facilities Management Faculty
Lennart Andersson
M.Arch., Savannah College of Art and Design; M.B.
Engr., Wasa Gymnasium, Stockholm, Sweden;
associate, The LiRo Group, New York, NY.
M.S.C.R.P., Pratt Institute; regional manager,
Bureau of Water Supply for the New York City
Department of Environmental Protection.
Regina Ford Cahill
Gelvin Stevenson, Ph.D.
Matthias Ebinger
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.
Chair, Associate Professor
B.S., SUNY Downstate Medical Center; M.S.,
Pratt Institute
M.S. Construction Management, New York
University; LEED; Dipl.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 of prior
experience in the information technologies
(IT) industry; managing principal of HENRY
Consultants, Inc., an IT services firm he cofounded 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 of experience in facility and construction
management; has provided services for various
clients including Goldman Sachs, CitiGroup,
McGraw-Hill, and Hertz.
Harriet Markis
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 of 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.
Mary Matthews
Edward Re
Professor 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.
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).
Gerald F. McGowan
Norman Rosenfeld
M.B.A. Management, New York University; ALM
Media, Inc., director, Real Estate and Purchasing;
professional affiliations: IFMA, CoreNet.
B.Arch., Pratt Institute; Norman Rosenfeld
Architects LLC.
Martin McManus
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.
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 at
New Paltz; J.D., University of South Carolina
Law Center; John Osborn, P.C. Attorneys and
Counselors at Law; practice areas include
environmental law, construction law, surety law,
healthcare law, commercial litigation, hospitality
law, and professional liability defense; author
and frequent speaker on construction and
environmental law, risk management, and dispute
resolution; 2000 Member of the Year, Greater
New York Construction User Council.
Audrey L. Schultz
Associate Professor
M.S. Architecture, Concentration in Construction
Management, Virginia Polytechnic Institute
and State University; Ph.D., Built Environment,
Concentration in Lean Facilities Management, The
University of Salford; 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.
Art and Design Education Faculty
201
Shari Fischberg
Tonya Leslie
Theodora Skipitares
Adjunct Instructor
B.F.A., The School of The Museum of Fine Arts
Boston; B.A., Tufts University; M.F.A., CUNY Queens
College. With more than 15 years of experience as an
urban art educator in New York City, Boston, and
Oakland, Fischberg was honored by the New York
City Board of Education as Teacher of the Year in
2000. A previous director of special programs for the
Studio in a School Association, she has created
professional development programming for teaching
artists with MoMA, Queens Museum, and Asia
Society. She has conceived and implemented
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.
Visiting Instructor
B.A, SUNY New Paltz; M.A., New York University;
Ph.D. candidate in Teaching and Learning at New
York University. Leslie is an educational consultant;
her work focuses on academic resilience and
culturally responsive pedagogy. She has worked
nationally as a researcher, editor and professional
development provider for organizations including
NYU’s Metro Center, Scholastic Inc., and the
Schomburg Center for Research and Black
Culture. She is also the author of several children’s
books including True You: Sometimes I Feel Ugly
and Other Truths about Growing Up, available
online through Dove’s Campaign for Real Beauty.
In 2014, she received a Fulbright Hays for research
in Belize.
Associate Professor
B.S., University of California at Berkeley; M.F.A., New
York University. An interdisciplinary artist, Skipitares
has exhibited work and performed throughout
Europe, Asia, and South America. She has received
grants from the NEA, NYFA, UNIMA, and the
Guggenheim, Fulbright, and Rockefeller Foundations, among others; twice, The New York Times has
named her plays among the 10 best of the year, and
her production Iphigenia won two New York
Innovative Theater Awards. She has created
performances in Vietnam, Cambodia, and Korea,
and travels frequently to India to develop new
projects. She has taught workshops to diverse
populations with Hospital Audiences, Inc. and has
developed classes and performances at Rikers Island
Prison. Her most recent performances and
exhibitions include the Ionesco Project at the Long
Island University Gallery and Rituals of Rented Island:
Object Theater, Loft Performance and the New
Psychodrama—Manhattan, 1970–80 at the Whitney
Museum. Currently she is planning workshops at
Gibb Mansion, a housing facility for homeless and
chronically ill community residents, managed by
Pratt Area Community Council.
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Historic Preservation Faculty
Lisa Ackerman
B.A., Middlebury College; M.B.A., New York
University; M.S., Pratt Institute; C.O.O., World
Monuments Fund.
Beth Bingham
M.S., Pratt Institute
Patrick Ciccone
B.A., M.S., Columbia University; Partner,
Gambit Consulting; Principal, Charles Lockwood
and Associates.
Carol Clark
B.A., University of Michigan; M.S., Columbia
University; assistant commissioner, New York
City Department of Housing Preservation and
Development.
Peter Destabler
B.A., Bowdoin College; M.A., Ph.D., Institute of
Fine Arts, New York University
Pat Fisher-Olsen
B.A., Thomas Edison State College; M.S.,
Pratt Institute; coordinator, Historic
Preservation Certificate Program, Bucks
County Community College.
Eric Ghenoui, Ph.D.
B.A., Clark University; M.S., University of Wisconsin
at Madison; M. A., Ph.D., Harvard University
Bill Higgins
B.A., Boston College; M.S., Columbia University;
partner, Higgins and Quasebarth Historic
Preservation Consultants.
Anne Hrychuk, Ph.D.
B.A., University of Alberta; M.A., Ph.D.,
New York University.
Ben Margolis
B.A., University of Wisconsin at Madison;
M.P.A. Urban Policy, Columbia University;
Norman Mintz
B.A., Industrial Design, Pratt Institute;
M.S., Columbia University; design director,
34th St. Partnership; founder, New York
Main Street Alliance.
Art and Design
Education Faculty
Lisa Baumwell
B.A., Amherst College ; M.S. Historic Preservation,
Columbia University
Visiting Associate Instructor
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.
Theodore Prudon, Ph.D, FAIA
Lisa Capone
Nadya K. Nenadich, Ph.D.
Academic Coordinator
B.Arch., Pratt Institute; M.S., Columbia University;
Ph.D., Polytechnic University of Cataluña
Christopher Neville
Adjunct Professor
M.A., M.S., Ph.D., Columbia University; M.S.,
University of Delft, the Netherlands; partner,
Prudon and Partners, LLP; president, Docomomo
U.S.; author: Preservation of Modern Architecture
(Wiley, 2008).
Lacey Tauber
B. Journalism, University of Texas at Austin;
M.S., Pratt Institute; Legislative Director
and Communications for Council Member
Antonio Reynoso.
Vicki Weiner
B.A., Drew University; M.S., Columbia University;
director of planning and preservation, Pratt
Kevin Wolfe
B. A., Holy Cross College; B.L.A., City College
of New York; M.A., Clark University; M.Arch.,
Columbia University
Arthur Zabarkas
B. Arch, Pennsylvania State University; M.S. Urban
Planning, Columbia University; Architectural
Association, London, England
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
and focus on sculpture and 3-D art-making,
she has taught in a variety of private and public
educational venues throughout New York City and
was director and founder of the art program Salon
Enfants. Her most recent exhibition took place at
the Oklahoma City Museum of Art 2012 in Fusion/A
Century of Glass. Her publication features include
Interior Design Magazine, New Glass Review and
Art in America. She has received two Pratt Faculty
Development Grants for her ongoing series
Beauty and 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 was a
teaching artist with Studio in a School for nine
years, most recently as a research-facilitator with
Arts Achieve, a Federal i-3 research project
investigating the role of assessment in student
achievement in the arts. She has conducted
workshops for Studio in a School artists, trained
Department of Education art teachers in the
implementation of the New York City Blueprint,
and collaborated with fellow Studio in a School
artists to bring children from diverse areas of the
city together through art making. In her research
she has looked at how different materials and
processes enable young children to make their
learning visible, and what occurs when kindergarten students are directed away from storytelling in
the art room. Elmer-Dewitt works across several
processes, primarily photography and painting.
Her recent works were exhibited at the Edward
Hopper House in Nyack, NY and at the MS Renzy
Gallery in Lexington, KY. She completed a
one-month painting residency at the Vermont
Studio Center in Johnson, Vermont.
Borinquen Gallo
Assistant Professor
B.F.A., Cooper Union, M.F.A., Hunter College;
Ed.D. candidate, Teachers College, Columbia
University. Areas of expertise include
contemporary art practices and contemporary
art-based education, studio-based education,
and the intersections of curation and education.
Born in Rome and currently living in NYC, she has
more than 10 years of planning, development and
management experience in the education sector.
She has organized and facilitated professional
development workshops for art educators citywide
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, the Kate Shin Gallery,
and the Queens Museum of Art in New York.
Recent residencies include the Vermont Studio
Center (2013) and the Artists in the Marketplace at
the Bronx Museum of the Arts (2015).
Christopher Kennedy
Assistant Professor
B.S., Environmental Engineering, Rensselaer
Polytechnic Institute; M.A., Education, New York
University; Ph.D., Education Studies, University
of North Carolina at Greensboro. A teaching
artist and organizer, Kennedy works with schools,
youth and artists to create site-specific projects
exploring trans-disciplinary exchange, digital
storytelling, and social engagement. He has
worked as a science and art teacher in schools
across NYC, as the education curator for an
experimental residency and living museum called
Elsewhere in Greensboro, North Carolina, and has
designed curricula and programming for MoMA,
the Cooper-Hewitt, the Ackland Museum, PAFA
and a host of nonprofits. His research interests
include participatory art and public pedagogy,
experimental bookmaking, and the experience of
LGBTQ youth in the art classroom.
Heather Lewis
Associate Professor
Ph.D., New York University; 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 historical study of Harlem’s
community control movement as part of Columbia
University’s Educating Harlem project. As part of her
active engagement in efforts to improve teaching
and learning in higher education, she is the recipient
of a Pratt Faculty Innovation Grant to support her
Assessment by Design project.
Joshua Millis
Visiting Instructor
B.F.A.,Tyler School of Art; M.F.A., The School of
The Art Institute of Chicago; Millis has taught art
to students ranging from four to 95 years old. As a
Studio in a School teaching artist, he taught art of
various media in more than 20 schools and other
community settings; he has led workshops for
DOE art teachers in the implementation of the
NYC Blueprint for the Arts, and collaborated on
i-3 Arts Achieve, a federal innovation research
grant. Millis has designed and led summer camp at
the Queens Museum, in addition to being a
teaching artist at several of the museum’s
partnering schools. Millis has also taught adults as
a resident artist in more than six New York Public
Library branches. Since 2008, he has taught at
Pratt Institute as a Visiting Instructor. When he is
not teaching, you can find him painting in his
studio in Brooklyn.
Aileen Wilson
Professor
M.A. in Printmaking, Chelsea School of Art; Ed.D.,
Art/Art Education, Teacher’s College, Columbia
University; recipient of a Fulbright specialist grant,
2011 and 2012 and a National Art Education
Foundation Research Award 2013-2014; recent
projects include Activating Design: Brokering
Change, an exhibition of work by the graduating
students in the School of Design Strategies,
Parsons The New School at the Arnold and Sheila
Aronson Gallery, 2013; and Studio Pedagogy: The
Imperative of Teaching, a group exhibition with
Kim Beck, Adam Brent, Nina Katchadourian, Sheila
Pepe and students, co-curated with Tara Kopp at
the Gallery at Bergen Community College,
Paramus, New Jersey, 2013.
Creative Arts Therapy Faculty
203
Jean Davis
Fred Landers
Sara Rothstein
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.
Visiting Instructor
Ph.D., LCAT, RDT; Landers is a licensed 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.
Visiting Instructor
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.
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Arts and Cultural
Management Faculty
Catherine Ashcraft
Ph.D., Urban Studies and Planning, Massachusetts
Institute of Technology
Catherine Cacho-Leary
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
Mary McBride
Professor and Chair of Arts and
Cultural Management
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.
Christina Rosan
Ph.D., City Planning and International
Development, Massachusetts Institute
of Technology
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.
M.A., International Education, New York University;
Account Director, WIT Media
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.
Jeffrey Klein
J.D., Fordham University; Chief Development
Officer, Lesbian, Gay, Bisexual and Transgender
Community Center
LCAT, ATR.
Shannon Bradley
Corinna Brown
Denise Tahara
Director, Education and Community at Vimeo;
Leader, Vimeo Video School
Joachim Boenig
JoJo Spiker
Kristen Earls
Daniel Hayek
Visiting Instructor
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.
Ph.D., Human and Organizational Development,
Fielding Graduate University
Christopher Shrum
M.P.S. Design Management, Pratt Institute;
Associate Creative Director, Intermedia.net.
Professor
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.
Claudia Bader
Visiting Instructor
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.
Consultant, Proof Integrated Communications;
Practicum Professor, Boston University Center for
Digital Imaging Arts (CDIA).
Richard Green
Creative Arts Therapy Faculty
Kelly Kocinski Trager
J.D., Brooklyn Law School; Attorney and Founder,
the Law Office of Kelly Kocinski Trager, P.C.
Alicia Whiteman
Director, Operations and International Project
Management, MRM/McCann
Visiting Instructor
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.
Kimberly Bush
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.
Christina Devereaux
Ph.D., LCAT, LMHC, BC-DMT; B.A., Kent State
University; M.A., University of California at 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.
Judith R. Levy
Visiting Instructor
LCAT, LMFT, LP, ATR-BC.
Judith Luongo
Alison Gigl-George
LCAT, LP, ATR.; Licensed Creative Arts Therapist
and Psychoanalyst in private practice in both
disciplines. She graduated from the Pratt Art
Therapy program in 1977 and has been on the
faculty of the Creative Arts Therapy Program
at Pratt since her graduation. She served as
chairperson for the program from 1989-1991. In
addition Judith completed her training as and
open studio facilitator in 2014 at the Open Studio
Project in Evanston Chicago, She has published
writing in the online literary journal Mr. Beller’s
Neighborhood and shown art at BWAC, an artist’s
cooperative in Brooklyn.
LCAT, ATR-BC.
Julie Miller
Ted Ehrhardt
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.
Valerie Hubbs
Visiting Instructor
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.
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.
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
Visiting Professor
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.
Maria Romani de Goes
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;
Madeline Rugh
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.
Jean Seibel
Visiting Instructor
LCAT, BC-DMT.
Linda Siegel
Director of Graduate Art Therapy Program;
Assistant Professor
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, out patient substance abuse program;
co-founder, Park Slope Counseling Center since
1990; exhibiting artist.
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205
Jennifer Frank Tantia
Joan Wittig
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.
Director of Graduate Dance/Movement Therapy
Program; Associate Professor
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.
Laurel Thompson
Associate Professor
Ph.D., LCAT, ATR-BC, BC-DMT; M.P.S., Pratt
Institute; Ph.D., Union Institute and University;
board member, American Dance Therapy
Association; chair of Education, Research and
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.
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. Cofounder 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.
Eva Teirstein Young
Visiting Instructor
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.
Design Management Faculty
Catherine Ashcraft
Ph.D., Urban Studies and Planning, Massachusetts
Institute of Technology.
Laurence DeGaetano
M.B.A., New York University; Financial Officer,
Met Life Financial Services; member, American
Institute of Certified Public Accountants.
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
Visiting Professor
Ph.D., Cornell University; Professor of
Management, New York University, Stern School
of Business Administration.
Scott Fiaschetti
VP, Insights & Strategy, Questus, Inc.
Larry Gibbs
Product and Technology Officer, March
Warden Consulting.
Richard Green
Professor
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
Professor 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.
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.
Christina Rosan
Ph.D., City Planning and International
Development, Massachusetts Institute
of Technology.
Digital Arts Faculty
Peter Patchen
Chair
M.F.A., University of Oregon; Peter Frank Patchen
is a digital artist exhibiting and lecturing nationally
and internationally. He grew up in Colorado
where the natural environment had a profound
influence on his perception of the relationships
that exist between nature, humanity, culture,
and technology. In 1993, he founded the Cyber
Arts (now New Media) program at the University
of Toledo. Recent work includes interactive
artworks, prints, web-based art, and mixed
media pieces.
Carla Gannis
M.B.A., Baruch College; President, The Shadow
Group, an advertising group specializing in
strategy for not-for-profit companies.
Assistant Chair
M.F.A., Boston University; B.F.A., University of
North Carolina at Greensboro; Carla Gannis is the
recipient of several awards, including a 2005 New
York Foundation for the Arts Grant in Computer
Arts, an Emerge 7 Fellowship from the Aljira Art
Center, and a Chashama AREA Visual Arts Studio
Award in NYC. She has exhibited in solo and group
exhibitions both nationally and internationally.
Features on Gannis’s work have appeared in Res
Magazine and Collezioni Edge, and her work has
been reviewed in The New York Times, the Los
Angeles Times, the Miami Herald, the Daily News,
and the Village Voice.
Denise Tahara
Justin Berry
Jo Ann Stonier
J.D., St. John’s University; Senior Vice President,
Global Privacy and Data Protection Officer,
MasterCard Worldwide; former Chief Privacy
Officer, American Express Company.
Marvin Waldman
Ph.D., New York University Robert F. Wagner
Graduate School of Public Service; C.P.A., 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.
Digital Arts
M.F.A., School of the Art Institute of Chicago
Thomas Bone
Professional digital and traditional animator and
cartoonist with over 14 years of professional work
experience in film, television, illustrations, web,
advertising, and merchandising productions.
Liubomir Borissov
Associate Professor
B.S. Mathematics and Physics, California
Institute of Technology; M.P.S. Interactive
Telecommunications, New York University; Ph.D.
Physics, Columbia University; Global Vilar Fellow,
Tisch School of the Arts, NYU; exhibitions: New
Interfaces for Musical Expression conference,
Japan, 2004; Canada 2005; Lincoln Center
Summer Festival, NYC; the Kennedy Center,
Washington, D.C. Borissov has taught at
Harvestworks, Parsons School of Design and
the Columbia University Graduate School of
Architecture, Planning and Preservation.
Svjetlana Bukvich-Nichols
Bukvich grew up during the wildly active music
scene in Sarajevo’s ’80s, with Arabian horses and
four major religions at her doorstep. Her signature
sound weaves deconstructivist dance suites
with polymicrotonal sympho-rock tone poems,
experimental prog rock/world jazz fusions with
musique concrète spirituals, and contemporary
art-song with electronica. A “concert composer/
performer whose music defies boundaries,”
(ASCAP), Bukvich has appeared in the U.S.
and internationally. She has received grants
from the Soros Foundation, the American
Composers Forum, ASCAP’s Buddy Baker Film
Scoring Scholarship, New England Foundation
for the Arts, and the Institute on the Arts and
Civic Dialogue at Harvard University. Bukvich is
featured in the recently released book In Her
Own Words—Conversations with Composers in
the United States (University of Illinois Press). She
was artist-in-residence at Lafayette College, and
collaborated with Pomegranate Arts in New York
in support of Goran Bregovic and His Wedding
and Funeral Orchestra’s North American tour. Her
score Interior Designs was listed as one of the top
10 dance events of 2013 (The Star-Ledger) and has
received the New Music USA, 2013 Live Music for
Dance award. Her album EVOLUTION was released
on PARMA’s Big Round Records in April 2014. In
July, she was an artist-in-residence at the historic
Manley-Lefevre House in Vermont. Bukvich is
also on the faculty at NYU, and is a 2013 New York
Foundation for the Arts Fellow in Music/Sound.
Jonathan Cohrs
Visiting Instructor
Digital Arts
M.F.A., Parsons The New School of Design.
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.
206
Edward Darino
Stephen Jackett
Peter Mackey
Genevieve Okupniak
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.
Visiting Instructor
B.A., Dartmouth College; M.F.A., School of Visual
Arts; works include award-winning commercial
animation for J.J. Sedelmaier Productions,
with clients such as the Oxygen and Discovery
channels, Saturday Night Live, Chef Boyardee, the
Ad Council, and the Chicago Tribune; additional
work includes animated Web advertisements for
ESPN360.com for W/M Animation and an antismoking 3-D animated film for the C. Everett Koop
Institute (1998–99); web-based projects include
3-D animated e-cards for online greeting card
brand MyFunCards and various popular Facebook
applications, such as the FlowerShop, My Own
Superhero, and Smiley Creator. Professor
B.A., Syracuse University; M.F.A., University
of Southern California; has nearly 40 years of
experience writing and directing award-winning
films, videos, multi-image, and interactive
programs and installations for companies such as
GE, Apple, and Simon and Schuster Interactive.
He has taught and lectured in South Korea
and Turkey, writes speculative fiction, and
enjoys pushing the limits of three-dimensional
interactivity, player-mediated generative art, and
artist-friendly microelectronics.
Visiting Instructor
Digital Arts
M.F.A., California Institute of the Arts
Marianna Ellenberg
Visiting Instructor
B.A., Wesleyan University; M.A., Slade School
of Art; 2009 LMCC Swing Space residency;
exhibitions: The N.Y. Underground Film Festival,
2007, The Collectif Jeune Cinéma, 2003, LA
Freewaves, 2006; exhibitions: The Pleasure
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.
Kenneth Hughes
Visiting Instructor
Everett Kane
Assistant Professor
B.A. Religion, Princeton University; B.F.A., with
distinction, Fine Arts, M.F.A., Fine Arts, Art Center
College of Design. Kane is an artist, 3-D animator,
and technical director whose clients include
Nike, Klasky-Csupo, Reel FX, Location One,
CalTech, Sloan-Kettering, Rockefeller College,
Pixel Blocks, New York Festivals, Mirabell Films,
and DZI; exhibitions include Location One, White
Box, Animamus Art Salon, Los Angeles Arboretum,
Art Center College of Design, Hotel Grifou, Pillers
Gallery, Envoy Enterprises, Nezla Productions,
L.A. Municipal Gallery. For the last 16 years, he
has taught 3-D modeling, animation, drawing for
animation, character design, character modeling,
3-D lighting and rendering, VFX, dynamics,
programming for animators, character rigging,
technical direction, digital compositing, digital
painting, digital imaging, web design, interface
design, fine art, critical theory, and experimental
digital media.
Hyunsuk Kim
Visiting Instructor
Digital Arts
Linda Lauro-Lazin
Masters, Computer Graphics, NYIT. Lauro-Lazin
is a cross-disciplinary artist, curator, lecturer
and educator. Her work explores impermanence,
perception and vehicles of communication. She
has been using digital media in her practice since
1986 and is considered a pioneer of digital art.
Lauro-Lazin began her career as a painter and
photographer. She is a Fulbright scholar in art.
Her work is included in Art in the Digital Age by
Bruce Wands. She has been teaching for many
years and has organized and moderated many
guest lectures and panel discussions. She has
served on international art juries and has curated
some provocative exhibitions. Lauro-Lazin has a
great passion for building community and sharing
her ideas about art. She also loves a good story.
David Mattingly
Visiting Instructor
B.F.A., Colorado State University; M.F.A. Art
Center; headed the Matte Department at Walt
Disney Studios where he worked on The Black
Hole, Tron, Dick Tracy, Stephen King’s The Stand,
and I, Robot for Weta Digital in New Zealand;
has produced over 500 covers for most major
publishers of science fiction and fantasy, including
Baen, Bantam, DAW, Del Rey, Dell, Marvel, Omni,
Playboy, Signet, and Tor; for Scholastic Inc., he
painted 54 covers for K.A. Applegate’s Animorphs
series, along with the last five covers for the
Everworld series; illustrated the popular Honor
Harrington series for author David Weber; painted
the latest repackaging of Edgar Rice Burroughs’
“Pellucidar” books for Ballantine Books; two-time
winner of Magazine and Booksellers Best Cover
of the Year award, and winner of the Association
of Science Fiction Artists Chesley award; other
clients include Michael Jackson, Lucasfilm,
Universal Studios, Totco Oil, Galloob Toys, R/
Greenberg Associates, Click 3X, and Spontaneous
Combustion; author of The Digital Matte Painting
Handbook (Sybex, 2011), the first guide to digital
matte painting.
Nicholas O’Brien
Visiting Instructor
M.F.A., University of Colorado at Boulder;
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.
Michael O’Rourke
Professor
M.F.A., University of Pennsylvania; Ed.M., Harvard
University; artist, author, and educator; selected
exhibitions include: Kennedy Center for the Arts,
Washington, D.C.; Musée d’Art Moderne, Paris;
Isetan Museum, Tokyo; Laumont Editions, NYC;
Hong Gah Museum, Taipei; Uma Gallery, NYC.
His artwork encompasses printmaking, murals,
sculpture, drawing, and animation, and frequently
combines digital and traditional techniques.
Recent work focuses on large-scale multimedia
murals, multimedia sculpture, and digital prints.
The interactive multimedia works combine static
imagery, drawing, video, and 3-D animation.
In the 1980s, he worked at the world-famous
NYIT Computer Graphics Lab, with many of the
pioneers and inventors of computer imaging
and animation. In the late 1980s and early 1990s,
he did extensive work for the artist Frank Stella,
producing sculptural models, graphics, and
animation. He has consulted on digital imaging
for a number of artists, including Jenny Holzer,
and is the author of two books and numerous
articles about digital art. His teaching experience
includes teaching kindergarten, conversational
French, and English as a foreign language in
Birkina-Faso, Africa.
Mira Scharf
Visiting Instructor
B.S., University of California at San Diego;
M.F.A., University of at 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.
207
Claudia Tait
Bryan Zanisnik
Associate Professor
M.F.A., University of Maryland Baltimore
County; B.F.A., Ringling School of Art and
Design. She is a digital artist and media theorist
whose works explore the meaning of technology
in the construction of gender. Her critical
inquiries focus on the social, political, and
economic role of computer programming and
contextualize technology’s languages as a form
of writing and literacy.
Katherine Torn
Visiting Instructor
M.F.A., Chicago Institute of the Arts
Digital Arts
Lukas Wadya
Visiting Instructor
Digital Arts
M.F.A., School of Visual Arts
Gregory Webb
Adjunct Instructor
Daniel Weisbard
Visiting Instructor
Digital Arts
M.F.A., Rochester Institute of Technology
Elizabeth White
Visiting Instructor
B.A., Vassar College; M.F.A. Photography, Video
and Related Media, School of Visual Arts; White
is a multidisciplinary artist whose work has
been exhibited nationally and internationally,
most recently in The Balloon, a group show at
Rawson Projects curated by Jessamyn Fiore.
Other recent exhibitions include A Map is Not
the Territory at FiveMyles, the fourth annual
Artisterium International Contemporary Art
Exhibition in Tbilisi, No Soul For Sale at the Tate
Modern in London, and Surveil, a two-person
show with Anne Elizabeth Moore at the Center
for Endless Progress in Berlin. White curated
Culturehall’s Feature Issue 95, and her work was
recently published in The State (UAE). She has
been awarded residencies in Leipzig, Tbilisi,
Marfa,TX, and on Governors Island, and has
received support from CECArtsLink, the Hattie
Strong Foundation, and the Davis Educational
Foundation. She was the recipient of an Aaron
Siskind Fellowship. Based in Brooklyn, she teaches
in the graduate program in digital arts at Pratt
Institute, and at Bennington College in Vermont.
Visiting Instructor
M.F.A., Hunter College; attended the Skowhegan
School of Painting and Sculpture. He has recently
exhibited and performed at PS1, Sculpture Center,
and the Queens Museum of Art; in Philadelphia
at the Fabric Workshop and Museum; in Miami
at the De La Cruz Collection; in Chicago at the
Museum of Contemporary Photography; in Los
Angeles at LAXART; and internationally at the
Istanbul Museum of Modern Art, the Kunsthalle
Exnergasse in Vienna and the Futura Centre for
Contemporary Art in Prague. Zanisnik’s work
has been reviewed in The New York Times, Art in
America, Artforum, ARTnews, Modern Painters,
and Time Out New York. He has completed
residencies at the Macdowell Colony, the Art
Omi International Artists Residency, the Lower
Manhattan Cultural Council Workspace Program,
and the Guangdong Times Museum in Guangzhou,
China. Currently he is an artist in residence at the
Smack Mellon Artist Studio Program in Brooklyn,
NY, and presented a 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, N.Y.; Josaphat
Arts Hall & Convivium33 Gallery, Cleveland; Lill
Street Art Center, Chicago; Wrocław National
Gallery, Poland; selected grants and residencies:
Ksiaz Factory, Poland; Watershed Center for the
Ceramic Arts; Panevezys Glass Works, Lithuania;
International Ceramics Symposium, Hongik
University, Seoul, Korea; Jerome Foundation
Grant Residency, St. John’s University; other
professional: master kiln builder; art fabricator,
Polich Art Works, Newburgh, N.Y.; collections: The
Decorative Arts Museum, Prague; International
Museum of Ceramic Arts, Czech Republic;
Ceramic Arts Museum, Poland; the Bemis
Foundation; the Butler Museum of Art.
Adam Apostolos
Sculpture Technician, Visiting Instructor
Karen Bachmann
B.F.A., Pratt Institute; exhibitions: Museum of Arts
and Design, New York; Philadelphia Museum of
Art; Oregon College of Arts and Sciences; Greene
and Greene Gallery, Lambertville, N.J.; Miyo Oto,
San Francisco; Flushing Council of the Arts and
Sciences, Flushing, N.Y.; Craze Gallery, London;
www.karenbachmanndesigns.com.
Lisha Bai
B.A., Washington University in St. Louis; M.F.A,
Yale University; exhibitions: National Academy,
New York; MCLA Gallery 51, North Adams, Mass.;
Bravin Lee Programs, New York; Zone Chelsea
Center for the Arts, New York; Josée Bienvenu
Gallery, New York,; Tyler Estate, New York; Musée
d’Art Américain Giverny, Giverny, France; awards
and residencies: S.J. Wallace Truman Fund
Award, National Academy, New York; Vermont
Studio Center Full Fellowship, Johnson, Vt.; Terra
Summer Residency Fellow, Giverny, France;
publications: The New York Times; The New Yorker;
New York Sun; www.lishabai.com.
Hannah Barrett
M.F.A., Boston University; B.A., Wellesley College;
has spent a decade developing and exhibiting an
oeuvre of androgynous portraiture; had solos in
New York City at the Stephan Stoyanov Gallery
and in Boston at the Childs Gallery and Howard
Yezerski Gallery; has exhibited at the Museum for
Women in the Arts, Washington, and the Museum
of Fine Arts, Boston; recipient of an Artadia Award
and Travel Fellowships from the School of the
Museum of Fine Arts and Wellesley College.
Rick Barry
Mona Brody
William Carroll
Digital Arts, Professor
Donald Pierce School of Painting; Pratt Institute;
founded Rick Barry/Desktop Studio in 1987; prior
design work at William Etsy Company, Craig Adams
Associates, Helitzer Advertising, and Robert
Whitehall Advertising.
B.F.A., East Carolina University; M.F.A., Virginia
Commonwealth University; recent exhibition and
curatorial projects: Location One, New York; PS1
MoMA, New York; public arts projects: MTA Arts
for Transit, BACA, and PACC; special projects
manager, PS1 MoMA; Teme Celeste magazine;
national and international exhibitions; recipient
of Pollock-Krasner fellowship; www.lisabateman.
tumblr.com/post/3622546208.
M.F.A., Vermont College of Art; M.S.,
Massachusetts College of Art; B.F.A., Moore
College of Art and Design; solo exhibitions:
Aljira, Newark, N.J.; the Montclair Art Museum,
N.J.; Pleiades Gallery, N.Y.; group exhibitions:
Southwest Minnesota State University Art
Museum, Marshall; Kunstlerhaus, Graz, Austria;
awards: Geraldine Dodge Foundation Grant;
National Association for the Advancement of
Psychoanalysis, N.Y.; Printmaking Fellowship,
Rutgers Center for Innovative Print and Paper;
collections: Museum of Modern Art Library, New
York; the Montclair Art Museum, Montclair, N.J.;
Virginia Center for the Creative Arts, Sweet Briar;
Boleshlawiec Art Museum, Poland; publications:
The New York Times, Washington Art News;
www.monabrody.com.
M.F.A., C.U.N.Y. Queens College; B.F.A., Pratt
Institute; director of the Studio Program at the
Elizabeth Foundation for the Arts; involved with
the New York art world for more than 25 years;
held prior positions at the Dia Art Foundation, the
Brooklyn Museum, and as the gallery director for
Charles Cowles Gallery and the Elizabeth Harris
Gallery; has lectured for the New York Foundation
for the Arts, Bard College, Cranbrook Academy of
Art, F.I.T., New York University, and the School of
Visual Arts.
Michael Brennan
Howard Buchwald
Lisa Bateman
M.F.A., Pratt Institute; B.A., University of Florida;
exhibited with Minus Space, Thatcher Projects,
Lucas Schoormans, Anthony Meier Fine Arts,
Yoshii Gallery, and others; exhibited internationally
in Brussels, Paris, Shanghai, Sydney; group
exhibitions include PS1 MoMA, Vassar College,
St. Peter’s College; has written extensively for
The Brooklyn Rail, ArtNet, and numerous catalog
essays; reviewed in Art in America, The New York
Times, The Philadelphia Inquirer, etc.; collected in
the National Gallery of Art, Baltimore Museum of
Art, San Jose Museum of Art, American Express,
General Dynamics; also teaches at Hunter College
and has taught at the Cooper Union; www.
michaelbrennan.info.
Deborah Bright
Chair
M.F.A., University of Chicago; B.A., Wheaton
College; photographic projects have been
exhibited internationally, including at the Victoria
and Albert Museum; the Museet for Fotokunst,
Copenhagen; Nederlands Foto Instituut,
Rotterdam; Museum Folkwang, Essen; Canadian
Museum of Contemporary Photography, Ottawa;
Cambridge Darkroom; Vancouver Art Gallery; her
photographs are included in the collections of the
Whitney Museum; National Museum of American
Art, Smithsonian; Addison Gallery of American Art;
Fogg Art Museum; Boston Athenaeum; Rose Art
Museum; University Art Museum at Binghamton
University; California Museum of Photography; and
the RISD Museum of Art; www.deborahbright.net.
Professor
M.A., Hunter College; B.F.A., The Cooper Union;
since 1971: numerous solo and group exhibitions
here and abroad; represented by Nancy Hoffman
Gallery: www.nancyhoffmangallery.com; awards:
Gottlieb Foundation, Elizabeth Foundation,
Pollock-Krasner Grant, National Endowment for
the Arts CAPS (Creative Artists Program Services),
Guggenheim Fellowship.
David Butler
M.F.A., University of Washington; B.F.A., Georgia
State University; sculptor, jeweler, designer, and
goldsmith; his work has been extensively exhibited
and is included in public and private collections;
www.davidbutlerco.com.
Blake Carrington
Visiting Instructor
M.F.A., Syracuse University, B.A., Indiana
University; works within the spheres of the
sound, visual, and performing arts; in 2014 he
performed with Soundwalk Collective and Patti
Smith for the French Institute/Alliance Française
Crossing the Line Festival; staged a solo exhibition
and premiered an audiovisual performance at
Contemporary Art Center New Orleans; received
a Jerome Foundation research grant; curated
shows for This Red Door and Dumbo Arts Festival;
previously he also staged solo exhibitions at the
Philadelphia Photo Arts Center and Central Utah
Arts Center, and has performed at the Musée
d’Art et d’Histoire du Judaïsme in Paris and
Elektra Festival in Montreal; in 2012 he completed
a sound art commission for Radio del Museo
Reina Sofia in Madrid and performed in the River
to River Festival in New York; has been artist-inresidence at LMCC’s Swing Space in New York,
Rustines Lab in Montreal, Tofte Lake Center in
Minnesota, and Haeinsa Temple in South Korea,
among others; in 2011 he received a NYSCA grant
in support of his debut CD release concert at
St. Patrick’s Old Cathedral in New York; born in
Indiana and currently lives and works in Brooklyn.
Nanette Carter
Adjunct Associate Professor, Coordinator for
Drawing
M.F.A., Pratt Institute; B.A., Oberlin College,
studied abroad in Perugia, Italy, and traveled
through Europe and North Africa; exhibits with the
G.R. N’Namdi Gallery in Chicago, Miami, and Detroit;
works and lives in New York; had solo show in Miami
in October 2012 and in São Paulo, Brazil, in 2013 and
Havana, Cuba, in 2014; www.nanettecarter.com.
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, N.C.; Garden Fresh, Chicago; Silo, New
York; Claude Howell Gallery, University of North
Carolina, Wilmington; Duncan Art Gallery, Stetson
University, Deland, Fla.; group exhibitions include:
Front Room, Brooklyn; Rotunda Gallery, Brooklyn;
Spaces, Cleveland; Redsaw, Newark; publications
include: The New York Times, The New York Sun,
Cleveland Plain Dealer, and flavorpill.net;
www.brightsunnyfutures.com.
Ian Cofre
Visiting Instructor
Political Science and Economics, Columbia
University; independent curator and writer based
in New York City, engaged primarily with emerging
and established artists working locally and in Latin
America; his main areas of interest are examining
the art market, alternative economies and their
modes of art production, turning the lens onto
underrepresented artists and marginalized
communities, and contextualizing artists crossgenerationally; has previously worked as director
at Sue Scott Gallery, Studio Manager for Mickalene
Thomas, and most recently as U.S. Director for
the PINTA NY art fair; recent projects include cocurating, as one of 10 curators, the exhibition TEN
at Cindy Rucker Gallery (New York, 2014); Bigger
Than Shadows, DODGEgallery (New York, 2012) with
Rich Blint; and both Tracing the Unseen Border,
La MaMa La Galleria (New York, 2011) and Southern
Exposure at Dumbo Arts Center (Brooklyn, 2009)
with Omar Lopez-Chahoud; other shows include
South Central (2014), a co-curated review of
regional painters from the south of Chile; Behind
Closed Doors (2011), a curated solo project by
Manuela Viera-Gallo at Y Gallery; and The Doubtful
Fine Arts Faculty
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Guest (2010) at Kill Devil Hill in Greenpoint, NY;
publications include an artist profile of Alberto
Borea for Arte al Día and co-writing an essay with
Lopez-Chahoud for the Bronx Museum’s Taking
AIM! The Business of Being an Artist Today (2011)
edited by Marysol Nieves; profiles and reviews of
exhibitions he has curated have appeared in The
Art Newspaper, Arte al Día International, and The
Wall Street Journal, among others.
Peggy Cyphers
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
Jewelry Technician, Visiting Instructor
B.F.A., Massachusetts College of Art and Design;
her art jewelry pieces have been shown with
Mobilia Gallery and Gallery Loupe, both prominent
galleries in the Art Jewelry world; recently, her
work was shown as part of the Art of Adornment:
Studio Jewelry exhibition at the Hunterdon Art
Museum in New Jersey; www.alexiacohen.com.
Adjunct Professor
B.F.A., Maryland Institute of Art; Towson State
University; M.F.A., Pratt Institute; recipient of
National Endowment for the Arts Fellowship, PS1
MoMA New York Studio Award; Ingor Foundation
Award; represented by E. M. Donahue Gallery,
New York; Solo Press, New York; Betsy Rosenfield
Gallery, Chicago; contributing writer to Arts
Magazine, Art Journal, and other publications;
www.peggycyphers.com.
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
M.A., M.F.A., University of Iowa; has shown his
work in the U.S. and in Europe; founding member
of REPOhistory, an artist collective that makes
site-specific public artwork based on issues
of race, gender, class, and sexuality; created a
multimedia installation titled datamap_2001.2
that dealt with the social and political climate and
was shown at the Annex, which is affiliated with
White Box; www.jimcostanzo.us.
B.F.A., M.F.A., University of Illinois; solo exhibitions:
Betty Cunningham Gallery, New York; the Center for
Contemporary Art, Chicago; Queens Museum of Art,
N.Y., and the recent Tattoo Parlor, at California State
University at Fullerton, Santa Ana; group exhibitions
include New Museum of Contemporary Art; Whitney
Museum of Contemporary Art/Champion, New
York; Carnegie Museum of Art, Pittsburgh; awards:
Guggenheim Fellowship, National Endowment for
the Arts Fellowship, New York Foundation for the
Arts Fellowship; author of: “Painting into a Corner:
Representation as Shelter,” in The Vitality of Objects:
Exploring the Work of Christopher Bollas (Wesleyan
University Press, 2002); represented in New York by
the Betty Cunningham Gallery; www.drasler.com.
Grayson Cox
Kelly Driscoll
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.
Assistant Professor
B.F.A., Plymouth University of England; M.F.A.,
City College, New York; exhibitions: Kristen
Frederickson Gallery, New York; International Print
Center, New York; Greater New York (2000), MoMA
PS1, N.Y.; Mark Wooley Gallery, Portland, Ore.;
D.A.P, New York; Kaosiung Museum of Fine Art,
Taiwan; artist books: Jalaluddin Mohammad Rumi
(Vincent Fitzgerald & Co, New York), and Georges
Bataille’s Story of the Eye (the Institute for Cultural
Inquiry, Calif.).
James Costanzo
Samuel Evensen
Visisting Assistant Professor
B.F.A., Brigham Young University; M.F.A., the
New York Academy; B.F.A. from Brigham Young
University. Exhibition venues include: Fuse Gallery,
NY; Art House Gallery, Philadelphia; Mark Miller
Gallery, NY; and Sloan Fine Art, NY.
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Fine Arts Faculty
Brad Ewing
Michael Fujita
Anne Gilman
Dave Hardy
Visiting Instructor
M.F.A., Rhode Island School of Design; Teaching
Certificate, Brown University; B.F.A., Cornish
College of the Arts; exhibitions: IPCNY, New
York; Temple University, Rome, Italy; 193c Gallery,
Brooklyn, N.Y.; professional activities: director
and printer, the Grenfell Press, New York; printer,
Sienese Shredder Editions, New York; director and
printer, Marginal Editions, New York; printer for
artist Philip Taaffe.
M.F.A., New York State College of Ceramics at
Alfred University; B.F.A., Ceramic Art, Kansas
City Art Institute; exhibitions include Periphery,
Philadelphia Art Alliance; Sightlines, Jane Hartsook
Gallery; Greenwich House Pottery, New York;
New Porcelain Work, Cross Mackenzie Gallery,
Washington; Artificially Flavored, the Evelyn
Shapiro Foundation Fellowship Solo Exhibition,
The Clay Studio, Philadelphia; Preserve, Master
of Fine Arts Thesis Exhibition, Schein-Joseph
International Museum of Ceramic Art, Alfred, N.Y.;
Michael Fujita, New Work, Red Star Studios, Kansas
City, Mo.; Gyeonggi International CeraMIX Biennale
International Competition, Icheon, Republic of
Korea; Strangely Familiar, NCECA, University of
South Florida School of Art, Tampa, Fla.;
Pretty Young Things, Lacoste Gallery, Concord,
Mass.; Midsummer Eve, Meredith Gallery,
Baltimore; Correlations, Red Star Studios; Small
Favors V, Philadelphia; Of This Century, The
Clay Studio; Conversations, Coincidences, and
Motivations: The Alfred Experience, Snyderman
Gallery, Philadelphia; www.michaelfujita.com.
B.F.A., State University of New York at New
Paltz; M.F.A., Brooklyn College; solo exhibitions:
Palacio del Segundo Cabo, Havana, Cuba; Casa
Cristo, Guadalajara, Mexico; Sala Polivanted,
Matanzaz, Cuba; and numerous group exhibitions
and awards; collections: the New York Public
Library; Kresge Museum of Art; Brooklyn Museum;
National Museum of Women in the Arts; Colegio
de Arquitectos de Estado de Jalisco, Guadalajara,
Mexico; Library of Congress; publications: Frayed
Edges (Ediciones Vigia, Matanzas, Cuba, 2001);
Facing Eviction and Don’t Lose Heart, ISCA; www.
annegilman.com.
Visiting Professor
M.F.A., the Yale School of Art; B.A., Brown
University; studied at the Skowhegan School
of Painting and Sculpture; selected group
exhibitions include Make It Now at Sculpture
Center, Unbalance at Jack Shainman, and Greater
New York 2005 at PS1 MoMA. Solo exhibitions
include Art in General, 92Y Tribeca, and La Mama
Galleria in New York and Southern Exposure in
San Francisco; recipient of New York Foundation
for the Arts fellowship in 2011; had a solo show at
Regina Rex in September 2013;
www.davehardystudio.com.
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 Heidelberg in 2001; recipient
of grants from the Penny McCall Foundation,
the Peter Reed Foundation, Creative Time, Art
Matters, CEC Artslink and others; co-founder
of the contemporary art center Delta Axis in
Memphis in 1992, and in 1990, co-created “Electric
Blanket,” an epic slide show about AIDS, which
toured throughout the U.S. and to Norway, the
U.K., Germany, Hungary, Japan, and Russia; has
been the curator of exhibitions at Art in General,
including Darrel Ellis in 1996 and In This Place in
2004; at PS122 Gallery, including Bearings: the
Female Figure in 2006; and at the Camera Club of
New York, including Linda Salerno: A Selection of
Experimental Photographs from the Black Mirror
Series; currently serves as the president of the
board of the Camera Club of New York, and is an
executive producer of Joshua Sanchez’s feature
film Four; www.allenframe.net.
Linda Francis
Adjunct Professor
M.A., B.F.A., Hunter College; selected solo
exhibitions include Hal Bromm Gallery, Gallerie
Gislain Mollet-Vieville, PS1 MoMA, Damon Brandt
Gallery, Gallerie Per Sten, William Paterson
University, Nicholas Davies Gallery, University of
Alabama College of Arts and Sciences, Cathedral
of St. John the Divine, Minus Space; selected
group exhibitions include Aldrich Museum, Studio
La Citta, Moore College of Art, Stadische Gallerie
Im Lenbachhaus, Kunsthalle Basel, List Gallery
MIT, Nordjyllands Kunst-museum, The Kitchen,
Louisiana Museet, Leubsdorf Art Gallery at Hunter
College, Rogalund Kunstmuseum, Sydney Non
Objective, Vassar College, and Academy of Arts
and Letters Invitational.
Joseph Fyfe
B.F.A., University of the Arts, Philadelphia
College of Art; selected solo exhibitions: JG
Contemporary, New York; Ryllega Gallery, Hanoi,
Vietnam; Cynthia Broan Gallery, New York;
selected group exhibitions include Intersections,
Meyer School of Art; Paint/Not Paint, Paul
Sharpe Contemporary Art, New York; Carton
Rouge, Atelier Tampon-Ramier, Paris; selected
awards: Guggenheim Fellowship; McDowell
Fellowship; Adolph and Esther Gottlieb Award;
Pollock-Krasner Award; Fulbright Award; selected
publications: Art, das Kunstmagazin; Art in
America, Joe Fyfe at Nicholas Davies;
www.joefyfe.com.
Mariam Ghani
M.F.A., School of Visual Arts; B.A., New York
University; Mariam Ghani’s research-based
practice spans video, installation, photography,
performance, and text. Her recent exhibitions
and screenings include the Rotterdam and
CPH:DOX film festivals; dOCUMENTA (13) in Kabul,
Afghanistan, and Kassel, Germany; MoMA in New
York, and the Sharjah Biennial in the United Arab
Emirates. Recent texts have been published in
Filmmaker, Mousse, the Radical History Review, The
New York Review of Books blog, and dOCUMENTA’s
100 Notes/100 Thoughts book series. Ongoing
collaborations include Index of the Disappeared
(with Chitra Ganesh), Performed Places (with Erin
Kelly), and the Afghan Films online archive (with
pad.ma). Ghani has been awarded the New York
Foundation of the Arts and Soros Fellowships,
grants from the Graham Foundation for Advanced
Studies in the Fine Arts, CEC ArtsLink, the MidAtlantic Arts Foundation, and the Experimental
Television Center; and residencies at Lower
Manhattan Cultural Council, Eyebeam Atelier,
Smack Mellon, and the Akademie Schloss Solitude
in Stuttgart.
Jonathan Goodman
B.A., Columbia University; M.A., University of
Pennsylvania; freelance writer and editor, various
publications, including Art in America, ARTnews,
Drawing, and Art Asia Pacific.
David Gothard
B.F.A., Pratt Institute; freelance illustrator
providing conceptual images for major national
and international publications such as The Wall
Street Journal, Newsweek, Time magazine, the
Los Angeles Times, and The New York Times;
www.davidgothard.com.
Toni Greenbaum
M.A., Hunter College; B.A., City College of New
York; a Brooklyn-based art historian specializing
in 20th and 21st-century jewelry and metalwork;
wrote Messengers of Modernism: American Studio
Jewelry 1940-1960, along with numerous book
chapters and essays for arts publications; has
lectured internationally at institutions such as the
Museum of Arts and Design, New York; Museum of
Fine Arts, Boston; and Pinakotheck der Moderne,
Munich, and curated exhibitions for several
institutions, including the Victoria and Albert
Museum in London.
Nancy Grimes
B.A., Indiana University; M.F.A., School of the Art
Institute of Chicago; co-founder of the artists’
space West Hubbard Gallery, Chicago; exhibited
widely nationally; author of Jared French’s Myths;
writes for Art in America and ARTnews, for which
she has been an editorial associate since 1986;
www.nancygrimes.net.
Eric Heist
B.F.A., University of Delaware; Empire State
College, SUNY Studio Program in New York; M.F.A.,
Hunter College; exhibitions: Schroeder Romero
(solo exhibition), New York; Max Protetch, New
York; Islip Art Museum, East Islip, N.Y.; Ronald
Feldman Gallery, New York; Brooklyn Museum,
N.Y.; Centre of Attention, London; publications:
Contemporary magazine; The New York Times,
Village Voice; Elle; founder and director of
Momenta Art, Brooklyn, N.Y.; www.ericheist.com.
Vera Iliatova
Studied at the Sorbonne University in Paris,
France, B.A., Brandeis University; M.F.A. Painting,
Yale University; attended Skowhegan School
of Art; exhibition venues include: Monya Rowe
Gallery, NY; Schroeder Romero NY; Eleven
Rivington, NY; and Artists’ Space, NY.
Martine Kacynski
M.F.A., Parsons The New School of Design;
B.F.A., Liverpool Polytechnic, England;
exhibitions: Sculpture Space, Utica, N.Y.; Mary
Dinaburg Studios, New York; Affinity Archives,
Dublin, Ireland; Jessica Murray Projects, Brooklyn,
N.Y.; Kent Gallery, New York; Art and Idea, Mexico
City; Davis Anderson Gallery, Buffalo, N.Y.; public
sculpture: Socrates Sculpture Park, Long Island
City, N.Y.; The Rosen Sculpture Park, N.C.; Lipe
Art Park in Syracuse, N.Y.; recipient of a New
York Foundation for the Arts Fellowship;
represented by Dinaburg Arts in New York;
www.martinestudio.com.
Yael Kanarek
M.F.A., Rensselaer Polytechnic Institute; a
multidisciplinary artist; has been working with
the visual properties of languages and the
Internet, to explore the universality of human
interaction; in addition to her ﬁne art practice
at yaelkanarek.com, she recently founded Aleph
Foundry, a company that specializes in text-based
jewelry; selected for the 2002 Whitney Biennial,
past exhibitions of Kanarek’s work also include
The Drawing Center, New York; Beral Madra
Contemporary Art, Istanbul; National Museum of
Contemporary Art, Athens; CU Museum, Boulder;
Cantor Arts Center, Stanford University; The
Fine Arts Faculty
211
Jewish Museum, New York; Exit Art; The Kitchen;
Museum of the Moving Image, New York; Wood
Street Galleries, Pittsburgh; bitforms gallery,
New York; in addition to a Rockefeller New Media
Fellowship and an Eyebeam Honorary Fellowship,
Kanarek is also the recipient of grants from the
Jerome Foundation Media Arts and New York
Foundation for the Arts; commissions from the
SFMoMA and Turbulence.org; residencies at
Civitella Ranieri, Harvestworks and the Ma’amuta
Art and Media Center; in 1999, she founded
Upgrade! International.
Peter Kruty
Shirley Kaneda
Professor
B.F.A., Parsons The New School of Design;
recent solo exhibitions: Danese Gallery, New
York; Bernard Jacobson Gallery, London;
Galerie Jean-Luc and Takako Richards, Paris;
Feigen Contemporary, NY; Galerie Schuster and
Scheuerman; Berlin and Frankfurt; Centre d’Art
Contemporain Roussillon-Languedoc, France;
Centre d’Art d’Ivry, Paris; publications include: Art
in America, ARTnews, Contemporary, The New York
Times, Time Out; Beauty and the Contemporary
Sublime by Jeremy Gilbert Rolfe; What is
Abstraction by Andrew Benjamin; Talking Painting:
Dialogues with 12 Contemporary Abstract Painters
by David Ryan; awards: Guggenheim Memorial
Foundation Grant, Pollock Krasner Foundation
Grant, NEA Regional Fellowship, and The Elizabeth
Foundation; contributing editor for BOMB
magazine and has published articles, catalogue
essays, and reviews for various publications and
journals since 1989; www.shirleykaneda.com.
Michael Kirk
Adjunct Professor
B.F.A., Rutgers University; M.F.A., Pratt
Institute; exhibitions: Norkse Grafikere, Oslo,
Norway; Gimpel and Wietzenhoffer, New York;
and ArtWalk, New York; collections: Brooklyn
Museum, N.Y.; Library of Congress, Washington;
Philadelphia Museum of Art; DeCordova and Dana
Museum, Lincoln, Massachusetts.
Ross Knight
B.F.A., University of Minnesota at Minneapolis;
exhibition venues include: Team Gallery, PS 1/
MoMA, Art Metropole, the Sculpture Center, Apex
Art and Richard Telles Fine Art.
Vivien Knussi
Adjunct Instructor
Ph.D., Columbia University; M.A., B.A., Tufts
University; lectured at MoMA focusing on
photography; also worked for six years as curator
and head of acquisitions for the Dreyfus Mellon
Fund; since completing her Ph.D. Knussi has
begun writing a textbook on photography.
B.A. Geography, University of Chicago; M.A.,
M.L.S. Book Arts, Printmaking and Photography,
University of Alabama; founded Kruty Editions
in 1991 in Brooklyn, providing a studio for
collaborative artists’ books, letterpress,
printmaking, typographic design, and fine
commercial letterpress printing.
Alexander Kvares
B.F.A., Painting, University of Kansas; M.F.A.
Printmaking, University of Texas; exhibition venues
include: Mulherin + Pollard, NY, Westbeth Gallery,
NY; Beep Beep Gallery Atlanta, GA; the Atlanta
Contemporary Art Center, GA;
Benjamin La Rocco
M.F.A., Pratt Institute; B.A., Middlebury College;
represented by Janet Kurnatowski Gallery in
New York and John Davis Gallery in Hudson; has
exhibited in Europe and America; has been a
visiting professor at Rutgers University and at
Purchase College, and has lectured and been a
visiting critic at Rutgers, Montclair, Hunter, and
PS1 MoMA; currently teaches in the Fine Arts
department of Pratt Institute; participated as a
panelist at “Younger than Pontius Pilate” at The
National Academy Museum, New York; recipient
of a Marie Walsh Sharpe residency (2005–06) and
the S.J. Wallace Truman Fund Award for Painting
from the National Academy of Design Museum; is
a contributing writer and editor at large for The
Brooklyn Rail.
David Lantow
M.F.A., City University of New York, Brooklyn
College; B.F.A., University of Iowa; exhibition
venues include Exit Art, Ruby Gallery, Nurture Art;
co-founded and curated exhibits at the former
Cold Fish Art Space in Brooklyn, and was the
artist liaison/Muse Fuse coordinator in 2001–02
for NURTUREart Non-Profit Inc.; from 2005–09
served as president of AGAST; since 2003 has
taught printmaking at Brooklyn College; www.
dlantow.com.
Catherine Lecleire
M.F.A., University of Southern California;
M.A.E., Art Education, Philadelphia College of
Art; B.F.A., Philadelphia College of Art; B.A.,
Political Science, Ursinus College; selected
solo and group exhibitions at Montclair Art
Museum, Hunterdon Museum of Art, William
Paterson University, College of New Jersey,
University of Wisconsin, Dana Library, Center for
Contemporary Printmaking, University Council
on the Humanities; has taught at MIT’s Visual Arts
Program, Hunter College, Bennington College,
and Maryland Institute of Art.
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Fine Arts Faculty
Jenny Lee
Patricia Madeja
Nat Meade
Adjunct Professor
B.F.A., Sculpture, the Cooper Union for the
Advancement of Science and Art; has exhibited
extensively in galleries, arts organizations and
museums; in fall 2002, had a retrospective at
the Hoboken Historical Museum, sponsored by
the NJ State Council for the Arts and the NJ
Council for the Humanities, National Endowment
for the Humanities; in 2001, her work was featured
in the first-ever historical survey of 20th-century
welded sculpture held at the Neuberger Museum;
work is in public venues such as the Brooklyn
Museum, the Newark Museum, and the Neuberger
Museum of Art; private collections include
DeMenil and Borgenicht-Brandt;
www.ironmite.com.
Associate Professor
B.F.A., Pratt Institute; recipient of an American
Vision Award, AJDC (American Jewelry Design
Council), Saul Bell Award, Jewelry Arts Award,
and Niche Award and featured in a variety of
periodicals and books including Adorn, 500
Necklaces, Art Jewelry Today, The Art and Craft
of Making Jewelry and American Couture Jewelry,
and most recently The New Jewelers; a strong
advocate for jewelry education, she has been
teaching in the Fine Arts Jewelry department at
Pratt Institute since 1998, was appointed jewelry
coordinator in 2005, and received a full-time
appointment in 2011. www.patriciamadeja.com.
Assistant Chair, Visiting Instructor
M.F.A., Pratt Institute; B.F.A., University of
Oregon; exhibited at Pierogi Gallery, Brooklyn,
N.Y.; Spike Gallery, New York, Rogue Space, New
York, Froelick Gallery, Portland, Ore.; Bernabe
Somoza Fine Art, Houston; Karin Clarke Gallery,
Eugene, Ore.; curated Artists Registries: Pierogi
Flat Files; publications: Berlin Journal, Tin House,
Portland Monthly, Northwest Review;
www.natmeade.com.
Marc Lepson
M.F.A., School of the Art Institute of Chicago,
1997; B.A., English Literature, State University of
New York at Albany, 1991; work has been included
in exhibitions in New York; Chicago; San Francisco;
Vienna; Berlin; and Torino, Italy, among others;
recipient of a 2001 grant from the Pollock-Krasner
Foundation; reproductions of his work have
appeared in the September and October 2004
issues of Art in America; www.lepson.info.
Frank Lind
Professor
M.F.A., Pratt Institute; B.A., Georgetown
University; selected solo exhibitions: Recent
Paintings, Gallery 210, Brooklyn, N.Y.; Ocean
Paintings from Long Island, Henry Gregg Gallery,
DUMBO, New York; selected group exhibitions:
The New Hudson River School, Riverstone Arts,
Haverstraw, N.Y.; Mermaids, Sideshow Gallery,
Williamsburg, N.Y.; www.lindpaintings.com.
Omar Lopez-Chahoud
M.F.A.,Yale University School of Art; an
independent international curator, recent
exhibitions include: Untitled Art Fair at Art
Basel Miami Beach, NY/Prague6, at Futura
Contemporary Art Center, Prague, Czech
Republic; co-curated Lush Life, which spanned
nine galleries in New York; Salon 94, Invisible
Exports, Lehman Maupin, Eleven Rivington, On
Stellar Rays, Y Gallery, Sue Scott Gallery, and
Collette Blanchard Gallery; and The Pipe and
the Flow at Espacio Minimo in Madrid, Spain; has
written essays for several publications including
the catalogs for Dynasty (2006) and Rewind/ReCast/Review (2005); participated in curatorial
panel discussions at Artists’ Space, Art in General,
MoMA PS1, and The Whitney Museum of American
Art in New York City; was a guest critic at Art Omi
in 2007; exhibitions have been reviewed in The
New York Times, ArtForum, Village Voice, among
many other publications.
Ann Mandelbaum
Adjunct Professor
M.A., Media Studies, The New School; M.F.A.,
Pratt Institute; photographer, sculptor, and video
artist who has exhibited internationally, including
solo shows at The Grey Art Gallery, New York;
Center for Creative Photography, Tucson, Ariz.;
Galerie Francoise Paviot, Paris; Galerie Anita
Beckers, Frankfurt, Germany; Westfalischer
Kunstverein, Munster, Germany; Fotomuseum,
Munich; Frankfurter Kunstverein, Frankfurt;
Stadtgalerie Saarbruchen; Musée de l’Elysée,
Lausanne, Switzerland; Canal Isabel II, Madrid;
Kunsthalle Goeppingen, Germany; published in
three hard cover monographs: Ann Mandelbaum
(1994), and Ann Mandelbaum, New Work (1999),
both published by Edition Stemmle, and Ann
Mandelbaum, Thin Skin (2005), published by Hatje
Cantz; lives in Costa Rica and New York; www.
annmandelbaum.net.
Dennis Masback
Adjunct Professor
B.F.A., M.F.A., Washington University School of
Art; recipient of National Endowment for the Arts
Fellowship; collections: Museum of Art, Rhode
Island School of Design; Emory University; AT&T;
Prudential Insurance Co.; Chemical Bank; and
Fidelity Investments; publications: The New York
Times, Artforum, ARTnews; represented by BerryHill Galleries, New York; www.dennismasback.com.
J. Martin Mazzora
B.F.A., West Virginia University; M.F.A, American
University, DC; co-founder of Cannonball Press;
coordinator of Printmaking at Parsons The New
School of Design, New York; curator/coordinator
of the cross-institutional print exchange
Swaptropolis.
Dennis McNett
M.F.A., Pratt Institute; designer of board graphics
for Anti-Hero skateboards; collaborates with
Cannonball Press; master printer at Brand X
editions; www.howlingprint.com.
Jennifer Melby
M.F.A., Pratt Institute; B.F.A., Arcadia University;
has taught at Yale University, LaGuardia
Community College, Fairleigh Dickinson University,
the Lower East Side Printshop, and the Robert
Blackburn Printmaking Workshop, and has been
a guest lecturer at Brandeis University, Rhode
Island School of Design, Lehman College, and The
Cooper Union; currently teaches Printmaking
at Pratt; for more than 25 years has operated
her own studio which specializes in intaglio
editions, and has worked there with many artists,
including Donald Baechler, Brice Marden, Suzanne
McClelland, Sean Scully, Joanne Greenbaum, Joan
Snyder, Julia Jacquette, Red Grooms, and Amy
Kao; prints from her studio have been acquired
by contemporary collections including those
of MoMA, The New York Public Library, Whitney
Museum, Houston Museum of Fine Art, and Tate
Gallery; in 2007 she was in residence at the
American Academy in Rome on a visiting artist
fellowship; www.jennifermelby.com.
Ann Messner
Adjunct Professor
B.F.A., Pratt Institute; Henry Moore Foundation
Post Graduate Fellow; solo exhibitions: Zilkha
Gallery, Wesleyan University, Conn.; Dorsky
Gallery, New York; Bath International Arts Festival,
UK; Fawbush Gallery, New York; Worcester
Art Museum, Mass.; Shoshana Wayne Gallery,
Los Angeles; numerous public projects and
installations include Eastern State Penitentiary,
Philadelphia; Grey Art Gallery, NYU; Skulptur:
Koln/Ehrenfeld, Cologne; awards: NEA Fellowship,
New York Foundation for the Arts, Henry Moore
International Fellowship; John Simon Guggenheim
Foundation, Anonymous Was a Woman Award;
Gottlieb Foundation Fellowship; Bunting
Fellowship, Radcliffe Institute for Advanced
Studies, Harvard University; www.annmessner.net.
Fine Arts Faculty
213
Curtis Mitchell
Robert Morgan
M.F.A., Sculpture, Yale University School of Art;
M.A. Sculpture, Goddard College; solo exhibitions:
PS1 MoMA Project Room, New York; Mattress
Factory, Pittsburgh; Esso Gallery, New York;
AC Projects, New York; KX Galerie, Hamburg,
Germany; Andrea Rosen Gallery, New York;
Galerie Marc Jancou, Zurich; White Columns,
New York; selected group exhibitions: Modeling
the Photographic: The End(s) of Photography,
McDonough Museum of Art, Youngstown, Ohio;
Leslie Tonkonow Gallery, New York.; Copilandia,
Seville, Spain; Andrew Kreps Gallery, New York;
Paolo Tonin Arte Contemporanea, Turin, Italy;
Feigen Contemporary, New York; Dorsky Gallery
Curatorial Projects, Long Island City, N.Y.;
Contemporary Museum, Baltimore; essays and
article written for: M/E/A/N/I/N/G and Lusitania;
www.curtismitchellart.com.
Adjunct Professor
Ph.D., New York University; M.F.A., University of
Massachusetts; E.D.M., Northeastern University;
B.F.A., University of Redlands.
Aldrich Museum; Open Salvo, White Box, 1998;
Bypass, Kunstmuseum-Bonn, 1997; Nancy Spero:
Retrospective, New Museum of Contemporary
Art; extensive service as resident and guest
critic: RISD, Art OMI, Parsons The New School
of Design; including lectures at Reykjavik
National Museum, Iceland, and the Brooklyn
Museum; selection panelist: ArtOmi International
Residency Program and Henry Street Settlement
Residency Program.
John Monti
Professor
M.F.A., Pratt Institute; B.S., Painting, Portland
State Universit; solo exhibitions include: Synthetic
Pleasures, Bentley Projects, Phoenix, Ariz.; Fancy
and Rondo, Elizabeth Harris Gallery, New York;
Amatory Bodies, Sarah Moody Gallery of Art,
University of Alabama, Tuscaloosa, and many
group exhibitions; public art projects include
Fancy for Boston; Changing Places, Metro Tech
Center Brooklyn, N.Y.; Neuberger Museum of
Art; Munson-Williams-Proctor Institute of Art;
recipient of a Joan Mitchell Foundation Grant, the
Louis Comfort Tiffany Foundation Grant, and New
York Foundation for the Arts Fellowship Grant;
work is included in the collections of AT&T; the
Arkansas Arts Center, the Eli and Edythe Broad
Foundation, the Brooklyn Museum, the Castellini
Art Museum of Niagara University, and Chase,
among others; www.johnmonti.com.
Donna Moran Professor
M.F.A., Painting/Printmaking, Pratt Institute;
B.A., Art Education, C. W. Post College;
exhibitions include Instituto Cultural Peruano
Norteamericano, Lima, Peru; Taller Galleria Forte,
Spain; McGraw Gallery; the Rabbet Gallery; Art
Source LA; collections include Noyes Museum,
New Jersey State Museum of Art, Bristol-Myers
Squibb, Hyatt Corporation, Johnson & Johnson;
various solo and group shows, corporate and
private collections; represented by the Rabbet
Gallery, Art Source, LA; visiting artist: the Victorian
College of Art, Melbourne, Australia; publications
include Monoprinting (Jackie Newell, A & C Black,
Great Britain); Water-Based Screen Printing (Steve
Hoskins & C. Black, Great Britain); The Complete
Printmaker (John Ross & Clare Romano, Free
Press); www.dlmoran.com.
Carlos Motta
M.F.A., Milton Avery Graduate School of the
Arts at Bard College; B.F.A., School of Visual
Arts; multidisciplinary artist whose work draws
upon political history in an attempt to create
counter-narratives that recognize the inclusion of
suppressed histories, communities, and identities.
Work has been presented internationally in venues
such as Tate Modern, London; The New Museum,
the Guggenheim Museum and PS1 MoMA, New
York; Institute of Contemporary Art, Philadelphia;
Museo de Arte del Banco de la República, Bogotá;
Museu Serralves, Porto, Portugal; National Museum of Contemporary Art, Athens, Greece; CCS
Bard Hessel Museum of Art, Annandale-on-Hudson, New York; San Francisco Art Institute, and
Hebbel am Ufer, Berlin. Pprepared a Façade
Project for the Sala de Arte Público Siqueiros
in Mexico City, was an artist in residency at the
Institute for Art, Religion and Social Justice–Union
Theological Seminary in New York in the spring
2013, and had a solo exhibition at Galeria Filomena
Soares in Lisbon, Portugal, in May 2013. Graduate
of the Whitney Independent Study Program, he
was named a Guggenheim Foundation Fellow in
2008, and he received grants from Art Matters in
2008, New York State Council on the Arts in 2010,
and the Creative Capital Foundation in 2012.
Cyrilla Mozenter
Adjunct Professor
M.F.A., B.F.A., Pratt Institute; has exhibited at
The Aldrich Contemporary Art Museum, The
Drawing Center, Brooklyn Academy of Music, and
Neuberger Museum of Art; has been artist-inresidence at Dieu Donné Papermill, the Kohler
Arts Center, and Instituto Municipal de Arte e
Cultura-Rioarte, Rio de Janeiro; recipient of
grants from NYFA and The Fifth Floor Foundation;
represented in collections of the Arkansas Arts
Center, Birmingham Museum of Art, Brooklyn
Museum, Hood Museum of Art, Walker Art Center,
and Yale University Art Gallery;
www.cyrillamozenter.com.
Dominique Nahas
M.A., Art History, Institute of Fine Arts, New
York University; B.F.A., School of Visual Arts;
independent curator and critic; contributor:
Art in America, Flash Art, d’art Int’l, Artnet,
and Trans; co-curator with artist Margaret
Evangeline in upcoming One-to-One
exhibition of contemporary work at the Rose
Art Museum; selected exhibitions curated
include: Inadmissible, HP Garcia Gallery New
York; BROOKLYN!, Palm Beach Institute of
Contemporary Art; ClenchClutchFlinch, Paul
Rodgers, New York; Paradise 8, Exit Art, New
York; Plural Speech, White Box; PopSurrealism,
Mario Naves
M.F.A., Pratt Institute; B.F.A., University of Utah;
recipient of grants from the National Endowment
for the Arts, the E.D. Foundation, the Sugarman
Foundation, and the Pollock-Krasner Foundation;
his paintings and works-on-paper are represented
by the Elizabeth Harris Gallery in Chelsea and have
been covered by The New York Times, The New
York Sun, the Village Voice, ArtCritical.Com, ArtNet
and other publications; his criticism has been
published in The New York Observer, Slate, The
New Criterion, New Art Examiner, The Wall Street
Journal, and City Arts; lives and works in New York
City; www.mnaves.wordpress.com.
Ross Neher
Adjunct Professor
M.F.A., Pratt Institute; B.F.A., Washington
University School of Fine Arts; exhibitions
include Mitchell Algus Gallery, New York; Howard
Scott/M-13 Gallery, New York, NY; Through Our
Eyes: Belfast/New York, Belfast, Northern Ireland;
Painting Abstraction, New York Studio School, New
York; Preview, Howard Scott Gallery, New York;
The Fanelli Show, OK Harris Gallery, New York;
Interior Landscapes: Art from the Collection of
Clifford Diver, Delaware Art Museum, Wilmington,
Del.; www.rossneher.com.
Sarah Nicholls
B.A., Sarah Lawrence; a visual artist who makes
pictures with language, books with pictures,
prints with type, and animations with words; often
works with found language, historical research,
and metal type, combining image, visual narrative,
and time; has written a collection of self-help
aphorisms, publishes a series of free informational
pamphlets, and is currently working on a field
guide to extinct birds; ran the studio programs
at the Center for Book Arts in Manhattan for 12
years, organizing programs, publications, talks, and
events; teaching workshops in letterpress; and
running a residency program for emerging artists;
has exhibited her prints and limited-edition artist
books internationally; work is in the collections
of the Brooklyn Museum, Oberlin College, the
University of Pennsylvania, and Stanford University,
among others.
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Fine Arts Faculty
Thirwell Nolen
Catherine Redmond
Mary Beth Rozkewicz
M.Arch., Georgia Institute of Technology;
B.Arch., Auburn University; a studio artist
who trained as a painter and architect, whose
current body of work is composed of sculptural
objects and architectural installations in clay
and other materials; his work has been exhibited
internationally and can be found in numerous
private and public collections including the
Cooper-Hewitt National Design Museum
(Smithsonian), New York; the Newark Museum,
N.J.; the Everson Museum of Art, Syracuse, N.Y.;
the Museum of Fine Arts, Houston, and the De
Young Museum, San Francisco; other awards
include NYFA Fellowship and NEA Fellowship;
www.nolenstudios.com.
Art Students League of New York; Harpur College,
SUNY; Cornell University; selected solo and group
exhibitions at David Findlay Jr., New York; M.B.
Modern, New York; Albright Knox Art Gallery,
Buffalo, N.Y.; Butler Institute of American Art,
Youngstown, Ohio; Babcock Galleries, New
York; Cleveland Museum of Art; Jerry Soloman
Gallery, Los Angeles; Jan Cicero Gallery, Chicago;
collections include: Art Students League of New
York, Butler Museum of American Art, Citibank of
New York, Cleveland Clinic Foundation, Dreyfus
Corporation, Luther College Museum, Progressive
Corporate Collection, and Reading Public
Museum; www.catherineredmond.com.
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.
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.
the Virginia Museum of Art, Richmond, Va.; the
Whitney Museum Philip Morris Gallery, New York;
and the Wexner Center for the Arts, Columbus,
Ohio; exhibited large-scale projects in Japan in
1999 and in 2003; more recently, she has been
included in several international shows such as
Sonsbeek 9, Arnhem, Holland; Regarding Beauty
at the Hirshhorn Museum, Washington; Rapture
at the Barbican Museum, London, England, New
Material as New Media at the Fabric Workshop
and Museum, Philadelphia, and Dresscodes,
St. Gallen, Switzerland; participated in a major
survey exhibition called Dirt on Delight organized
by the ICA Philadelphia, which traveled to
the Walker Art Center in Minneapolis; www.
beverlysemmesstudio.com.
Max Reinhardt
Analia Segal
Carla Shapiro
John O’Connor
Skowhegan School of Painting and Sculpture
Skowhegan; M.F.A., Pratt Institute; M.A., Theory,
Criticism, and History of Art, Pratt Institute;
B.A., Graphic Design, Westfield State College;
exhibitions include: Pierogi Gallery, Brooklyn,
NY; Sarah Lawrence College, Bronxville, NY; So
Different, So Appealing, Gramercy Park, New York;
curated by Rachel Churner, The Death Affect,
Artblog, New York; The Way Things Work, Athens
Institute of Contemporary Art, Athens, Ga.; Spiral
Bound, Notebooks from New York to San Diego, UC
San Diego, Calif.; www.johnjoconnor.net
Bethany Pelle
M.F.A., Ceramics, Tyler School of Art;
B.F.A., Ceramics, University of Miami; sculptor
and installation artist whose exhibitions include:
Give the Cat a Name, M.F.A. Thesis Exhibition,
Temple Gallery, Philadelphia; BANG, Power Plant
Productions, Philadelphia; Jumbalaya, Elkins Tyler
Galleries, Philadelphia; Four from Philly, Cedar
Crest College, Allentown, Pa.;
www.bethanypelle.com.
Sheila Pepe
M.F.A, School of the Museum of Fine Arts, Tufts
University; B.F.A., Massachusetts College of Art;
selected solo exhibitions: Istanbul International
Arts Fair; Carroll and Sons, Boston; Dust Gallery,
Las Vegas; Fluent Collaborative, Austin, Texas;
Smith College Museum of Art, Northampton,
Mass.; The Drawing Center and Susan Inglett
Gallery, New York. Selected group exhibitions:
Galleria NOPX, Turino, Italy; Participant, Inc.,
New York; Inman Gallery, Houston; Andrew
Edlin Gallery, New York; Sue Scott Gallery, New
York; Artisterium, Tbilisi, Georgia; Manheim
Kunstverein, Germany; PS1 MoMA, New York;
LACE, Los Angeles; Museum of Arts and Design,
New York; Palm Beach Institute of Contemporary
Art, Lake Worth, Florida. Grants and fellowships:
Anonymous Was a Woman Award; Art Matters
Grant; Joan Mitchell Foundation Artist Grant;
Louis Comfort Tiffany Foundation Award; Mary
Ingraham Bunting Fellowship.
M.F.A., The School of the Art Institute of Chicago;
B.F.A., University of Colorado at Boulder;
www.maxreinhardtart.com.
William Richards
M.F.A., University of New Mexico; M.A., University
of Iowa; B.F.A., Pratt Institute; selected solo
exhibitions: Nancy Hoffman Gallery, New York;
Allen R. Hite Art Institute, University of Louisville,
Ky.; Tomasulo Gallery, Union County College,
Cranford, N.J.; Moravian College Gallery,
Bethlehem, Pa.; selected group exhibitions:
National Academy Museum, New York; Brooklyn
Museum; Virginia Museum of Fine Arts, Richmond,
Va.; Art Institute of Chicago; Pennsylvania
Academy of the Fine Arts, Philadelphia; San
Francisco Museum of Modern Art; Kunsthalle,
Nuremberg, Germany; Salas de Exposiciones
de Bellas Artes, Madrid; NEA Grant and CAPS
Grant; awarded a gold medal by the Society
of Illustrators, 1968; Represented by Nancy
Hoffman Gallery, New York, since 1974; works in
the following public collections, among others:
Whitney Museum of American Art, Art Institute
of Chicago, National Museum of American Art,
Washington; recipient of grants from the National
Endowment for the Arts and the Creative Artists
Public Service Program, New York.
Howard Rosenthal
M.F.A., Pratt Institute; B.F.A., Rhode Island School
of Design; recipient of grants from the National
Endowment for the Arts and the Corporation
for Public Broadcasting; commissions from
Snug Harbor Cultural Center in New York and
Crosby Gardens in Toledo, Ohio; his work has
been the subject of one-person exhibitions in
New York, Los Angeles, San Francisco, Boston,
San Diego, and Tokyo, and has been included in
group exhibitions throughout the United States
and Europe; a documentary film about his work
has been broadcast nationwide by the Public
Broadcasting System, and can currently be viewed
on YouTube; reviews of his work have appeared
in The New York Times, Newsday, Artsmedia, Art
and Space Magazine, The Long Island Traveler
Watchman, The News Review, Cover Magazine, and
L Nine Magazine.
Stuart Sachs
M.A., Studio Art, New York University; B.A.,
Graphic Design, University of Buenos Aires;
exhibitions: Gallery Kobo Chika, Tokyo, Japan;
PS1 MoMA, Long Island City, N.Y.; DPM Gallery,
Guayaquil, Ecuador; Galleri Tapper-Popermajer,
Teckomatorp, Sweden; Galeria Alberto Sendros,
Buenos Aires, Argentina; Plus Ultra Gallery,
New York; Museo de Arte Moderno, Buenos
Aires; Finesilver Gallery, San Antonio, Texas;
Weatherspoon Art Museum, Greensboro, N.C.;
Galeria Animal, Santiago, Chile; White Columns,
New York; Dumbo Arts Center, New York; Centre
de Récherche Imaginaire et Création, Chambery,
France; awards: Guggenheim Foundation, PollockKrasner Foundation, New York Foundation for the
Arts; public collections: El Museo del Barrio, New
York; Blanton Museum of Art, Austin, Texas; Museo
de Arte Moderno de Buenos Aires; selected
bibliography: Restroom Design (Loft), Made
for Love (Stichting Kunstboek, Belgium, 2010);
Simply Material (Victionary, Hong Kong, 2008);
published by Die Gestalten Verlag GmbH & Co. KG
Helsingborgs Dagblad; www.analiasegal.com.
Beverly Semmes
Visiting Professor
M.F.A., Yale University School of Art; B.F.A.,
Boston Museum School; B.A., Art History,
Boston Museum School; Skowhegan School of
Art; her first exhibitions were two concurrent
project rooms at PS1 MoMA and Artist’s Space
in New York; other early exhibitions included
a large installation at the Southeastern Center
for Contemporary Art in Winston-Salem, N.C.
and a room-scale work made for the Institute of
Contemporary Art in Philadelphia; by the mid1990s, she was exhibiting work across the United
States and in Europe; European projects at this
time included solo shows at such major venues
as the Camden Arts Centre in London; the Pecci
Museum in Prato, Italy; and the Irish Museum of
Modern Art in Dublin; also included in several
important group shows early in her career, such
as Plastic Fantastic Lover at the Blum Helman
Warehouse in New York, Bad Girls at New York’s
New Museum, and Bad Girls West at the UCLA Art
Museum in Los Angeles; numerous solo museum
shows, including major exhibitions at the Museum
of Contemporary Art, Chicago; the Hirshhorn
Museum and Sculpture Garden, Washington;
International Center of Photography; B.F.A.,
Syracuse University; Central London Polytechnic,
London England; exhibitions include: Timeless
Tasks, Texas Tech University, Lubbock Texas;
Virtual Visits, Delhi Cultural Museum, Delhi, NY;
Virtual Visits, The Eeph Gallery, Arkville, N.Y.;
Obituaries to Prayer Flags, Pace University Gallery;
Catskill Mountain Foundation Gallery, Hunter, N.Y.;
Timeless Tasks, Teahouse Gallery, Rochester, N.Y.;
DRESS, Hudson Opera House, Hudson, N.Y.; Mind/
Full, Working with artists, 910 Art Gallery, Denver;
www.carlashapiro.com.
Jean Shin
B.F.A., M.S., Pratt Institute; Shin’s work has
been widely exhibited in major national and
international museums, including in solo
exhibitions at the Scottsdale Museum of
Contemporary Art in Arizona (2010), Smithsonian
American Art Museum in Washington (2009), the
Fabric Workshop and Museum in Philadelphia
(2006), and Projects at MoMA in New York
(2004); other venues include the New Museum
of Contemporary Art and the Museum of Arts
and Design in New York; the Museum of Fine
Arts, Houston; the Museum of Fine Arts, Boston;
Asia Society and Museum, The Brooklyn Museum,
Sculpture Center, Socrates Sculpture Park, and
Frederieke Taylor Gallery in New York; sitespecific permanent installations have been
commissioned by the U.S. General Services
Administration Art in Architecture Award, New
York’s Percent for the Arts, and MTA Art for
Transit; numerous awards, including the New
York Foundation for the Arts Fellowship in
Architecture/ Environmental Structures (2008)
and Sculpture (2003), Pollock-Krasner Foundation
Grant, and Louis Comfort Tiffany Foundation
Biennial Art Award; works have been featured in
many publications, including Frieze Art, Flash Art,
Tema Celeste, Art in America, Sculpture Magazine,
ARTnews, and The New York Times;
www.jeanshin.com.
Fine Arts Faculty
215
Gerald Siciliano
Artist, Huntington Museum of Art W. Va.; 22 solo
exhibitions and over 100 group exhibitions around
the U.S.; collections: Rutgers University, University
of Mississippi; New York Stock Exchange; PAFA,
Lauren Rogers Museum, Laurel MS; Library of
Congress; Kassel Documenta Archive; Koln Ludwig
Museum; Stuttgart Staatsgalerie, Huntington
Museum of Art, W. Va.; author: The Pen & Ink Book
(Watson-Guptill); Circus Train (Abrams); The Train
a work in series, Watercolor Magazine, Spring
2006; illustrated 27 children’s books, (Hon. Men.
Orbis Pictus Award 2007); editorial illustrator for
Time, Newsweek, Harper’s, The New York Times;
Watergate courtroom artist for Newsweek; www.
josasmith.com.
M.S., B.F.A., Pratt Institute; on completion of his
studies at Pratt Institute, he began working in
foundries, marble, and fabrication studios in New
York and Tuscany on both his own work and that
of a broad range of international sculptors; has
maintained an ongoing record of exhibitions, sales,
and commissions as well as pursuing projects in
architecture, design, and sculpture restoration;
has been an honored guest at international
sculpture symposia in Korea and North Africa;
teaching background includes appointments
on all levels of education from elementary to
post-graduate in a broad range of two- and
three-dimensional media; class offerings include
Life Study, Foundry, and Stone Carving; www.
geraldsicilianostudio.com.
Robbin Silverberg
B.A., Sculpture and Art History, Princeton
University; founding director of Dobbin Mill, a
hand-papermaking studio, and Dobbin Books,
a collaborative artist book studio; artwork is
divided between artist books and installations;
the work conceptually focuses on word cognition
and interlinearity, with an emphasis on process
and paper as activated substrate; has exhibited
and taught extensively in the U.S., Canada, South
Africa, South Korea, Mexico, and Europe; her
artwork is found in numerous collections, such as
the Museum Meermanno, The Hague, Bibliothèque
Nationale de France, and Yale University’s Art
of the Book; on the boards of the Center for
Book Arts, Ampersand Foundation, Brooklyn
Artist Alliance; and Alma on Dobbin; www.
robbinamisilverberg.com.
Keith Simpson
Ceramics Technician, Visiting Instructor
B.F.A., Kansas City Art Institute; M.F.A., the Ohio
State University; awarded a residency at the
Archie Bray Foundation for the Ceramic Arts;
his work is about craft, material consciousness,
and taste; he contrasts fired ceramic materials
with synthetic media, allowing them to play off
one another as a type of warm-hearted cultural
critique, which works with and against his own
taste; www.keithwhitecloud.com.
Joseph Smith
Professor
M.F.A., Painting, New York University; B.F.A.,
Graphic Arts and Illustration/Fine Arts, Pratt
Institute; 1965–66: Drawing, Wagner College;
1969–71: Painting. Workshop, Art Alliance of Cent.
Pa.; 1975: Visualization Workshop, Wainwright
Center, Rye, NY; 1984: Painting, Richmond College,
London; 1987–91: Painting and Drawing, ATI,
Stocton State College, N.J.; 1990: Art Institute
of Chicago, Oxbow, Mich.; 1992–98: Painting:
MS Art Colony 2000; 2001: University of Rio
Grande, graduate Children’s Book Illustrating,
Visualization, Drawing; 1962 to present: Pratt
Institute, Undergraduate: Painting, Drawing, Figure
Drawing, Sculpture, Illustration and Symbolic
Imagery; Sr. Ind. Proj. Graduate: Drawing Seminar,
MFA Thesis Painting. 2007: Walter Gropius Master
Judith Solodkin
Solodkin was the first woman to graduate from
the Tamarind Institute as a Master Lithographer;
she founded Solo Impression, a publisher and
printer of fine art multiples; works published
have appeared in museums and exhibitions
throughout the world, and can be found in
private and public collections such as MoMA,
the Metropolitan Museum, the Whitney Museum,
the New York Public Library Print Collection,
the Boston Museum of Fine Arts, the Library
of Congress, the National Gallery of Art, the
Bibliothèque Nationale, Paris, and the Tate
Gallery, London.
Jane South
B.A. Theater Set and Costume Design, School
of Art, London; M.F.A. Painting and Sculpture,
University of North Carolina at Greensboro;
exhibiton venues include: Spencer Brownstone
Gallery, The Aldrich Museum of Art, Sue Scott
Gallery, The Drawing Center; received grants
from the Joan Mitchelle Foundation, New York
Foundation for the Arts, and Pollock Krasner
Foundation; has been an artist in residence at
the MacDowell Colony, Dieu Donné Workspace,
and the Carmago Foundation.
Tim Spelios
B.F.A., University of Illinois at Urbana-Champaign;
Brooklynite Spelios takes photos, assembles
collage, plays drums, cuts up sounds, makes
sculptures, and builds cabinets; has shown his
collage and installations at Exit Art, The Drawing
Center, Sculpture Center, Smack Mellon Studios,
Long Island University, Pierogi Gallery, and
Parkers Box among others; has also taught at the
University of Illinois, at the Phillips Collection in
Washington; as part of the Friday Gallery Talks at
the Hirshhorn Museum Spelios discussed Bruce
Nauman; has played drums internationally with the
bands No Safety and Chunk; during the burgeoning
Williamsburg art scene of the ’90s Spelios, with
Caroline Cox, co-founded and ran Flipside
Gallery from 1996–2001, showing a wide range of
innovative art forms; www.timspelios.com.
216
Fine Arts Faculty
Joseph Stauber
Emily Weiner
Martha Wilson
M.F.A., SUNY at Purchase; B.F.A., Pratt Institute;
master printer and chromiste at Brand-X Editions,
N.Y., in collaboration with artists including: Chuck
Close, Howard Hodgkin, Robert Motherwell, and
Helen Frankenthaler; his mail art objects and
collaborations have been sent around the world.
M.F.A., School of Visual Arts; B.A., Studio Art,
Barnard College; a painter and a writer whose art
reviews have appeared in Artforum.com, Time Out
New York, Domus, ArtSlant, ARTnews, ducts.org,
MUSEO, RES Art World/World Art (Turkey), Setup
(Vancouver), and The Visual Arts Journal, among
other publications; a guest instructor at Barnard
College, and a workshop leader at Dia:Beacon;
in 2012, she was a recipient of the Cooper Union
Teaching Artist Residency, and has been an
artist-in-residence at The Banff Centre in Alberta,
Canada, and Camac Centre D’Art in Marnay-surSeine, France; www.emilyweiner.com.
Wilson is a pioneering feminist artist and gallery
director, who over the past four decades created
innovative photographic and video works that
explore her female subjectivity through roleplaying, costume transformations, and “invasions”
of other people’s personae; she began making
these videos and photo/text works in the early
1970s while in Halifax, Nova Scotia, and further
developed her performative and video-based
practice after moving in 1974 to New York,
embarking on a long career that would see her
gain attention across the U.S. for her provocative
appearances and works; in 1976 she also founded
and continues to direct Franklin Furnace, an
artist-run space that champions the exploration,
promotion, and preservation of artists’ books,
installation art, and video, online and performance
art, further challenging institutional norms, the
roles artists play within society, and expectations
about what constitutes acceptable art media;
www.marthawilson.com.
Jason Stopa
B.F.A., Indiana University; M.F.A., Pratt Institute;
a painter, writer and curator living in Brooklyn,
NY; recent exhibitions include Junction at Ed
Thorp Gallery (New York) and The Brooklyn Zoo at
Novella Gallery (New York; contributing writer to
Art in America, Hyperallergic, Whitewall and The
Brooklyn Rail; teaches at the School of Visual Arts
and Pratt Institute.
Anthony Tammaro
M.F.A., Tyler School of Art; M.I.D., Domus
Academy, Milan; B.F.A., The University of the
Arts; a new media artist who works at the
intersection of art, design, and craft; Tammaro’s
most recognizable work leverages his expertise
with 3-D software and additive manufacturing
processes. He creates novel solutions to design
problems related to the body as site. Selected
exhibitions: Gallery Noel Guyomarch, Montreal;
Friends of Carlotta Gallery, Zurich; Alliance,
Philadelphia; Mulvane Art Museum, Topeka, Kan.;
Sungkok Art Museum, Seoul, Korea; Facere Gallery,
Seattle; Wexler Gallery, Philadelphia; CraftLand,
Providence, R.I.; Quirk Gallery, Richmond, Va.;
Velvet da Vinci Gallery, San Francisco; Sienna
Gallery, Lenox, Mass.; Luke & Elroy Gallery,
Pittsburgh, Pa.; State Museum of Pennsylvania,
Harrisburg, Pa.
Irvin Tepper
Adjunct Professor
M.F.A., University of Washington; B.F.A., Kansas
City Art Institute; NEA artist fellowship and Agnes
Bourne Fellowship Award in sculpture from the
Djerassi Foundation; exhibitions: St. Louis Art
Museum; Museum of Contemporary Art, Los
Angeles; Los Angeles County Museum of Art; and
Victoria and Albert Museum; collections: Victoria
and Albert Museum; Museum of Contemporary
Art, Los Angeles; Kunstmuseum, Bern,
Switzerland; www.irvintepper.com.
Christopher Verstegen
Studio and Gallery Supervisor, Visiting Instructor
B.A., The College of Wooster; M.F.A., Pratt
Institute; current work is mostly sculptural and
often consists of machines that perform simple
tasks; the tasks are conceived from thoughts/
observations on the role(s) of mundane repetition
in the human condition; currently lives and works
in Brooklyn, N.Y.; www.christopherverstegen.com.
Dina Weiss
Assistant Chair, Visiting Instructor
M.F.A., Parsons The New School for Design;
B.S., Studio Art, New York University; Weiss has
held many positions in nonprofit arts education
and museum education, as well as teaching and
lecturing at universities and museums such as
the Dia Art Foundation, The Drawing Center, the
New Museum, Museum of Arts and Design, and
Parsons The New School for Design; professional
practice is in a variety of media with works in the
Viewing Program slide registry at The Drawing
Center; exhibition venues include the James
Gallery at CUNY Graduate Center, New York;
San Diego Contemporary Museum of Art; Mixed
Greens Gallery, New York; City Without Walls,
Newark, N.J.; Hudson Valley Contemporary Center
for Art, Peekskill, N.Y.; The LAB, San Francisco;
Untitled Space, New Haven, Conn.; Art in General,
New York; artworks included in selected public
collections at the Brooklyn Museum and the New
York Public Library; www.dinaweiss.com.
Christopher White
B.A., Harvard University; numerous solo gallery
and museum exhibitions; works in major public
collections: Guggenheim Museum, Johnson Art
Museum, and others; honors include Tiffany
Award for Painting; nominee, National Artists
Award; visiting artist, American Academy in Rome;
criticism published in national arts journals;
instructor/lecturer, Metropolitan Museum of Art;
represented by Andre Zarre Gallery, New York;
www.kitwhiteart.com.
Rachel Wiecking
M.A., Art History, Purchase College, New York;
M.F.A., Studio Art, Purchase College, New York;
B.F.A., Book Arts, Oregon College of Art and
Craft, Portland, Ore.; B.A., American Studies,
Literature, University of California, Santa Cruz;
www.rachelwiecking.com/home.html.
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Chris Wright
M.F.A., Pratt Institute; B.F.A., Pacific NW College
of Art; exhibitions: Hunter College; Martin Art
Gallery, Muhlenberg College; New York University;
Phillips de Pury and Company; Swiss InstituteContemporary Art; published: Contemporary
American Oil Painting (Jillin Fine Arts Publishing
House, Changchun, China); New American
Paintings (Northeastern Edition) gallery affiliation:
George Billis Gallery, New York;
www.chriswrightpaintings.com.
Robert Zakarian
Professor
B.F.A., M.F.A., Pratt Institute; exhibitions: Brooklyn
Museum; Riverside Museum; Alan Stone Gallery,
New York; Royal Mark.
Katrin Zimmerman
M.A. Chinese Art and Korean Art, School of
Oriental and African Studies, London, UK; B.A.
Chinese Art and Archaelogy (Cum Laude), School
of Oriental and African Studies, London, UK; A.A.S.
Jewelry Design, Fashion Institute of Technology;
founder and CEO of Ex Ovo Inc., a jewelry
brand which has been shown at the Museum of
Modern Art, the Guggenheim Museum, and the
Contemporary Museum of Art, Chicago.
Communications Design Faculty
Santiago Piedrafita
Chair, Associate Professor
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 inhouse 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.
Barry Berger
B.I.D., Pratt Institute; founder, owner, and
creative director of Barry David Berger and
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.
Warren Bernard
Assistant Chair, Adjunct Assistant Professor
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.
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
David Frisco
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.
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 pro-bono design work for nonprofit
organizations; in his independent studio practice,
has completed work for a variety of clients
in the art, architectural, cultural, and nonprofit 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.
Tom Delaney
Visiting Instructor
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.
Antonio DiSpigna
Professor
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.
Thomas Dolle
Adjunct Professor, CCE
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 nonprofit organizations;
recent projects include the Getty Trust, Doe Fund,
Baruch College, Foundation Center, and National
Urban Fellows.
Tyra Nicole Dumars
Visiting Instructor
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, ColgatePalmolive, Extra Space Storage and NAACP.
Kevin Gatta
Professor
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
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.
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Communications Design Faculty
William Hilson
Eunsun Lee
Kelli Miller
Alan Rapp
Pirco Wolfframm
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 an experimental 7-colorant
process, the first to use Pantone´s Hexachrome™ in
a commercial application, and also the first designer
to print using frequency-modulated (“stochastic”)
screening systems.
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.
Michelle Hinebrook
Alex Liebergesell
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.
Associate Professor
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.
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.
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.
Adjunct Associate Professor, 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.
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.
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.
219
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.
Ann Morris
B.A., M.A., Hunter College of CUNY; creative
director, design; 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.
Eric O’Toole
Adjunct Assistant Professor, CCE
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.
Marc Rosen
B.F.A., Carnegie Mellon University; M.S., Pratt
Institute; president, Marc Rosen Associates.
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.
Alisa Zamir
Professor
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.
Industrial Design Faculty
Harvey Bernstein
B.F.A., M.S., Pratt Institute; design consultant
whose practice spans the disciplines of interior,
industrial, graphic, exhibit, and retail design;
clients include JCPenney, Sony, Hallmark,
Knoll, Chase, Calvin Klein, Speedo; recipient of
numerous design awards: Gold and Silver Awards
from IDSA and ID Magazine for product design,
as well as awards for lighting design, retail, office,
exhibit, and graphic design; exhibited at MoMA,
Cooper Hewitt National Design Museum, and
more; published in Architectural Record, Domus,
Abitare, International Design, ID, The New York
Times, Forbes, Journal, BusinessWeek, Metropolis,
and the Design Encyclopedia of MoMA.
Meri Bourgard-Rohrs
Visiting Professor, CCE
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 Northeast as well as Europe.
Gina Caspi
Visiting Professor
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.
Gihyun Cho
Adjunct Professor
M.I.D., Syracuse University; industrial design
educator, professional, and writer; has held the
position of chief industrial designer at Bell Labs
and Lucent Technologies and has served as a
design consultant for Goldstar, Samsung America,
Ken Carter, Loveland Toy, and the Kohl Group;
during his time at Bell Labs he was awarded the
AT Excellence Award, Distinguished Member of
Technical Staff, Quality Award, and the Golden
Thread Award; 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.
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Kevin Crowley
Colin Gentle
Jay Levy
B.I.D., Pratt Institute; Lowell Technical Institute,
polymer chemistry; has 40 years of experience in
the design and manufacturing of deep-sea diving
equipment, high-level radiation suits, proximity
and approach fire suits, as well as chemical
protective clothing; is also a lifelong shoe designer
having designed both performance and fashion
shoes for such companies as Converse, FILA,
Wilson, Prince, and Keds in the U.S. and Geox and
Block in Europe.
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.
B.Arch., Pratt Institute; M.Arch., Columbia
University; began his professional career working
for 12 years under two men influential in 20thcentury 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.
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:
20th Century American Designers in the USA; and
High Style: 20th Century American Design, Whitney
Museum Exhibition (aluminum clock).
Peter Erickson
Visiting Instructor
A professional prop builder who lives in New York
City, works out of a garage workspace in Brooklyn;
is a professional maker of all sorts; freelance work
includes the fabrication of custom furniture and
props for advertising; teaches model-making
processes at Pratt.
Patrick Fenton
Visiting Instructor
B.A., Visual Communications, UCLA; M.F.A. Design,
Stanford University; partner at Swayspace, a
design studio that tackles a diverse array of design
projects for a wide variety of clients, collaborating
with technology companies, nonprofit
organizations, hospitals, fashion designers,
musicians, professors, artists, and publishers;
portfolio includes design logos, marketing
collateral, websites, user interfaces, books, CD
cases, software packaging, tradeshow booths, and
building signage.
Mark Goetz
Adjunct Professor
B.I.D., Pratt Institute; design faculty since 1993; 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; he 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.
Bruce Hannah
Professor
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).
Kate Hixon
Adjunct Associate Professor, CCE
Design principal of Hixon Design Consultants;
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.
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
Chair; Adjunct Associate Professor, CCE
B.S., B.Arch., North Dakota State University;
M.I.D., Pratt Institute; a designer and educator
who teaches industrial design at Pratt Institute
and exhibit design at the Fashion Institute of
Technology, he recently became IDSA section vice
chair for communicative environments; designed
the Gossner College Campanile in Bihar Ranchi,
India; a shower shelf based on DARPA technology
for Shelfworks; and a display-driven, wine-finding
experience for Bottlerocket Wine & Spirit that got
an A+ from Zagat.
Frank Millero
B.S. Molecular Cell Biology, University of
California at Berkeley; M.I.D., Pratt Institute;
has worked at the Exploratorium museum in
San Francisco (1991–2001) where he developed
numerous biology-based exhibits and programs,
similar to the way his graduate thesis explored
ways of connecting people to the natural world;
has taught courses on color and ecological
design since 2004; now a practicing designer
currently focusing on tableware and table linens.
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Katrin Mueller-Russo
Martin Skalski
Ignacio Urbina Polo
Associate Professor
Dipl Des, Industrial Design, Hochschule für
Bildende Künste Hamburg, Germany; has
practiced with Hoberman Associates as a design
director, working on the Hoberman Sphere
toy line, on educational applications; and as a
consultant collaborating on foldable products
for a major children‘s product manufacturer;
in 1997, she founded Specific Objects Inc., an
interdisciplinary, sustainability oriented design
practice in New York; her work 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.
Professor
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.
Associate Professor
M.S., Product Engineering, Universidad Federal
de Santa Catarina, Brazil; Venezuelan industrial
designer with over 20 years of experience
specializing in the field of bionics: he has
worked on consumer products, street furniture,
signage systems, exhibition design, and visual
communication systems for many companies,
manufacturers, institutions, and government
agencies; in the late 1980s worked at the
prestigious Brazilian Laboratory of Industrial
Design on Florianopolis Island where he had
the opportunity to work in many different and
diverse product design projects, as well as
support his passion of surfing the waves; in 1999,
while living in Caracas, he co-founded Metaplug,
a multidisciplinary design firm and workshop;
worked as an industrial designer in the foundation
of La Estancia Art Center in Venezuela and the
Andean Amazon Pavilion at the Aichi World
Expo 2005 in Japan; former associate professor
and director of Prodiseño, School of Visual
Communication and Design in Caracas, where he
was involved in academic projects and research in
minimal structures, consumer products, interface
and information design, and thesis projects;
co-publisher of Objetual, a website focusing on
design issues in Venezuela, he has published
design articles in both national newspapers and
specialized magazines; participates in projects
and activities as advisor member of the IberoAmerican Design Biennial in Madrid.
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.
Arthur Sempliner
B.S. Industrial Design, University of Michigan, Ann
Arbor; M.B.A., Marketing, University of Michigan,
Ann Arbor; has taught the Production Methods
classes in the Industrial Design department for
more than 15 years; varied work experiences early
on in his career include being a designer at Dorwin
Teague and later rising to the position of vice
president; president of Construciones Sempliner
in Spain for three years, before founding Chelsea
Design Associates in New York; relationship with
Pratt Institute began in 1969 when he was the
assistant to Professor Gerald Gulotta, a visual
literacy instructor; in 1995 developed and taught
two Production Methods courses for the Industrial
Design department; is recognized for his vast
knowledge and experience in all areas of design
and manufacturing; holds over 35 U.S. patents;
winner of several awards including first prize at
the Popai Show for his Vacuum Coffee Dispensing
System; has worked on a large variety of projects
in several different fields, including architecture,
packaging design, exhibit design, point of
purchase, and industrial design.
Irvin Tepper
M.F.A., University of Washington; B.F.A., Kansas
City Art Institute; 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; work is the subject of a book, titled When
Cups Speak: Life with the Cup—A 25 Year Survey
(Silver Gate, 2002).
William Jeffrey Tolbert
B.S. Biology, Millsaps College; B.F.A., Museum Art
School; M.F.A., Yale University; a visual artist living
in Brooklyn, N.Y. who has taught at Marylhurst
College, Yale University, Parsons The New School
for Design, Pratt Institute, and The Cooper Union;
from 1993–2000, 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, fuelefficient vehicle for the transportation industry;
has exhibited his work in New York and across the
country; in 2010, worked with Philip Riley at Skink
Ink Editions to create a portfolio of giclée prints,
which were featured in a group exhibition at Skink
Ink Editions.
Rebecca Welz
Boston Museum School; B.A., Empire State College;
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; has worked for BMW, Boeing,
Chrysler, Pepsi, Proctor and Gamble, General
Mills, Gucci, Herman Miller, McNeil Associates,
Philip-Morris, Samsung, Timex, Victoria’s Secret,
Warner Brothers, YSL, and Zegna.
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Interior Design Faculty
Doreen Adengo
B.S., Catholic University; M.Arch., Yale University;
RA; project architect, Gruzen Samton
Architects, currently working on the design and
construction of affordable housing, educational,
and government projects; one of her projects
recently won a design excellence award from the
U.S. General Services Administration; previously
worked for Robert A.M. Stern Architects of New
York City, Adjaye Associates of London, and
Ellerbe Becket of Washington, D.C. Goil Amornvivat
B.Arch., Carnegie Mellon University; M.Arch.,
Yale University.
Brook Anderson
B.F.A., University of Kansas.
Eric Ansel
B.F.A., Rhode Island School of Design; M.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.
Francesca Bastianini
B.A., Smith College; M.S., Lesley University; M.F.A.,
Parsons The New School for Design.
Tania Branquinho
B.F.A., New York School of Interior Design;
M.Arch., Pratt Institute.
Mary Burke
B.A., Fordham University; M.S. Columbia
University; B.Arch., City College School
of Architecture; RA; directs Burke Design
& Architecture PLLC in a broad range of
architecturally based residential, hospitality,
and commercial projects; registered architect
who has practiced in the field of interior design
and architecture for over 35 years; previously
held leadership roles in prominent architecture
firms including Cetra Ruddy, Gruzen Samton
LLP, HOK, Swanke Hayden Connell, and Tihany
International; led KPF Interior Architects’
Singapore office, designing major interior spaces
for the headquarters of United Overseas Bank,
designed by Kenzo Tange; then set up her own
Singapore practice, Burke Design, providing
interior architecture services throughout Asia
and Australia; serves as vice president for design
excellence of the AIA New York Chapter, after
a five-year stint as the chair of the chapter’s
Interiors Committee; former board member of
the New York Chapter of IIDA, and is the 2012
chair of the Advisory Group for the Interior
Architecture Knowledge Community of the AIA;
serves annually as a juror in the Best of NeoCon
competition in Chicago, and is a frequent
contributor to design publications.
Tania Chau
B.A., University of Chicago; M.S., Pratt Institute;
graduate of the Pratt Interior Design MS
program; practicing Interior Design since 2005;
currently a freelance designer providing design
services directly to clients, as well as consulting
with architecture firms; prior to working
independently, was an interior designer and
project manager with 212box Architecture in
New York City, where she worked on a variety
of high-end residential, commercial and retail
projects; besides interior design, professional
experience includes custom furniture, fixture
and material design as well as construction
administration and management.
Der Sean Chou
M.S., New York University; M.S. Interior Design,
Pratt Institute; New York-based designer with
professional experience in hospitality and highend residential projects; currently working as
a designer at Jeffrey Beers International; past
design experience includes work at Ajemian
Design and Plan Architecture; in addition, worked
for several years in the film industry as a 3-D
and visual effects artist; graduate of Vancouver
Film School where his work received honors and
appeared in film festivals around the world.
Melissa Cicetti
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.
223
James Conti
David C. Foley
Sheryl Kasak
Jason Livingston
B.F.A., Youngstown State University; M.F.A., Ohio
State University; principal, Jim Conti Lightworks;
clients include the N.Y.C. Department of
Transportation, Battery Park Conservancy, Alliance
for Downtown New York, and Great Park in Orange
County, California; awards include the IES Lumen
Award, Glowing Topiary Garden, IALD, IES, AIA
award for Bronx Charter School for the Arts.
Visiting Professor
B.A., University of Pittsburgh; M.A., University
of Illinois, Chicago; M.Arch., University of Notre
Dame; RA; registered architect with expertise in
the luxury retail and residential markets, whose
studio, UR Design, also provides urban design
services for urban and rural communities.
B.F.A., B.Arch., Rhode Island School of Design;
M.S., Columbia University; founder, Interim Design,
an architecture and interior design practice
based upon her undergraduate thesis “An Interim
Architecture,” which addressed the 15 Year War
in Lebanon and the proceeding redevelopment
of the center of Beirut; her practice focuses
on the communication of information through
spatial design and the notion that we are all
living in an interim state, one which is constantly
evolving and reacting to our surroundings and our
lives; has worked for I.M. Pei and Rafael Vigñoly;
represents Atelier Christian de Portzamparc in
New York for U.S. projects; held the winning entry
for the international theoretical competition
Unbuilt Architecture with her Lightning House
design in 1994 and has been published several
times in Abstract, the Columbia University annual
design publication.
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.
James Counts Jr.
B.Arch., Kansas State University; M.S., Columbia
University.
Annie Coggan
B.A., Bennington College; M.Arch., Southern
California Institute of Architecture.
Wendy Cronk
B.A., Washington University; M.Arch., Harvard
University, RA; the work of Wendy Cronk
Architect includes new construction, interior
design, custom furniture design, and graphic
design; her award-winning graphic design work
was published in HOW magazine and Two-Color
Graphics, and her design for a lighting fixture
made out of a re-used industrial object was
featured in the exhibition Artists Create Light;
previously worked predominantly in the offices
of Tsao & McKown and Toshiko Mori Architect;
her design contributions were most notably
recognized in A+U for the Taghkanic Residence
for Toshiko Mori Architect.
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
mixed-use and institutional projects primarily in
the New York City area, though other sites have
ranged from the Hollywood Hills to the Bund in
Shanghai; prior to founding Formactiv, he worked
in the offices of Rafael Vinoly Architects, Davis,
Brody, Bond and Greenberg-Farrow Architects.
Philip Farrell
Adjunct Professor
B.F.A., M.S., Pratt Institute; in practice since
1978 with Farrell Design Associates, a firm that
offers a broad range of professional services in
both residential and commercial design; major
organizations that have commissioned his firm
include Citibank, Warner/Amex Communications,
MCTV, Intelligent Office Franchise, Air France,
Sony, Revlon, and AT&T; illustrated or contributed
to a number of books, including Construction
Materials for Interior Design (Watson-Guptill,
1989), Commonsense Design (Charles Scribner),
Interiors for the Handicapped (Pantheon Press),
Putting It All Together (Charles Scribner), and
Space Planning Basics (John Wiley and Sons, 1992)
Pavlina Gantcheva
B. Civil Eng., University of Architecture and
Civil Engineering, Sofia, Bulgaria; B.Arch., Pratt
Institute; M.S., Columbia University.
Nicolas Guillin
M.F.A., École Supérieure de Création Industrielle
Adam Hayes
Visiting Instructor
B.A., B.Arch, Rice University
John Heida
B.S., University of Montana; B.Arch., California
College of the Arts.
Claudia Hernandez
B.Arch., California State Polytechnical; M.S.,
Columbia University; Plain Space Inc., Architecture
and Design.
Sarah Hill
B.F.A., Parsons School of Design; M.S.,
Pratt Institute
Lindsay Homer
B.A., Bates College; M.S., Pratt Institute.
Ben Howes
B.Arch., Pratt Institute; M.S., Stevens Institute
of Technology.
Latoya Nelson Kamdang
B.S. Business Administration, Georgetown
University; M.F.A., George Washington
Univeersity; M.Arch. Real Estate Development,
University of Pennsylvania; has been exploring
different typologies within the interior design
and architecture profession since 2000; has
worked on projects in commercial, government,
technology, institutional, retail, residential,
exhibit, and museum design; major projects
include U.S. Embassies overseas, National
Museum of African American History and
Culture, and Marc Jacobs International retail
stores; intermediate architect for Jaklitsch
Gardner Architects PC; coursework taught
includes Colors & Materials; Structures; Digital
Applications; Space, Tectonics, & Surfaces; and
Design Studio; Certified Interior Designer (CID),
NCIDQ Certified, and LEED AP BD+C.
Ted Kilcommons
Visiting Instructor
B.A., University of Texas; designer, builder and
teacher in New York City; founded Ted K Design
(www.tedkdesign.com) in 2008 as a platform
for thought-provoking design and timeless
craftsmanship; work has appeared in Interior
Design and Popular Mechanics magazines,
where he is a contributing writer, and has been
featured on numerous Best Of lists and blogs
around the intertube; currently sits on the
Board of Directors at Yestermorrow Design/
Build School (www.yestermorrow.org) and works
as project supervisor for MG and Company
(www.mgandcompany.com), a design-savvy
construction firm that has served the NYC
hospitality industry since 1918.
Margaret Kirk
B.Arch., Syracuse University; M.Arch., Pratt
Institute.
Eugene Kwak
B.Arch., Carnegie Mellon University; M.S.,
Columbia University; LEED AP; educator, architect,
and an urban designer who works for Dattner
Architects, focusing on technology-based green
and sustainable public work including New
Housing New York Legacy Project; his entry for
the Reinventing Grand Army Plaza Competition
was selected as one of the top 30 ideas to be
included in a public exhibition, and his entry for
Intersections: The Grand Concourse Beyond 100
also earned an Honorable Mention. Annie K. Kwon
University; GSAPP, B.S. & B.Arch., Rhode Island
School of Design
Chelsea Limbird
B.A., Brown University; M.Arch., Rhode Island
School of Design.
Jennifer Logun
B.A., Gettysburg College; M.Arch., University
of Florida.
Cam Lorendo
B.A., Parsons the New School for Design; design
career as a carpenter and a contractor, which
has proven invaluable in providing a working
knowledge of methods and materials to his
practice; principal work has been in the furniture
industry where he has had extensive experience
with Knoll, Herman Miller, Steelcase, Vecta, and
DesignTex for whom he has worked nationally
designing office systems display, showrooms,
market events, new product introductions,
and trade shows; commercial practice covers
a broad spectrum of projects including office
interiors, trading firms, advertising agencies, and
restaurants; residential work has spanned the
gamut from apartments to single-family homes in
numerous locations throughout the United States.
William Mangold
M.Phil., Ph.D. candidate, CUNY Graduate Center;
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.
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T. Camille Martin
Joseph E. Nocella
J. Woodson Rainey
B.A., Miami University; M.Arch., Washington
University; principal, TCM Studio, Brooklyn, N.Y.
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.
B.F.A., B.Arch., University of Utah.
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
of experience in architecture as well as interior
design; her early work as a project architect for
a highly respected architectural firm designing
homes and apartments was followed in 1989 by
a position as project architect for the in-house
design department of the Guggenheim Museum;
as a member of the museum’s planning team
her focus was in orchestrating several design
projects of the museum’s expansion in New York
City; she designed and supervised the creation
of administrative office space within newly
excavated space at the original Frank Lloyd Wright
museum building; over the years, she has pursued
a mixture of residential and non-residential
work; her increasing focus on the intersection
between architecture and interior design led
her to establish D’Aquino Monaco in 1997 with
Carl D’Aquino; she was inducted into the Interior
Design Hall of Fame in 2007.
John Nafziger
B.A., Franklin & Marshall College; M.Arch. II,
Yale University; principal and co-founder of
Bigprototype, a Brooklyn-based design firm
dedicated to testing, research and play; formed
in 2004, Bigprototype is a tactile, hands-on
practice that operates at the intersection
of design and building; also co-founder of
Littleprototype, a design studio focused on
product and furniture design; originally from
Jos, Nigeria, has lived and traveled extensively in
the Middle East, Caribbean and Asia and draws
on a broad range of experiences to inform his
design collaborations; exhibitions of work with
Bigprototype include Made in New York at the
Museum of the City of New York, M+D+F at
Design Within Reach, and the Bernhardt Design
Studio emerging designers exhibition.
Robert Nassar
B.F.A., Syracuse University; principal, Robert
Nassar Design, New York.
Tetsu Ohara
B.Arch., University of California at Berkeley;
Certificate of Architecture, Harvard University;
principal designer, SpatialDesignStudio, Inc.
in N.Y.C.; has engaged in design projects in both
the East and West ranging from product design,
exhibition design, interior design, to architectural
services; recently published project includes
Japan Brand Unfolding exhibition with Japanese
Ministry of Trade at Felissimo Design House
in Manhattan.
Jon Otis
Professor
B.A., Moravian College; M.S., University of
Massachusetts; principal, OlA – Object Agency,
a multidisciplinary design studio and design
strategy agency, whose work ranges from interior
architecture and design, exhibition design,
branding and visual communications, product
design and consulting; clients have included
Tandus Flooring, George Nakashima Woodworker,
Scotts Inc., Vitra Design Museum, Corning Glass,
Contract Design, Tuva Looms, and World Moto
Cross; recipient of Fulbright and Lusk fellowships
to Italy; named Most Admired Educator in Interior
Design in DesignIntelligence in 2009.
Danny Ka Ho Pang
M.S. Interior Design, Pratt Institute; upon
graduation, began working at Glen & Company as
an interior designer focusing on hospitality design;
in 2008, joined Lee H. Skolnick Architecture +
Design Partnership, where he worked on various
projects in different disciplines including interior
design, exhibit design and graphic design; in 2012,
began working in retail design by joining Saks Fifth
Avenue OFF 5TH as a manager of store planning
and design; currently the Director of Store
Planning and Design at Saks Fifth Avenue OFF 5TH.
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 nightclub, and other hotel and
hospitality lifestyle designs, commercial retail
outlets, and high-end design fashion shops;
clients include several corporate groups from
General Electric Plastics Division to a major
international publishing firm, an international
insurance company, a private legal firm, and a
specialty paper goods manufacturer; restored
Memorial Hall on Pratt’s Brooklyn campus with
Philip Farrell.
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. Rachely Rotem
B.Arch. (Cum Laude), Israel Institute for
Technology; M.S., Columbia University; leads
MODU with years of experience working at a
diverse range of project types and scales; in
2004, won the “Catch the Light” international
competition for the Athens Olympic Games; has
won several international design competitions
and awards for projects in North America,
Europe, Asia, and the Middle East; before starting
solo practice in 2009, worked for established
architecture practices in both Tel Aviv and
New York, where she was a Project Manager
for Leslie Gill Architect; at Columbia University,
she was awarded both the Lowenfish Prize
and the William Kinne Fellows Prize; currently
teaching advanced design studios at the Rhode
Island School of Design; previously taught at the
University of Pennsylvania and Cornell University;
LEED Accredited Professional in building design
and construction and Associate AIA member.
Mary-Jo Schlachter
B.S., M.Arch., University of Pennsylvania; RA;
USGBC committee member; co-founder, d3, an
organization committed to advancing innovative
positions in art, architecture, and design by
providing a collaborative environment for
artists, architects, designers, and students from
throughout New York City though a program of
exhibitions, events, competitions, and publications;
prior to independent practice as MJIT Studio,
she worked extensively in affordable housing
and high-end residential design in various New
York architectural firms including Beth Cooper
Lawrence, Raffaella Bortoluzzi, and Bruno Kearney;
her architectural and installation work has been
exhibited in Philadelphia, New York, and Savannah.
225
Irina Schneid
Hazel Siegel
Myonggi Sul
B. Arch., M.Arch., Cornell University; architect,
educator, and principal of an interdisciplinary
design lab: SCH+ARC Studio; research, teaching,
and practice are focused on activating drawing
as a generative tool in the production of spatial
relations; primarily based in New York, has
lectured and taught internationally; recent
teaching appointments include Barnard College
of Columbia University, Pratt Institute, Tyler
School of Art, and the Royal Melbourne Institute
of Technology (RMIT) in Melbourne, Australia;
work has been featured in Designboom,
Archdaily, and Possible City; SCH+ARC Studio’s
Pop-Up Playhouse was recently named finalist
by BTI in their international PLAYscapes
competition; engaged in projects of all scales,
SCH+ARC has completed the design and
construction of several collaborative retail
projects in New York and Las Vegas.
B.F.A., Skidmore College; M.F.A., Hunter College,
City University of New; Atelier Hazel Siegel Ltd.
Professor
B.A., Valparaiso University; M.S., Pratt Institute;
interior designer in New York City for over 20
years; principal, Myonggi Sul Design, which
provides interior design services to corporations,
high-end residences, and major architectural
firms; previous appointments include director
of interior design at Marcel Breuer Associates,
and work as an associate at GN Associates/Carol
Groh and Associates, where her creative skills
and leadership were instrumental in the firm’s
recognition as the 1988 Designer of the Year by
Interiors magazine; has taught at both Hongik
University and Gunguk University in Seoul, Korea,
as a visiting professor.
Deborah Schneiderman
Associate Professor
B.S., Cornell University; M.Arch., SCI-Arch; RA;
LEED AP; principal, deSc Architecture/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 The 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.
Corie Sharples
Founding Principal of SHoP; oversees the firm’s
Interior Design Group; in this role, she is integral
to the creation of comprehensive, integrated
solutions that consider all aspects of a design
together; from the functional and experiential
arrangements of space, the choreography
of movement throughout a building and the
character of spaces inside and out, to the design
and detailing of bespoke elements tailored to
fit the specific needs of each project; SHoP’s
interior design projects exemplify the firm’s
emphasis on “performative environments,” taking
into consideration patterns of use, material and
spatial efficiencies, all the factors of a space
that are only apparent when one is able to look
at its entire context, whole; her attention to
detailing and materiality comes from a deep
understanding and passion for craft that,
when coupled with SHoP’s expertise in digital
fabrication and construction technology, results
in smart, sophisticated and beautiful work.
Andrew Simons
B.F.A., Carnegie Mellon University; partner,
Emphasis Design.
Darius Somers
B.Arch, Pratt Institute; M.S. Architectural
Design, Columbia University; received several
prestigious awards for academic excellence,
namely; the Pratt Patron’s Scholarship, the
highest prize awarded to a student at Pratt’s
School of Architecture, and the Willam Kinnie
Fellow Prize from Columbia University; shortly
after graduating from Pratt, produced designfocused conversations; the “Designing an
Enduring Legacy” symposium in conjunction with
the Black Alumni Association and Pratt Institute
School of Architecture, and “Design Generation
2.0” in partnership with The Architect’s
Newspaper, where he is currently an editorial
board member; worked under the leadership
of distinguished architects and educators: the
late Charles Gwathmey at Gwathmey Siegel and
Associates Architects, and David Adjaye at Adjaye
Associates in New York City; currently working at
a small practice led by architect Mario Gooden;
managing an 8,000-square-meter, mixed-use
development in Johannesburg, South Africa.
Sarah Strauss
B.A., Duke University; M.Arch., Yale University;
founder, Bigprototype (2004), a practice that
operates at the intersection of design and building,
harnessing interests in making, testing, research,
and play, with offices in Brooklyn, N.Y. and Rincon,
Puerto Rico; also founded LittlePrototype, a
furniture and product design company located in
Brooklyn, and Collider, an installation art project
with Lia Halloran that travels between New York
City and Los Angeles.
Keena Suh
B.A., University of Illinois at Urbana-Champaign;
M.Arch., Columbia University; RA; architect,
Reddymade Design, New York City; professional
experience includes a broad range of
architecture and interior projects including
affordable housing, high-end residential
projects, retail, and hospitality designs.
Madeleine Taylor
M.S., Columbia University; RA; principal, boutique
architecture and interior design studios MMTNYC,
New York City and MMTSLC, Salt Lake City; has
served as director of operations at Ace Gallery
in New York City, and worked as a designer at
Skidmore, Owings & Merrill, LLP.
Karin Tehve
Acting Chair
B.Arch., Pennsylvania State University; M.Arch.,
Harvard University RA; architect and founder,
KT3Dllc. (2001), a small interdisciplinary practice
pursuing projects in architecture, interiors,
multimedia design and site-specific art; awards
include a 2009 Building Brooklyn Award and a
2009 Lumen Citation and Regional Award (with
Linnaea Tillett) for This Way, a permanent light
installation under the Brooklyn Bridge; recent
projects include a test-kitchen for Every Day with
Rachael Ray magazine and collaboration with
Linnaea Tillett Lighting Design on a permanent
light installation in Winnipeg, Manitoba.
Jack Travis
B.Arch., Arizona State University; M.Arch.,
University of Illinois, 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 ensure the
entrance of more students of color into the
profession; editor, African American Architects: In
Current Practice, (Princeton Architectural Press,
226
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.
materials, such as hardwoods, cork, glass, metals,
which are then used with resins, carbon fiber,
new technologies and methods, allowing thin
profiles, fluid forms and tactile, resilient surfaces;
some of the materials Walz has developed have
been patented; recipient of the Rome Prize
for work in design; in the Interior Design Hall
of Fame; art and designs have been exhibited
in galleries and museums in North America
and Europe and work is regularly in design
publications.
Loukia Tsafoulia
Diploma in Architecture Engineering, School
of Architecture, National Technical University
of Athens; MSAAD, Architecture, Planning and
Preservation, Columbia University; registered
architect TEE-TCG, received fellowship from
the Gerondelis Foundation; obtained her
professional degree and first M.Arch. from the
National Technical University of Athens (NTUA),
spending one year as an exchange student at the
Universidade Nova de Lisboa, Portugal; co-founder
of PLB studio based in New York as well as an
Adjunct Professor at the City University of New
York, Architectural Department of Technology;
a founder partner of Fabula & Syuzhet, a new
experimental platform based on the production
of body and space embellishments; from 2010
to 2013 led the Architectural Section for Studio
Dror, managing a variety of architectural and
urban design projects as well as architectural
competitions; also employed by LEESER
Architecture in New York City and has collaborated
with SO-IL / Solid Objectives for the construction
of Sukkah City pavilion proposal in New York; also
worked with Jorge Otero-Pailos on the research
and design development of a proposal for the
“Ancient” Acropolis Museum; from 2006 to 2009
joined the Laboratory of Urban Environment,
Department of Urban and Regional Planning (NTUA)
as a researcher for the Collaborative Environmental
Regeneration of Port Cities Eleufsina Bay and the
Mines of Aegean and Industrial Heritage Record
programs; in parallel, worked as an architect
for Karakosta E. Architectural office in Athens
for a couple of years of intense architectural
practice; work has been published and exhibited
in international design fairs, the London 3-D print
show and ICFF in New York, among others.
Kevin Walz
Pratt Institute; the New York Studio School;
artist and designer; recently returning from
two decades in Rome, Walzworkinc, his design
firm is located in New York; known for his
spatial design projects, employing innovative
spatial relationships, materials and processes
borrowed from other disciplines, notably those
from industry, fine art and craft; artwork, which
focuses on perception and form; and signature
collections of products; also lectures and
teaches at university programs in Europe and
the U.S.; has designed many signature product
lines of lighting, carpets, fabrics, wall coverings,
bath fixtures and fittings, and furniture; furniture
designs begin with an interaction of fine natural
William Watson
B.A., Princeton University; M.Arch., University
of Texas at Austin; principal, Castro Watson,
whose work includes residential and design build
projects as well as winning entries to design
competitions; Speak Up for Small Farms, Stored
Potential Competition, in Omaha, Nebraska, was
the winning entry in 2010.
Henry Weintraub
B.A., University of Michigan in Ann Arbor; M.Arch.,
Harvard University; professional work has included
residential, townhouse renovations to rooftop
additions, to office and gallery renovations for
offices such as Ennead, Spivak Architects, and
Daniel Rowen Architects.
Alexandra Griffith Winton
B.A., Smith College; M.A., Bard Graduate Center
for Studies in the Decorative Arts.
Piotr Woronkowicz
Visiting Instructor
B.S. Product Design (Honors), Art Center College
of Design; an industrial designer who specializes
in 3-D technology and manufacturing as a process
to achieve unexplored design potential and
problem-solving in various disciplines of design
from furniture to Interiors; before Joining Frog
Design in 2014, worked as a senior designer at
Pentagram for Paula Scher and worked with other
studios and clients such as Jeffrey Bernett, Don
Chadwick, Jorge Pardo, Design Within Reach,
Herman Miller, Boffi, to name a few; born in
Gdansk Poland; has lived in various places around
the world including Milan, Italy, Vancouver,
Canada, Tokyo, Japan, Los Angeles, California
before finally settling down in New York City in
2007; work can be seen in galleries throughout the
country; recent recipient of a Spark award; work
has been published in international magazines and
newspapers including Wallpaper, Surface, the Los
Angeles Times, Elle Décor, and ID.
227
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.
Edwin Zawadzki
B.A., Harvard University; M.Arch., Yale University;
before architecture school, worked at The New
Yorker magazine and later with Lazard Frères in
Paris and Moscow during the exuberant period
of perestroika; after grad school, worked at
the NY office of Perkins and Will on a variety of
educational and healthcare projects, as well as
an urban master plan for the city of Beirut in
collaboration with the offices of Fred Koetter;
in 2000 he and Mason Wickham founded In Situ
Design, recently named one of the top 50 design
firms in NYC by NY Spaces magazine; In Situ Design
specializes in boutique hotels as well as residential
work (insitudesign.com); currently teaches the
first-year graduate design studio; previously
taught in the undergraduate program
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.
Science Faculty
Selenay Aytac
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.
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.L.S., Queens College, City University of New
York; M.A., Ph.D., Art History, University of Virginia;
B.A., History, George Mason University; Visual
Resources Curator, Pratt Institute.
Jason Baumann
York; 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.
Anthony Cocciolo
Tula Giannini
Assistant Professor
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,
Dean of the School of Information and
Library Science
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).
Anthony Cucchiara
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.
Deirdre Donohue
M.L.S., Pratt Institute; B.A., State University of
New York at New Paltz; Librarian, International
Center of Photography.
Emily Drabinski
M.L.S., Syracuse University; M.A., Composition
and Rhetoric, Long Island University; B.A., Political
Science, Columbia University.
Terence Fitzgerald
M.S.L.I.S., Pratt Institute; B.A., English,
Iona College.
Nancy Friedland
Visiting Professor
M.S., Library Science, Simmons College; B.A.,
History, Boston University.
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.
Helen-Ann Brown-Epstein
Barbara Genco
John N. Berry III
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
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.
M.L.S., Pratt Institute; B.A., Canisius College;
Director, Collection Development, Brooklyn
Public Library.
Sharareh Goldsmith
M.L.S., Pratt Institute; B.A., Mt. Holyoke College;
Advanced Certificate in Library and Information
Studies, Pratt Institute.
Joshua Hadro
Visiting Instructor
M.L.S., Pratt Institute; B.A., Philosophy, Columbia
University; executive editor, digital products,
Library Journal and The Horn Book.
Alexis Hagadorn
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
Assistant Professor
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.
Jennifer Hoffman
Ph.D., Higher Education, M.L.S., M.A., Art History;
University of North Texas; B.A., Fine Art and
English Literature, Hardin-Simmons University.
David Alan Hollander
J.D., Fordham University; M.L.S., Pratt Institute;
Law and Legal Studies Librarian, Princeton
University Library.
228
Library and Information Science Faculty
Jennifer Hubert-Swan
David Marcinkowski
Deborah Rabina
Brooke Watkins
M.L.S., Wayne State University; B.A., English,
Olivet Nazarene University; Library Department
chair, 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.
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.
M.L.S., Pratt Institute; B.A., English and Drama,
University of Georgia; assistant director for young
adult programs, New York Public Library.
Associate Professor
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.
Seoud M. Matta
Sarah Jewell
Visiting Assistant professor
M.L.I.S., Rutgers University; B.S., Biology; The
College of New Jersey.
Jesse Karp
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.
Matthew Knutzen
Assistant Professor
M.F.A., Abstract Cartography and Artists’ Books,
Pratt Institute; B.A., Geography, University of
California at Berkeley; geospatial librarian, New
York Public Library.
Elizabeth Kroski
M.S.L.I.S., Long Island University at Post; B.A.,
Anthropology, Mount Holyoke College; Manager
of Information Systems, New York Law Institute.
Tonya Leslie
Visiting assistant Professor
M.A., Education, New York University; B.A.,
Education, State University of New York at
New Paltz.
Irene Lopatovska
Assistant Professor
Ph.D., Information Science, Rutgers University;
M.L.S., University of North Texas; B.S., Kiev
State University.
Laura Lutz
M.L.S., University of Arizona; B.A., English,
Willamette University; consultant, Scholastic
Book Clubs.
Craig MacDonald
Assistant Professor
Ph.D., Information Studies, Drexel University;
M.S., Applied and Mathematical Statistics,
Rutgers University; B.A., Statistics, The College
of New Jersey.
Susan L. Malbin
Visiting Instructor
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.
Hillias Martin
229
Christopher Weller
Caroline Romans
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.
Dean Emeritus
D.L.S., Columbia University.
Visiting Professor
M.L.S., Drexel University.
Kevin B. Winkler
Abigail Meisterman
Charles Rubenstein
Visiting Instructor
York; B.A., Dance and English, Rutgers University;
metadata specialist, New York Public Library.
Matthew Miller
M.S.L.I.S., Pratt Institute; M.S., History of Art,
Pratt Institute; B.A., History of Art, The Ohio State
University.
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
Assistant Professor
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.
Professor
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.
Margaret Smith
M.S.L.I.S., Syracuse University; M.A., Evolutionary
Biology; B.A., Physics & Studio Art, Rice 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
Assistant Professor
Ph.D., Certificate in International Technology
and Pedagogy; 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.
M.L.S., Columbia University; M.A., Hunter
College, City University of New York; B.A., San
Diego State University.
History of Art and
Design Faculty
Sonya Abrego
Visiting Instructor
Ph.D. candidate, Bard Graduate Center
M.Phil, Decorative Arts, Design History and
Material Culture Studies, Bard Graduate Center;
a Ph.D. candidate specializing in 20th-century
fashion, currently completing a dissertation on
western wear in the postwar United States; work
focuses on the interconnections between fashion
and popular culture, specifically music and film;
she has presented papers in New York, Montreal
and San Francisco, worked with the costume
collections at the Museum of the City of New York
and the Metropolitan’s Costume Institute; she is
the recipient of graduate fellowships from the
Metropolitan Museum of Art, the Bonnie Cashin
Foundation and the Autry National Center; she is
a senior editor at Worn Fashion Journal and works
in the vintage clothing market.
Kelly Rae Aldridge
Visiting Instructor
B.A., Art History, Colorado State University;
M.A., Art History and Criticism, Ph.D. candidate,
Stony Brook University; conducts research on
the place of food in art with particular focus
on contemporary collaborative interdisciplinary
projects; currently working on a dissertation,
“Crumbs from the Revolutionary Table,” that
examines art practices that focus on the table as
a critical site of physical consumption, sensuous
encounter, social production, and material
exchange; Instructor at Stony Brook University;
was Session Chair at the Association of Art
Historians and has presented papers at CAA and
other venues.
Lisa Banner
B.A., Princeton University; Ph.D., Institute of
Fine Arts, New York University; art historian
and curator; publications include Spanish
Drawings in the Princeton University Art Museum
(Yale University Press, 2013), and The Religious
Patronage of the Duke of Lerma (Ashgate, 2009);
has lectured on old master drawings at the Frick
Collection, Metropolitan Museum of Art, Morgan
Library, Courtauld Institute, and the Meadows
Museum; as a curator she has worked with the
Frick Collection (The Spanish Manner: Drawings
from Ribera to Goya, 2010-2011), the Museo del
Prado (Dibujos del Siglo de Oro en la Coleccion de
la Hispanic Society of America, 2006), the Museu
Nacional d’Art de Catalunya, and the Institute of
Fine Arts, NYU.
Ágnes Berecz
Ph.D., Université Paris I (Panthéon-Sorbonne);
teaches modern and contemporary art history;
Associate Professor at Christie’s Education;
lectures at the Museum of Modern Art; writings
have appeared in Art Journal, Art in America,
Artmargins and the Yale University Art Gallery
Bulletin as well as in European and US exhibitions
catalogs; recent work includes the two-volume
monographic study, Simon Hantaï, and the essay,
“The Event of Painting,” written for Judit Reigl’s
retrospective at the Ludwig Museum in Budapest;
review articles for Muérto, the Budapest-based
art monthly, include “Thomas Hirschhorn’s
Gramsci Monument,” and “American Traumspiel:
Mike Kelley”; she is working on a book titled Paint
No More: France, 1948-1982.
Sam Bryan
B.A., Dartmouth College; M.A., Howard University;
D.A., History, Carnegie-Mellon University;
filmmaker and film archivist who specializes
in documentary film and criticism; has taught
courses in film history and production at
Brooklyn College, Fordham University and at
Pratt since 1983; since 1960 he has filmed for
the International Film Foundation in Africa and
South America; his films have been shown at
the American Film Festival, at the Museum of
Modern Art and the Metropolitan Museum of
Art; past president of the New York Film Council
and executive Director of the International Film
Foundation.
Corey D’Augustine
B.A., Visual Arts and Biochemistry, Oberlin
College; M.A., Art History, Advanced Certificate
in Art Conservation, Institute of Fine Arts, New
York University; conservator of modern and
contemporary art and technical art historian;
works for the Solomon R. Guggenheim Museum
and lectures on art history conservation at New
York University, Sotheby’s Institute of Art, City
College of New York, and Museum of Modern Art;
a specialist in American and European Post-war
art, research includes 20th-century painting
materials and techniques and conservation of
monochrome paintings; selected publications:
“Taoism in the Work of Agnes Martin,” Kunst
Nu, “Laser Cleaning of a Study Painting by Ad
Reinhardt and the Analysis/Assessment of
the Surface after Treatment,” Modern Paints
Uncovered; Selected Awards: Samuel H. Kress
Foundation grant; Dedalus Foundation grant.
230
History of Art and Design Faculty
Ed DeCarbo
Mary Douglas Edwards
Frima Fox Hofrichter
M.A., University of Chicago; M.A., Ph.D., Indiana
University; concentration is art and aesthetics in
post-colonial societies with foci in traditional and
contemporary arts; field research in aesthetics
in a traditional multicultural society in West
Africa and in the Pacific (Moana) in contemporary
arts; his courses survey the traditional and
contemporary arts of Africa and the Pacific, and
consider the theories and methods of analysis
that are applied to the post-colonial world; he
serves as a consultant to the College Board effort
to globalize the Advanced Placement Curriculum
in Art History; was Director of Education at the
National Museum of African Art, Smithsonian
Institution, and served as a senior university
administrator for many years.
Adjunct Professor
M.L.S., M.A., Ph.D., Columbia University;
publications include Wind Chant and Night
Chant Sand Paintings, articles in Journal of the
Society of Architectural Historians, Studies in
Iconography, Source: Notes in the History of
Art, Il Santo: rivista francescana, Zeitschrift für
Kunstgeschichte, and elsewhere; co-edited and
wrote portions of Gravity in Art: Essays on Weight
and Weightlessness in Painting, Sculpture and
Photography; chaired sessions and read papers at
meetings of CAA; SECAC; International Congress
on Medieval Studies; awards include Samuel
H. Kress Dissertation Fellowship, NEH Travel to
Collections Grant, Delmas Foundation Grant; past
president, 14th-Century Society; former member,
Executive Council of Southeastern Medieval
Association; two-term associate, editorial board,
Medieval Perspectives.
Professor
Certificate in Fine and Decorative Art Appraisal,
Pratt Institute—in collaboration with the American
Society of Appraisers; M.A. Hunter College; Ph.D.
Rutgers University; issues of gender and class
have informed her work; she is the author of a
monograph on the 17th-century Dutch artist,
Judith Leyster; numerous articles within Dutch
art and feminist/gender studies; organized several
Dutch exhibitions; and is currently working on
the theme of old women; contributor to Janson’s
History of Art: The Western Tradition (for the
Baroque and Rococo sections); was Dutch Book
Review Editor (2008-2013) for the Historians of
Netherlandish Art (HNA); a member of the College
Art Association’s Committee on Women in the
Arts and Chair, Jury for the Distinguished Feminist
Award (2012).
Eva Díaz
Assistant Professor
M. A., Ph.D., Princeton University; her book
The Experimenters: Chance and Design at Black
Mountain College will soon be released by the
University of Chicago Press; the project examines
how an interdisciplinary group of artists at
Black Mountain proposed new models of art
and focuses on three Black Mountain teachers
in the late 1940s and early 1950s: Josef Albers,
John Cage, and Buckminster Fuller; writing
appears in magazines and journals such as The
Art Bulletin, Art Journal, Art in America, Cabinet,
The Exhibitionist, Frieze, Grey Room, October,
and Tate Etc. and she is a regular contributor to
Artforum; she was recently awarded a Creative
Capital/Warhol Foundation Art Writers Grant to
research for her book about Buckminster Fuller’s
work, titled The Fuller Effect: The Critique of Total
Design in Postwar Art.
Dorothea Dietrich
Chair and Professor
B.A., M.A., M.Phil., Ph.D., Yale University; primary
research areas: the Weimar Republic and post1945 German art and culture; publications include:
The Collages of Kurt Schwitters: Tradition and
Innovation (Cambridge U. Press) and German
Drawings of the 60s (Yale U. Art Gallery), and
numerous contributions to exhibition catalogues
and scholarly volumes in the United States and
Europe; was Chair of Arts and Humanities at
the Corcoran College of Art and Design, and
Curator of Prints and Drawings and Director of
the Morse Research Center at the Zimmerli Art
Museum at Rutgers; taught at Princeton University
and held visiting appointments at Yale, MIT,
Duke, Washington University, Boston University,
and Bryn Mawr College; recently was a Senior
Research Fellow at the Henry Moore Institute in
Leeds, England.
Charles Eppley
Visiting Instructor
B.A., Art History and Music, Hiram College; M.A.,
Art History and Criticism, Ph.D. candidate, Stony
Brook University; focuses on site-specific art,
sound, and new media; completing a dissertation
on “Un-Fixed Media: Site-Specificity and Materiality
in the Work of Max Neuhaus”; has organized a panel
on Soundsites at the Southeastern College Art
Conference, and presented papers on sound art
and Max Neuhaus at various venues; also teaches at
Stony Brook University.
Diana Gisolfi
Professor
B.A., Radcliffe/Harvard; M.A., Ph.D., University of
Chicago; research focus is on Cinquecento art
in Venice and the Veneto, including religious and
political context and artistic practice; developed
and directs the Pratt in Venice program; lectures
and chairs sessions regularly at CAA and RSA
and at international conferences; contributed
essays to three international exhibitions on Paolo
Veronese: Venice 2011, Sarasota,FL 2012-13,
Verona 2014; publications include: The Rule,
The Bible, and the Council: The Library of the
Benedictine Abbey at Praglia (CAA Monograph
Series); On Classic Ground, Caudine Country
(Illustrations), and articles in: Yale University Art
Gallery Bulletin, Artibus et Historiae, Arte Veneta,
The Art Bulletin, The Dictionary of Art (Oxford
Art Online), Renaissance Quarterly, Burlington
Magazine, caareviews.org.
Dimitri Hazzikostas
Assistant Professor
M.A., Ph.D., Columbia University; has done
archeological field work in Greece and published
in the Encyclopedia of Comparative Iconography;
awards include Sears Distinguished Professor 1991,
Whiting Fellowship.
Heather Horton
B.A., DePauw University; M.A., Ph.D., Institute
of Fine Arts, NYU; current research focuses on
questions of authorship, originality, and imitation,
especially in the career of the pivotal writer and
architect Leon Battista Alberti; recently published
a new interpretation of Alberti’s treatises on
painting and is completing a book manuscript
titled Leon Battista Alberti and the Renaissance
Crisis of the Author; has taught at New York
University, The City University of New York,
Purchase College, and The Cloisters Museum,
where she remains a frequent guest lecturer.
Susan Karnet
Visiting Instructor
B.F.A., The School of Visual Arts, New York City;
M.F.A., Hunter College, CUNY; a painter and
sculptor; has exhibited work in Chelsea, the East
Village, 57th Street, Brooklyn, New Jersey, Europe
and Africa; work has been reviewed in The New
York Times; has taught at a number of schools in
New York, New Jersey; and Cairo, Egypt; including
Parsons, New York University, and The School
of Visual Arts; she is interested in Modern and
Contemporary Art, sculpture, and Egyptian Art.
Dara Kiese
B.A., Modern History, University of Minnesota;
M.Phil., Art History, CUNY Graduate Center; Ph.D.,
Art History, CUNY Graduate Center; research
centers around the artistic and architectural
avant-gardes in Weimar Germany, with focus
on the Bauhaus; received a number of grants,
including a Fulbright fellowship to Berlin and
a Getty research travel grant; worked as a
Curatorial Assistant in the Architecture and
Design Department at the Museum of Modern
Art; presented papers on architectural and
design pedagogies at conferences and symposia
including the College Art Association and the
Bauhaus Universität Weimar; has published essays
on the Bauhaus.
231
Vivien Knussi
Anca Lasc
William Lorenzo
Adjunct Instructor
B.A., M.A.,Tufts University; Ph.D., Columbia
University; studied American Art and Photography
at Columbia University; was a Lecturer at the
Museum of Modern Art through the Department
of Photography; assembled and catalogued two
major corporate collections, The Dreyfus Fund
and McFrank and William Advertising Agency;
with the insight she gained into emerging
photographers that were featured in both,
she has specialized in teaching Contemporary
Photography at Pratt; currently writing a book
on the subject; has written catalog essays and
most recently translated a German essay on
“Deconstructed Poetry” for Les Figues Press.
Assistant Professor
B.A., History and Theory of Art and Literature,
Jacobs University Bremen, Germany; M.A.,
Art History, Ph.D., Art History, University of
Southern California; studies the invention and
commercialization of the modern French interior
and the development of the professions of
interior designer and commercial window dresser;
received numerous grants, including a NEH
Summer Institute Grant at the Bard Graduate
Center, and published essays in the Journal of
Design History and Interiors: Design, Architecture,
Culture; Designing the French Interior, coedited
with Georgina Downey and Mark Taylor, is
forthcoming from Bloomsbury Publishing in 2015;
she has presented papers at various conferences,
including the College Art Association, Society
of Architectural Historians, Society for French
Historical Studies, and Interior Design Educators
Council’s annual meetings.
B.F.A., Brooklyn College; independent artist,
researcher, film archivist, and programmer;
publications include museum notes and articles
in Animation Magazine, AnimaFilm, and others;
author of Lillian Friedman Astor—Pioneer Woman
Animator; Executive Board Member ASIFA-East,
The International Animated Film Association;
curator, Animation Over Broadway, Museum
of Modern Art, February 1993; other areas of
interest: film and illustration.
Gayle Rodda Kurtz
Assistant Chair, Adjunct Associate Professor
B.A., Stanford University; M.A., Hunter College;
Ph.D., CUNY Graduate Center; specializes in 18thand 19th-century European art; was a contractual
lecturer at The Metropolitan Museum of Art with
a focus on the African Art Galleries from 1995 to
2013; Associate of Zeteo Journal (zeteojournals.
com) where she is a contributing editor and writer;
has presented papers at the 19th-Century Studies
Association; taught at Caldwell College, Hunter
College, and New York City College of Technology,
CUNY; received a Graduate Teaching Fellowship
from CUNY Graduate Center.
Marilyn Kushner
Visiting Professor
B.A., M.A., University of Wisconsin at Milwaukee;
Ph.D., Modern Art, Northwestern University;
Curator and Head of the Department of Prints,
Photographs and Architectural Collections at
the New-York Historical Society (2006-present);
previously was chair of the Department of Prints,
Drawings, and Photographs and Curator of Prints
and Drawings at the Brooklyn Museum (19942006); has also served as Curator of Collections
at the Montclair Art Museum, New Jersey, and
Research Associate at the Whitney Museum
of American Art; has published and lectured
extensively on works on paper and has served on
juries and guest-curated exhibitions nationwide.
Thomas La Padula
Adjunct Professor
B.F.A., Parsons School of Design; M.F.A.,
Syracuse University; for more than 36 years,
he has illustrated for national and international
magazines, advertising agencies and publishing
houses; is the illustration coordinator for
the undergraduate Communication Design
Department at Pratt Institute where he teaches
both reflective and digital illustration.
Jacob Lewis
Visiting Instructor
M.A., History of Art, Williams College; Ph.D., Art
History, Northwestern University; specializes in
19th-century French photography and art; his
dissertation addressed the role of instantaneity
and reproducibility in the photography of Charles
Nègre (1820–1880) ; he is a former Coleman
Fellow in the Department of Photographs of the
Metropolitan Museum of Art, and Blum/Model
Fellow at the National Gallery of Canada.
Rael Lewis
B.A., Swarthmore College; Ph.D., Stanford
University; specialist in 19th- and 20th-century
art with a focus on fin-de-siècle visual culture;
currently writing a book on the imagery of
absinthe and intoxication in modern Paris;
before coming to Pratt, he taught at UCLA,
Bowdoin College, Villanova University, and the
Claremont Colleges.
Michele Licalsi
B.A., M.A., Institute of Fine Arts with Certificate
in Art Conservation, New York University; studied
art at the New York Academy of Art, the Art
Students’ League, and the National Academy of
Design; has been teaching drawing, color and
composition at the National Academy of Design
from 1994 to the present; taught fresco painting
at the Conservation Center, Institute of Fine Arts,
NYU from 1993 to 2005; has also worked in art
conservation at the Brooklyn Museum and the
Metropolitan Museum of Art; has worked as a
conservator on sites in Florence, Rome, Parma,
and Sardis.
Elizabeth Meggs
Visiting Instructor
B.F.A., Communications Arts and Design,
Illustration, Virginia Commonwealth University;
illustrator, writer, designer of paintings,
photography and hand-bound artist books;
graphic designer (Hearst’s Victoria) and writer for
the Los Angeles Daily News; has worked at Pierogi
Gallery and taught at BBG, VCU, Pratt and NYCCT;
exhibitions include: ISE Cultural Foundation, Los
Angeles Center for Digital Art, Mariner’s Museum,
Firehouse Art Collective, Anderson Gallery, Target
Gallery/Torpedo Factory, Galapagos Art Space,
Edward Hopper House, Pratt Dean’s Gallery,
Lincoln Center, and Brooklyn Museum’s Go!
Brooklyn; selectee, NYC Center for Book Arts’
Letterpress Printing/Fine Press Publishing Seminar
for Emerging Writers; recipient, Virginia Museum
of Fine Arts Fellowship/Drawing.
Juan Monroy
B.A., Film Studies, University of California at Santa
Barbara; M.A., Cinema Studies, Ph.D. candidate,
Cinema Studies, New York University; scholar of
film, television and media studies, specializing
in history, technology, and cultural impacts of
US film and television; doctoral candidate in the
Department of Cinema Studies at NYU, writing
a dissertation on television, Latin America, and
economic development in the 1960s; teaches
film and media classes at Fordham University,
Lincoln Center, CUNY Queens College, and Pratt
Institute; since 2009, has also worked as a video
and digital media librarian and database technician
at NYU-TV.
Marsha Morton
Professor
M.A., University of Chicago; Ph.D., Institute of
Fine Arts, New York University; books include
Max Klinger and Wilhelmine Culture: On the
Threshold of German Modernism (Ashgate 2014),
the co-edited anthology The Arts Entwined:
Music and Painting in the 19th-Century (Garland
2000), and Pratt and Its Gallery: The Arts & Crafts
Years (1999); has published numerous essays on
19th-century German and Austrian art, many
with a focus on interdisciplinary topics (cultural
history, Darwinism, music, and ethnography) and
artists and critics such as Alois Riegl, Gustav Klimt,
Klinger, Alfred Kubin, Max Beckmann, and Max
Liebermann; currently serving her second term as
President of the Historians of German and Central
European Art (HGCEA).
232
Evan Neely
Katarina V. Posch
Elizabeth St. George
Bor-Hua Wang
B.F.A., Fine Arts, Parsons The New School of
Design; M.Phil., M.A., Ph.D., Art History, Columbia
University; studied 20th-century and Northern
European Renaissance Art, as well as postEnlightenment political and aesthetic theory;
most recent work investigates the relationships
between 19th-century American literature and
20th-century painting and new genres; has
taught courses at Columbia University, Parsons
School of Design, and the Museum of Modern Art,
on modern and postmodern art, the history of
ethical and political theory, and Enlightenment
aesthetics; currently Core Lecturer for Art
Humanities at Columbia University in addition to
teaching at Pratt.
Associate Professor
M.A., University of Applied Arts, Vienna, Austria;
Ph.D., Tokyo University of Fine Arts and Music,
Japan; design historian specializing in intercultural
themes; teaches and publishes on Japanese,
European and American design in a sociohistorical context; publications cover issues
relating to design and material culture, from
cross-cultural comparisons (Changing Worlds,
Changing Designs, MAK, Vienna, 2012) to feminist
approaches (“The Seen and the Hidden. [Dis]
covering the Veil,” Austrian Cultural Forum New
York, 2007; has written monographs and exhibition
catalogues and curated for major museums
including the Pompidou Center in Paris (Portrait
d’une Collection, 1995), the Vitra Design Museum in
Germany (Isamu Noguchi – Sculptural Design, 2001)
and the Noguchi Museum in New York.
Visiting Instructor
B.A., Kent State University; M.A., Ph.D. candidate,
Bard Graduate Center; specializes in late 19thand 20th-century architecture and design;
has been an invited speaker at the Los Angeles
County Museum of Art and has served as a
research assistant for the Bard Graduate Center’s
exhibitions on Knoll textiles (2011), Artek and
Alvar Aalto (forthcoming), and the architect
and designer, William Kent (forthcoming); her
dissertation explores interwar architecture and
design and themes of modern living in the former
Czechoslovakia; she is broadly interested in how
design is used to construct modes of cultural
interaction and identity, and how modernism and
notions of modernity were used to disseminate
social, political, and cultural reform in America
and Europe.
M.A., University of Kansas; Ph.D., Columbia
University; a specialist in Chinese painting and
calligraphy of the Song dynasty; areas of research
include: Contemporary Chinese Art; Buddhist Art
of Southeast Asia and Western art theory; curator
of Contemporary Korean Art, Abstract Chinese
Art, for Taipei Fine Art Museum; she presented
“Pan Yuliang’s Life and Art: Alienation to Freedom
of Expression,” CAA, 2001.
Elena Rossi-Snook
Jack Toolin
B.A., Cinema, State University of New York at
Binghamton; M.A., Film Archiving, University of
East Anglia; archivist for the Reserve Film and
Video Collection of The New York Public Library;
Director of the Board, Association of Moving
Image Archivists; Chair, AMIA Film Advocacy Task
Force; selected publications include: “Persistence
of Vision: Public Library 16mm Film Collections
in America,” The Moving Image, “Continuing Ed:
Educational Film Collections in Libraries and
Archives,” Learning With the Lights Off: a Reader in
Educational Film; selected awards: 2002 recipient
of the Kodak Fellowship in Film Preservation;
Other: Producer, Why We Film 16mm series;
Documentary film We Got the Picture made official
selection of the 2005 Tribeca Film Festival.
B.F.A., Photography, Ohio University at Athens;
M.F.A., Photography, Performance, and
Installation, San Jose State University; artist
working in new media, digital imaging, and
performance; his work considers contemporary
life in light of the changing political, economic,
and technological landscape; individual and
collaborative work has been exhibited nationally
and internationally, including San Francisco
Camerawork; The Walker Art Center; the Whitney
Museum of American Art (2002 Whitney Biennial);
and the Museo Nacional de Bellas Arte, Buenos
Aires, Argentina; he has performed in the San
Francisco Bay Area, New York, Pittsburgh,
Reno, Phoenix, Hong Kong, and Linz, Austria;
commissions include the Walker Art Center and
the Whitney Museum of American Art; he has
lectured nationally and internationally. v
Nicholas Parkinson
Visiting Instructor
B.A., Philosophy, DePauw University; M.A.,
Philosophy, Ph.D. candidate, Art History &
Criticism, Stony Brook University; Ph.D. candidate
at Stony Brook University, where is he completing
his dissertation on the popular and critical
reception of Nordic art in 19th-century France;
areas of research interest include imaginary
geographies of the 19th century, fin-de-siècle
art and culture, and the history of art criticism;
an active member of the Society for the
Advancement of Scandinavian Study; his most
recent publication, “De Chirico and the Finde-Siècle,” will be printed in Symbolist Roots of
Modern Art in 2015.
Joyce Polistena
Adjunct Professor
M.A., Art History, Hunter College; Ph.D., M. Phil.,
The Graduate Center of the City University of
New York; Certificate TESOL, Columbia University;
Certificate in 19th-century British History, Oxford
University. Primary research areas are 19th- and
early 20th-century European and American
Art, with emphasis on French Romanticism;
publications include The Religious Paintings of
Eugène Delacroix (Mellen, 2008) and contributions
to scholarly volumes: NCAW; Bulletin du Société
des Amis du Musée Nationale Eugène Delacroix;
The Van Gogh Museum Journal; current research
involves artists’ activism and political prints as well
as ongoing research about French Romanticism;
appointed Visiting Assistant Professor of Art
History at The College of The Holy Cross (20142015); has served on the Board of Directors of
ASCHA; has organized several symposia on 19thcentury Romantic Art.
Ann Schoenfeld
M.A., University of Chicago; Ph.D., The Graduate
Center, City University of New York; received
a CUNY Dissertation Fellowship; work includes
Lecturer, SUNY Purchase, and Nominator for
the Joan Mitchell Foundation for Painting and
Sculpture; has published in M/E/A/N/I/N/G:
An Anthology of Artist’s Writings, Theory, and
Criticism, i-D, Eye.
Dorothy Shepard
M.A., Southern Methodist University; Ph.D.,
Bryn Mawr College; received an AAUW American
Fellowship and a Haakon Traveling Fellowship;
invited lectures include: CAA, Kalamazoo and
Medieval Academy; Symposia on History of the
Bible held at Barnard, Rutgers, and Princeton
Universities; published in Medieval Germany: An
Encyclopedia; Rutgers Art Review; The Apocalypse
in Word and Image; and Canterbury and the
Medieval Bible.
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Alice Walkiewicz
Visiting Instructor
B.A., University of Kansas; M.Phil., Ph.D. candidate,
The Graduate Center, City University of New
York; specializes in 19th-century art from Europe
and the United States; current research focuses
on issues of gender and labor, and the way that
anxieties about these issues are addressed
through visual culture (both in fine art and popular
imagery) within a transnational (and transatlantic)
context; her dissertation explores these concerns
by examining representations of the archetypal
figure of the exploited, laboring seamstress in
England, France, and the United States in the late
19th century within the context of the rising labor
movement; has taught at Parsons The New School
for Design as well as Pratt Institute.
Sarah Wilkins
B.A., Vanderbilt University; M.S., Pratt Institute;
Ph.D., Rutgers, The State University of New Jersey;
specializes in Italian late medieval and Renaissance
art, with interests in mendicant patronage,
Angevin Naples, and the cult of the saints; awards
include a Fulbright fellowship and a Mellon
Finishing Grant; publications include “Imaging
the Angevin Patron Saint: Mary Magdalen in the
Pipino Chapel in Naples” (2012) and “Adopting and
Adapting Formulas: The Raising of Lazarus and Noli
me tangere in the Arena Chapel in Padua and the
Magdalen Chapel in Assisi” (2013); has presented
papers at conferences including Kalamazoo and
RSA; currently chair of the Italian Art Society’s
Emerging Scholars Committee.
Karyn Zieve
B.A., Wellesley College ; M.A., University of
Pennsylvania; Ph.D., Institute of Fine Arts, New
York University; specialist in 19th- and early 20thcentury art, with a focus on Eugène Delacroix,
orientalism, the history of photography and the
graphic arts; in addition to teaching at various NYC
institutions and museums, she has written about
and organized exhibitions of prints, drawings and
photographs on various topics; presently she is
working on a manuscript based on her work on
Delacroix and images of the East.
Media Studies Faculty
Jonathan Beller
Professor
Ph.D., Duke University, B.A., Columbia University;
Is the author of The Cinematic Mode of
Production: Attention Economy and the Society
of the Spectacle; and Acquiring Eyes: Philippine
Visuality, Nationalist Struggle and the World Media
System; and editor of Feminist Media Theory (a
special issue of The Scholar and Feminist Online).
His current book projects include The Rain of
Images and Computational Capital. Beller also
serves on the Editorial Collective of Social Text,
and is the current director of The Graduate
Program in Media Studies.
Stephanie Boluk
Assistant Professor
Ph.D. University od Florida, M.A. McGill University,
B.A. Concordia University. Pursues research
located at the intersection of game studies,
media archeology, and the digital humanities.
From the “audiogames” invented by blind (and
blindfolded) players to perspectival shifts in the
spatial logic of first-person shooters and from
the history of Super Mario modifications to the
virtual currency and player-based production in
competitive e-sports, Boluk’s forthcoming book
Metagames explores alternative histories of play.
See stephanieboluk.com for more information.
Allen Feldman
Visiting Professor
M.A., Ph.D. New School for Social Research;
Internationally praised ethnographies engage
the embodied political subject as a media skin
shaped by a politics of light/nonlight. He is
concerned with the affective fabric of mediatic
life, nonlife and post-life as a politics of design.
His forthcoming book Archives of the Insensible
interfaces the aesthetics, technicity and mediatics
of power, war and resistance through the concept
of the photopolitical.
Ira Livingston
Professor
Ph.D., Stanford University; B.A. Manchester
College; Directs Poetics Lab at Pratt. His work
focuses on poetics in an expanded sense,
especially via the study of emergence, complexity
and systems. He is the author of several books,
most recently a digital book, Poetics as a Theory of
Everything, forthcoming in 2015.
Mendi Obadike
Assistant Professor
B.A., Spellman, Ph.D., Duke; works at the
intersection of sound and language. She has
published four books—Armor and Flesh (2004),
Phonotype (2012), Four Electric Ghosts (2014), and
Big House / Disclosure (2014)—and released three
albums—The Sour Thunder: An Internet Opera
(2004), Crosstalk: American Speech Music (2008),
and Big House / Disclosure (2014). Her conceptual
media artworks have been exhibited widely.
Her awards include a Rockefeller Media Arts
Fellowship, a postdoctoral fellowship in Race and
Ethnicity at Princeton University, and a residency
at the Tribeca Performing Arts Center.
Minh-Ha Pham
Assistant Professor
Ph.D., University of California at Berkeley; has
previously taught at NYU and Cornell University.
She has published numerous scholarly articles
including pieces in positions, Signs, and
Camera Obscura while also authoring pieces
in her capacity as a public intellectual in Salon,
Huffington Post, and Ms. She curates a Tumblr
project, “Of Another Fashion,” a digital archive
of the fashion histories of U.S. women of
color, and co-writes the critical fashion blog
Threadbared. She is finishing a book titled Work
of Art: Personal Style Blogs and the Making of DIY
Race, which analyzes what she terms the “fashion
media complex,” including how labor, race,
gender, and other factors create and are created
by this complex.
Ethan Spigland
Professor
M.F.A., Tisch School of the Performing Arts,
Maîtrise University of Paris VIII; is an awardwinning screenwriter, filmmaker, visual artist,
critic, and curator. He has written and directed
numerous films including The Archive, which
is currently in postproduction. He completed
two short films in collaboration with renowned
architect Steven Holl. One of these, Luminosity
Porosity, formed part of an installation at the
Gallery Ma in Tokyo, Japan. His ongoing project,
Elevator Moods, was featured in the Sundance
Film Festival and South By Southwest, and won
the prestigious Webby Award in the Broadband
Category. His short film, The Strange Case of
Balthazar Hyppolite, won the Gold Medal in
the Student Academy Awards, among other
honors. He collaborated with Malcolm McLaren
on numerous short films, and on the video
installation, Shallow, which opened at the I-20
Gallery in New York and was featured in Art Basel.
Christopher Vitale
Associate Professor
Ph.D. New York University; B.A. SUNY
Binghampton; Teaches the intersection of
philosophy, film, and media. Networkologies (Zero
Books, 2014) links together the study of networks
in a wide variety of fields, including artificial
intelligence, cutting-edge ‘soft’-computation,
neuroscience, complex systems science,
economics, social and political networking,
and beyond. An avid blogger on topics ranging
from networks to philosophy, sexuality, and
politics, Chris posts his work on his website,
networkologies.wordpress.com. Courses include
Contemporary Experimental Narrative Cinema,
Theories of Networks, Deleuze and Cinema,
Bodies/ Boundaries/ Power, Psychoanalytic Film
Theory, Modernism/ Postmodernism.
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Performance and Performance
Studies Faculty
Lisabeth During
Jennifer Miller
Associate Professor, Philosophy
B.A., Wesleyan University; M.Th., King College,
University of London, London, U.K.; Ph.D., Trinity
College, Cambridge University, Cambridge, U.K.
Donald Andreasen
James Hannaham
Associate Professor
Circus Amok founder and artistic director Jennifer
Miller has been working with alternative circus
forms, theater, and dance, for over 20 years. Her
work with Circus Amok was awarded a “Bessie”
in 1995 and an OBIE in 2000. Circus Amok is the
subject of a French documentary film, Un Cirque
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.
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 cowriter 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.
Youmna Chlala
Associate Professor
M.F.A. California College of the Arts; B.A.
University of California at Santa Cruz; 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 Goethe-Institut Cairo. She holds an M.F.A. in
Creative Writing from the California College of the
Arts. www.youmnachlala.com.
Steven Doloff
Professor; Lecturer, Intensive English
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.
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.
Ann Holder
Associate Professor, History
B.A., Hampshire College; Ph.D., Boston College
May Joseph
Professor, Global Studies
Ira Livingston
Professor
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).
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.
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.
Writing Faculty
Youmna Chlala
Associate Professor
M.F.A., California College of the Arts; B.A.,
University of California at Santa Cruz; 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 the 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 Goethe-Institut Cairo. She holds an M.F.A. in
Creative Writing from the California College of the
Arts. www.youmnachlala.com.
Laura Elrick
Assistant Professor
B.A., University of Southern California; M.A., New
York University; 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 SocialEnvironmental 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
Rachel Levitsky
Associate Professor
M.F.A., University of Austin, Texas; B.A., Yale
University; 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.
Associate Professor
M.F.A., Naropa University; M.A., B.A., State
University of New York at Albany; 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.
Christian Hawkey
Professor
B.A., Pepperdine University; M.F.A., University
of Massachusetts at Amhurst. 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); the cross-genre book
Ventrakl (2010, Ugly Duckling Presse); and (with
Uljana Wolf) Sonne from Ort, a collaborative
bilingual erasure (kookbooks verlag, Berlin,
2013); he has received a Creative Capital
Innovative Literature Award (2006) and a DAAD
Artist-in-Berlin Fellowship (2008); he translates
contemporary German-language poetry and
prose, and his work has been translated into over
a dozen languages; he is an officer of the Office of
Recuperative Strategies.
Samantha Hunt
Professor
M.F.A., Warren Wilson College; B.A., University
of Vermont; 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 10 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.
Tracie Morris
Professor
Ph.D., M.A., New York University; M.F.A., B.A.,
Hunter College; 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
M.F.A., Bard College, B.A., University of California
at Berkeley. 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.
236
Mendi Obadike
Associate Professor
Ph.D., Duke University; B.A., Spelman College;
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
Liberal Arts Faculty
Andrew W. Barnes
Dean of the School of Liberal Arts and Sciences
Gloriana Russell
Intensive English
Channing Burt
Lecturer, Intensive English
B.A., French and Romance Philology, Columbia
University; M.A.TESOL, Teachers College,
Columbia University; over the past 15 years,
she has taught ESL to adults in academic and
university settings in Germany and New York City,
including Friedrich Schiller University, Columbia
University, and New York University; she is also
a certified Bikram yoga instructor teaching at
studios throughout Brooklyn and Manhattan.
Diane Cohen
Visiting Instructor
Maura Conley
Tutor, Writing, Thesis
Rachid Eladlouni
Assessment and Educational Technology
Coordinator; Lecturer, Intensive English
B.A., Ibn Tofail University (Morocco); M.A.,
Hunter College.
Cynthia Elmas
B.A., French Literature, Rutgers University;
M.A.,TESOL, Hunter College; graduate studies,
Art History, Rutgers University; she has over 15
years of experience teaching ESL to adults in
New York and was also Assistant Editor for the
multidisciplinary journal, RES: Anthropology and
Aesthetics for eight years; in addition to ESL, she
is also a dancer who performs regularly in the New
York area.
Nada Gordon
CEP Coordinator, Lecturer, Intensive English
M.A., University of California at Berkeley; has
almost three decades of experience teaching
English as a Foreign Language, including 11 years
in Tokyo, Japan; she is the author of seven books
of poetry, including Vile Lilt, Scented Rushes, and
Folly; she has performed her works internationally,
and her poems have been translated into several
languages including Hebrew, Icelandic, Japanese,
and Burmese.
237
Thomas Healy
Allegra Marino Shmulevsky
Gloria Steil
M.A., University of Ireland; certificate in TEFL,
Galway Language Centre, Ireland; has studied
at the Takabijustu School of Art, Tokyo and the
Massachusetts Institute of Art, Boston; has taught
English in Ireland, Japan and the U.S.; since
1992, has worked on a number of curriculum
development projects, involving English for
academic purposes in Japan and Korea, English
language training for the Beijing Olympic Games
2008, and in middle schools in the People’s
Republic of China; he has conducted in-service
teacher training in Japan, Korea, Taiwan, Thailand
and Brazil; with Ken Wilson, he is the author of
First Choice, an integrated skills course book
(Oxford University Press).
M.A., Applied Linguistics, Teachers College,
Columbia University; B.A., French Language and
Literature, English Literature, and Studio Art,
Tulane University; in addition to studying visual art
in New Orleans, Paris and Rome, she has served as
Visual Arts editor of the Tulane Review, a literary
arts publication; she has taught French in the New
Orleans public school district, and served as a new
teacher selector for TeachNOLA TNTP Teaching
Fellows; in New York, she has worked as a mentor
for the Teachers College, Columbia University
TESOL Certificate Program, and as Program
Associate in the Art and Art Education Program
at the same institution; she has been teaching
ESL in New York since 2010, and in the IEP at Pratt
Institute since 2012; she feels fortunate to learn
more about art, architecture and design through
her talented students.
Adjunct Instructor
B.A., University of California at Berkeley; M.A.,
New York University; taught English in Tokyo for
the Japanese Ministry of Education, a summer
intensive course in English literature and
composition in Seoul, and English literature at the
College of New Rochelle, Medgar Evers College,
Hostos Community College, and Borough of
Manhattan Community College.
Kimberly Kern
M.A., TESOL, Hunter College (CUNY); B.F.A.,
Art History, University of Texas at Austin; began
teaching ESL as a volunteer in 2003 through
an organization called Literacy Austin; after
living and working abroad in Guatemala for two
years, she was accepted into the NYC Teaching
Fellow Program to teach ESL in the NYC public
schools; six years later, she joined the State
Department as an English Language Fellow in
Tegucigalpa, Honduras where she conducted
in-service teacher training; she currently teaches
in the IEP Program at Pratt and in the Teaching
and Curriculum Department at Hunter College;
outside of the TESOL field she is a bike activist,
avid reader, and Master Composter.
Elizabeth Knauer
Fanny Lao
IEP & CEP Enrollment & Advisement Coordinator
B.A., Connecticut College; M.A., International
Education, New York University; she grew up
in Guangdong, China and has been exposed
to students from around the world since she
attended an international high school in New
York and throughout her academic career at
Connecticut College and New York University;
she studied abroad in the Czech Republic; she has
been working in the education field for more
than five years.
Darleen Lev
M.F.A., Fiction Writing, University of Iowa Writers’
Workshop; somehow this led to teaching English
in South Korea, which led to teaching English to
international students at Parsons the New School
for Design; certification in the methodology
of teaching English as a foreign language was
achieved with INTESOL in Prague in 2007; in
Spring 2012, she started teaching in the IEP at
Pratt; she has published fiction and poetry in
various journals before focusing her energies on a
novel that has gone through several incarnations,
the most recent of which is titled No Man’s Land;
winning a Bread Loaf Bakeless Camargo Residency
Fellowship in 2014 brought her that much closer
to meeting the deadline to complete it in 2015.
Helen McNeil
M.A., TESOL, New York University; ESL certificate,
The New School for Social Research; taught in
the summer program at Nanjing University, China
in 1993; won her M.A. in TESOL from New York
University in 1998 while teaching in their intensive
English program; has also taught at Columbia
University, LaGuardia Community College, and
Borough of Manhattan Community College; she
has been teaching at Pratt for the past 10 years
in the IEP and more recently has taught in the
CEP; she is currently singing in a chorus which
performed in Carnegie Hall in 2007; she sings in
the Park Slope Singers and performs in concerts in
and around the Brooklyn area.
Jon Pauley
Eric Rosenblum
Visiting Instructor, Lecturer, Intensive English
B.A., English, Ohio University; M.F.A., Fiction
Writing, Syracuse University; his fiction and nonfiction have appeared in Guernica Magazine, the
Chicago Tribune and the Chicago Reader.
Nancy Seidler
Director, Intensive English
B.A., Brooklyn College; M.A.,TESOL, Monterey
Institute of International Studies; she was an
exchange student at the University of Paris and
taught at the Sichuan Union University in China;
she has been working at Pratt since 1999, where,
in addition to administering various aspects of
the IEP and CEP, she has taught in the Intensive
English Program and the English Department and
has tutored in the Writing and Tutorial Center;
during all this time, she has learned a great deal
about art, design and architecture, and has wholly
enjoyed working with the international students
at Pratt.
Sam Tomasello
B.F.A., Academy of Art University; CELTA,
University of Cambridge; book illustrator: Brooklyn
Botanic Garden’s Gardening with Children, Mother
Sea Turtle, and Down by the Pond; illustrator for
New York Botanical Gardens, Oxford University
Press, Macmillan/McGraw-Hill, The New York
Times Magazine and OpEd page, BusinessWeek,
the Washington Post, Boston Globe, Nickelodeon,
Encyclopedia Britannica, and New York Magazine;
graphic design work for: Arthur Ashe Institute
of Urban Health, Price Waterhouse, Maybelline,
M&M/Mars Inc., DeBeers, Cablevision Optimum
Online, Time Warner, AT&T, and American
Museum of Natural History; exhibitions: Flushing
Hall of Science; International Art and Science
Collaboration Digital Print Exhibition; Guild of
Natural Science Illustrators; Brooklyn Public
Library; awards: Print Magazine for Art Direction;
Garden Writers Association Silver Award of
Achievement; Avery and Jules Hopwood Award for
Poetry; teach Business English at Brooklyn Public
Library; taught ESL in Japan for three years; taught
Visual Arts in NYC Public Schools and juvenile
detention sites in NYC for two years; taught
Citizenship and Art/ESL at Queens Public Library
for two years; taught writing to adult students
in reentry at College Initiative, a nonprofit
organization in NYC; in a parallel universe, she is a
jewelry designer and spends her free time doing
Maedeup, the art of Korean knotting.
Nichole Van Beek
Dena Al-Adeeb
Visiting Instructor
Donald Andreasen
M.F.A., Playwriting, Actors Studio, The New
School; has had one-act plays produced at the
HERE Theatre and Access Theatre in New York
City and was co-writer of a short film produced
by Fox Searchlab Pictures; has also worked as a
voice-over artist doing various commercial work in
addition to network television.
Saul Anton
Emily P. Beall
M.A., University of Washington, B.A., University of
California at Berkeley; academic interests include
20th- and 21st-century experimental poetry and
poetics, with a focus on experimental writing by
women; a poet herself, she is also interested in
the intersections of poetics and modern dance,
and the ways that such intersections generate
concepts of space, meaning, and the body.
Jonathan Beller
Professor
B.A., Columbia University; Ph.D., Duke University;
interests: media theory, Marxism, critical
race theory, cinema, media archaeology,
decolonization, aesthetics and politics, feminism,
third cinema, Philippine culture and politics.
Caterina Bertolotto
Laurea in Pedagogia, University of Turin, Italy; has
received eight certificates in different language
teaching methodologies in both Italy and in
New York, as well as a Distinguished University
Teaching Award from The New School; author of
four books, two audio and two PowerPoint CDs;
has also taught seminars to language teachers
and undergraduates at The New School, Sarah
Lawrence College, Montclair State University,
Eugene Lang, and Baruch College.
238
Stephanie Boluk
Maria Damon
Sacha E. Frey
Assistant Professor
Chair, Humanities and Media Studies
Adjunct Instructor
Warren Burdine
Amanda Davidson
John Gendall
Visiting Instructor
Melissa Buzzeo
Pierre Alexandre de Looz
Daniel Gerzog
Diana Cage
Don Doherty
Visiting Instructor; Tutor
B.A., Hunter College, City University of New York;
New York University; has been an instructor at
Pratt since 1996, teaching Freshman Composition
and Literature and English as a Second Language;
he did Foundation Year at Pratt before moving
into a Liberal Arts program at Hunter College, so
Pratt was his first home-away-from-home; his
interests include writing short fiction, writing and
producing music, video production, animation,
collage and drawing; he rides an Alien Workshop
deck with Tensor trucks and Darkstar wheels; his
YouTube account is papakilatube.
Philip Carroll
Visiting Instructor
Lis Cena
Peter Chamedes
Ph.D., English Literature; a person with ‘60s values
and an abiding love of literature and art; following
a doctorate in English Literature (poetry), family
obligations redirected him into an extended
career in advertising; this was at last succeeded by
a return to scholarship and pedagogy; his students
have ranged from at-risk adolescents to aspiring
artists (including many remarkable Pratt scholars);
his consuming interests include his two babies,
poetry, contemporary art, and African art.
Youmna Chlala
Associate Professor
Diane Cohen
Visiting Instructor
Ellen Conley
M.S., Wagner College; B.A., Pennsylvania State
University; MTMS ASCP, Jefferson Medical College;
a published writer of four books with national
reviews: The Chosen Shore (Univ. of Calif. Press),
Bread and Stones (Mercury House), Soon to Be
Immortal (St. Martin’s Press) and Soho Madonna
(Avon Original Fiction).
Kathryn Cullen-DuPont
Assistant Chair
M.F.A., Goddard College, B.A., New York
University; the author of a number of books
including, most recently, Human Trafficking (2009);
she is also the Lead Steward of the Clockhouse
Writers’ Conference and publisher of Clockhouse,
a literary journal published by the Clockhouse
Writers’ Conference in partnership with Goddard
College; she is currently working on a book about
women and religion.
Steven Doloff
Professor; Lecturer, Intensive English
B.A., Stony Brook University; M.phil.; Ph.D.,
City University of New York Graduate Center;
TESOL Certificate, Columbia University Teachers
College; was named a Pratt Institute Distinguished
Professor (2001–02) and received the Institute’s
Student Government Association Faculty
Excellence Award in 1990.
Claire Donato
Thom Donovan
Visiting Instructor
Rachid Eladlouni
Visiting Assistant Professor; Lecturer,
Intensive English
Laura Elrick
Assistant Professor; Lecturer, Intensive
English; Tutor
B.A., Rhetoric and Communication, University of
Southern California; teaches in the English and
Humanities Department and the Intensive English
Program; she has published four books of poetry
and numerous essays on contemporary literature,
culture, and politics, and regularly performs her
work nationally; she is currently pursuing a Masters
in Liberal Studies at the CUNY Graduate Center in
Manhattan; her interests include the intersection
between poetics and the production of social
space, spatiality, and scale.
Professor
B.A., M.A., A.B.D., New York University; has been
teaching at Pratt since 1959; he is currently
working with his second generation of fledgling
artists, designers and architects, introducing
them to the joys and stimulations of good reading
and clear expression; he also supervises thesis
corollary statements in the MFA program.
Amy Guggenheim
M.A., B.S., New York University; filmmaker and
writer; her work in theater and film focuses on
violence, intimacy, and sexuality, and has been
presented internationally with support from the
New York State Council on the Arts, the American
Embassy, Fulbright Foundation, Mellon Fund, and
others; her work has been published in American
Letters and Commentary, and in the Italian literary
journal Storie; her 2008 artistic residency in
Japan—in development for her first feature film—
relates to her work as founder of the Center for
Artistic Engagement.
Paul Haacke
Christian Hawkey
Professor
B.A., Pepperdine University; M.F.A., University of
Massachusetts; author of three award-winning
books of poetry, including The Book of Funnels
(Wave Books, 2004), which won the 2006 Kate
Tufts Discovery Award, Hour Hour (Delirium
Press, 2005), and Citizen Of (Wave Books, 2007);
his poems have appeared in Conjunctions, Volt,
Denver Quarterly, Tin House, Crowd, BOMB,
Chicago Review, and Best American Poetry; he
has received awards from the Academy of
American Poets and the Poetry Fund, and in
2006 he received a Creative Capital Innovative
Literature Award; in 2008, he was a DAAD Artistin-Berlin Fellow.
239
Jeffrey Hogrefe
Susan Bee (Laufer)
Uche Nduka
Associate Professor
B.A., University of California at Berkeley; an
author, architectural critic, and coordinator of the
Pratt School of Architecture’s Writing Program:
Language/Making; he is a studio critic at Parsons
The New School for Design, The Cooper Union,
and Columbia; a contributor to Harper’s, The
New Yorker, Smithsonian, New York Observer,
Washington Post and Vanity Fair; and the author
of O’Keeffe: The Life of an American Legend,
a biography focused on the artist’s rights of
seclusion and personal identity politics.
Rachel Levitsky
Mendi Lewis Obadike
Associate Professor
M.F.A., Naropa University, B.A., State University of
Albany; her first full-length volume, Under the Sun,
was published by Futurepoem books in 2003; she
is the founder and co-director of Belladonna*,
an event and publication series of feminist
avant-garde poetics; she is also the author of
five chapbooks of poetry, Dearly (a+bend, 1999),
Dearly 356, Cartographies of Error (Leroy, 1999),
The Adventures of Yaya and Grace (PotesPoets,
1999), 2(1×1) Portraits (Baksun, 1998), and a series
of poetry plays.
Assistant Professor
Ph.D., Duke University.
Samantha Hunt
Professor
M.F.A., Warren Wilson College; the author of
two books, The Seas—for which she was awarded
a National Book Foundation award for writers
under 35—and The Invention of Everything Else,
a novel about the life of Nikola Tesla; her stories
have appeared in The New Yorker, McSweeney’s, A
Public Space, Cabinet, Seed Magazine and on the
radio program This American Life.
Dexter Jeffries
Adjunct Instructor
B.A., Queens College, City University of New
York; M.A., City College of New York; Ph.D., City
University of New York, Graduate Center; born
and raised in New York City; in between his
academic studies he was a taxi driver and
served in a United States Army combat engineer
battalion in West Germany; he came to Pratt in
1993, and in 1996, in conjunction with the Media
Arts department, he produced and directed
the documentary film, What’s Jazz?; in 2003,
Kensington Press published his autobiographical
memoir, Triple Exposure: Black, Jewish and Red
in the 1950s; he lives in Brooklyn.
Ellen Levy
Ira Livingston
Professor
Ph.D., Stanford University; his primary field
is cultural theory; author of Between Science
and Literature: An Introduction to Autopoetics
(2006) and Arrow of Chaos: Romanticism and
Postmodernity (1997); coeditor of Posthuman
Bodies (1995, with Judith Halberstam) and Poetry
and Cultural Studies: A Reader (2009, with
Maria Damon).
Jennifer Miller
Visiting Instructor
Associate Professor
Circus Amok founder and artistic director; has
been working with alternative circus forms,
theater, and dance for more than 20 years; her
work with Circus Amok was awarded a “Bessie”
in 1995 and an OBIE in 2000; Circus Amok is the
subject of a French documentary film, Un Cirque
á New York (2002) and a Brazilian documentary,
Juggling Politics (2004); has taught at California
Institute of the Arts, New York University, and
University of California at Los Angeles.
Adeena Karasick
Tracie Morris
Jeffrey T. Johnson
Kwame Heshimu
David D. Kim
Visiting Instructor; Tutor
B.A., English (specialization in writing), New York
University; he grew up in the shadow of the Blue
Mountain; son of a Cuban expatriate, and with
a mother who was a descendant of Jamaican
maroons, he spent his childhood in one of the
most inaccessible communities on the island; his
grandfather, a saxophonist with dance bandleader
Ray Coburn, frequently accompanied Rastafarian
drummers; he not only became enthralled with
the music, but with the Rastafarian vocabulary, or
Iyaric, an intentionally created dialect of English,
reflecting their desire to take forward language
and confront Babylon system; his romance with
word, sound, and power had begun.
Visiting Instructor
Professor
Ph.D., Performance Studies, New York University;
M.F.A., Poetry, Hunter College, City University
of New York; an interdisciplinary poet who has
worked extensively as a sound artist, writer, and
multimedia performer; her installations have
been presented at the Whitney Biennial and the
Jamaica Center for Arts and Learning.
Elizabeth Knauer
Cecilia Muhlstein
Sean Kelly
Visiting Instructor
B.A., Loyola College University of Montreal.
Christoph Kumpusch
Krystal Languell
M.A., B.A., California State University at Los
Angeles; born in Texas, but grew up in Los
Angeles; her work and interests reside in fiction,
critical theory, art, and eco-poetics; her current
work can be found in the pages of NYArts
magazine and in the archives of Safe-T-Gallery.
Robert Obrecht
B.A., Sarah Lawrence; TESOL Certificate, Columbia
University Teachers College; born in New York City
in 1951; compositions have premiered in New York
at Lincoln Center’s State Theater and Alice Tully
Hall, the Brooklyn Academy of Music, Merkin Hall
and LaMama E.T.C., among others; he has scored
exhibition videos for the Museum of Modern
Art, the American Museum of Natural History,
the Jewish Museum, and the Queens Museum of
Science; his theme song for the Disney/Henson
Bear in the Big Blue House is broadcast worldwide;
has been teaching at Pratt since 1988.
Kristin Pape
Jean-Paul Pecqueur
M.F.A., University of Washington; B.A., Evergreen
State College; a poet and writing instructor who
has published poems, critical reviews, and essays
in a number of national publications; has taught
creative writing, critical writing, and literature
courses at The University of Washington and the
University of Arizona’s Poetry Center; has been
teaching Introduction to Literary and Critical
Studies courses at the Pratt Institute since
2006; his first book of poems, The Case Against
Happiness, was the winner of Alice James Books’
Kinerth Gensler award in 2006.
Alba Potes
D.M.A. in Composition, Temple University; Alba
Potes was born in Colombia; her compositions
have been performed by the Montreal Chamber
Orchestra, National Symphony of Colombia,
Darmstadt 2000 Internationale Ferienkurse
für Neue Musik, the Institute for New Music in
Freiburg, The New York New Music Ensemble, and
by music festivals in Latin America, South Korea,
Germany, Canada, and the USA; connected to her
creative work based on Spanish literature, she
has also taught Spanish in CUNY and Columbia
University; she teaches music at the Mannes
College of Music, College Preparatory Division.
Evan Rehill
Adjunct Instructor
Eric Rosenblum
Visiting Instructor; Lecturer, Intensive English
B.A., English, Ohio University; M.F.A., Fiction
Writing, Syracuse University; fiction and nonfiction have appeared in Guernica Magazine, the
Chicago Tribune and the Chicago Reader.
240
Eliza Schrader
Christopher Vitale
Aman Gill
Ágnes Mócsy
Visiting Instructor
Associate Professor
B.A., State University of New York at Binghamton;
Ph.D., New York University; areas of specialization
include continental philosophy, comparative
modernist literary and cultural studies,
psychoanalysis, queer studies, theories of race
and ethnicity, radical political thought, and film
and film theory; currently writing a book about
complexity studies and theories of networks;
has taught at New York University, University of
California at Berkeley, and Hunter College.
Assistant Professor
B.S., Integrative Biology and History, University of
California at Berkeley; Ph.D. candidate in Ecology
and Evolution, Stony Brook University.
Associate Professor
Ph.D., University of Minnesota; M.Sc., University
of Bergen, Norway; performs research on the
fundamental nature of matter, specifically on
the interactions of subatomic particles within
the nucleus of the atom; she has held research
positions at the Niels Bohr Institute, Copenhagen;
Theoretical Physics Institute, Frankfurt; and
Brookhaven National Laboratory; teaches
Introductory Physics and Astronomy.
Sharon Snow
Visiting Instructor
B.A., Vassar College; M.A., French Literature,
Columbia University; spent her junior year in Paris,
and following graduation, received a fellowship to
study at the University of Lausanne, Switzerland;
after receiving her Masters in French at Columbia,
she worked at an art gallery and for the United
Nations; she taught at Manhattan’s Hewitt School
for 14 years and is now visiting instructor at Pratt
and at St. Joseph’s College.
Ethan Spigland
Associate Professor
B.A., Yale University; M.F.A., New York University;
Maîtrise, University of Paris VIII; has made
numerous films and media works including:
Luminosity Porosity, based on the work of
architect Steven Holl, Elevator Moods, featured in
the Sundance Film Festival, and The Strange Case
of Balthazar Hyppolite, which won the Gold Medal
in the Student Academy Awards.
Gloria Steil
Adjunct Instructor
B.A., University of California at Berkeley; M.A.,
New York University; taught English in Tokyo for
the Japanese Ministry of Education, a summer
intensive course in English literature and
composition in Seoul, and English literature at the
College of New Rochelle, Medgar Evers College,
Hostos Community College, and Borough of
Manhattan Community College.
Yijue Sun
Holly Tavel
Visiting Instructor
Barbara Turoff
Ph.D., New York University; Laurea, Universita di
Bologna
Suzanne Verderber
Associate Professor
B.A., Dartmouth College; Ph.D., University of
Pennsylvania; teaching and research focus
on the relationship between subjectivity and
power, and on the relation between pre-modern
periods (medieval, Renaissance, Baroque) and
contemporary concerns; specific fields of study
include politics, literature, art, critical theory,
philosophy, religion, and psychoanalysis.
Elizabeth Williams
M.F.A., Columbia University; B.A.,
Middlebury College.
Thad Ziolkowski
Coordinator, The Writing Program, Professor
B.A., George Washington University; Ph.D., Yale
University; the author of a novel, Wichita, a
memoir, On a Wave, and a collection of poems,
Our Son, the Arson; his journalism has appeared
in The New York Times, Slate, Bookforum, Travel
& Leisure, and the Village Voice; among other
honors, he is the recipient of a fellowship from the
John S. Guggenheim Foundation.
Mathematics and Science
Damon Chaky
Associate Professor
B.S., Ph.D., Rensselaer Polytechnic Institute;
research focuses on the sources, transport and
fate of pollutants in the urban environment,
particularly that of New York City. He regularly
teaches Ecology for Architects, Toxics and the
elective course Science and Society. Dr. Chaky is
active in Sustainable Pratt, a group of students,
faculty and staff that works to position Pratt as a
leader in sustainable, ecologically-aware design
and architecture.
Barbara Charton
B.A., Brooklyn College; M.S., M.L.S., Adv.
Cert., Pratt Institute; Barbara Charton is still
doing chemistry and extending it in several
new directions—into art conservation and
environmental studies.
Eleonora Del Federico
Professor
Ph.D., University of Massachusetts at Amherst;
Licenciada (equivalent to M.S. degree), University
of Buenos Aires, Argentina.
Anatole Dolgoff
Adjunct Professor
M.S., Miami University; B.S., Hunter College, CUNY.
Margaret Dy-So
Christopher Jensen
Associate Professor
B.A., Pomona College; Ph.D., Stony Brook
University; he teaches courses in Ecology, Human
Evolution, and the Biology of Cooperation. He
is active in Sustainable Pratt’s efforts to bring
ecologically conscious practices to our campus
and beyond. Those activities are complemented
by his research, which focuses on the stability of
systems of interacting organisms.
Cindie Kehlet
Associate Professor
Ph.D., M.S., University of Aarhus; teaches
Introductory Science and the Chemistry of
Pigments; her research interests are in the field of
Conservation Science.
Steve Kreis
B.S., University of Missouri; M.A., Hunter College,
City University of New York.
Richard Leigh
Visiting Professor
B.A., Oberlin College; Ph.D., Columbia University;
PE (Mechanical), New York State LEED AP;
practiced laser spectroscopy at City College of
NY and l’École Normale Supérieure (Paris); joined
Brookhaven National Laboratory and switched
to energy analysis and development of energyefficient technologies; taught full time at Pratt
1987–93; back to BNL, acquired NYS Professional
Engineering license; then into the nonprofit
sector first as Senior Engineer at the Community
Environmental Center, making existing and new
buildings more energy-efficient in the NYC metro
area, now as director of advocacy and research
at the Urban Green Council, (NY Chapter of the
US Green Building Council, managers of LEED),
working to improve energy efficiency in building
codes and on worker education.
Jemma Lorenat
B.A., San Francisco State University; M.A., CUNY
Graduate Center; Ph.D. candidate in History and
Math, Simon Fraser University and Université
Pierre et Marie Curie, Paris.
Tiffany Liu
Lab Technician
Mark Rosin
Assistant Professor
M.S., Physics, Bristol; Ph.D., Applied Mathematics,
Cambridge University; research is in computer
algorithms for fusion energy and in mathematical
modeling for astrophysics and diodes; director
of Guerilla Science, an organization dedicated to
mixing science with art, music and play.
Carole Sirovich
241
Social Science and
Cultural Studies
Paul Dambowic
Sameetah Agha
Mareena Dareedia
B.A., Smith College; M.A., M.Phil., Ph.D.,
Yale University.
Dory Aghazarian
Visiting Instructor, History
B.A., Columbia University; M.A., Fordham
University; Ph.D. Candidate, Graduate Center,
Alheli Alvarado-Diaz
B.A., Johns Hopkins University; M.A., M.Phil.,
Ph.D., Columbia University.
Robert Ausch
Chair
B.S., Brooklyn College; M.S., Ph.D.,
Adjunct Associate Professor, Psychology
B.A., New York University; M.A., City College, City
University of New York; Ph.D., Graduate Center,
Gerson Sparer
Josh Blackwell
Professor
B.S., Brooklyn College; M.S., Ph.D., Courant
Institute.
Oscar Strongin
Ph.D., Columbia University; Independent
Consulting Geologist engaged in oil/gas
development as well as environmental impact
of extraction of unconventional fossil fuel
resources; also served as Energy Consultant to
U.S. House of Representatives Committee on
Energy and Commerce.
Vincent Tedeschi
Visiting Instructor
M.S., B.A., Stony Brook University.
James Wise
Visiting Instructor
B.A., Hunter College; M.A., Brooklyn College.
Daniel Wright
Assistant Professor
Ph.D., Stanford University; M.S., University of
California at San Diego; B.S., Pennsylvania State
University.
Visiting Instructor, Fashion and Design History
B.A., Bennington College; M.F.A., California
Institute of the Arts.
Francis Bradley
Adjunct Instructor
B.A., New York University; M.A., Yale University.
Visiting Instructor, Cinema Studies
B.F.A., York University; M.F.A., Pratt Institute.
Corey D’Augustine
Visiting Instructor, Theory and Practice
B.A., Oberlin College; M.A., Institute of Fine Arts at
Lisabeth During
University of London, London, U.K.; Ph.D., Trinity
College, Cambridge University, Cambridge, U.K.
Barbara Duarte Esgalhado
Visiting Instructor, Psychology
B.A., Rutgers University; Ph.D.,
John Frangos
Adjunct Assistant Professor, History
B.A., M.A., Queens College; M.A., C.W. Post
Campus, Long Island University; Ph.D., New York
University.
Eric Godoy
Assistant Professor, History
B.A., M.A., Ph.D., University of Wisconsin
at Madison.
Assistant Chair and Visiting Instructor, Philosophy
B.A., Rollins College; M.A., Ph.D. The New School
for Social Research.
B. Ricardo Brown
P.J. Gorre
Coordinator, Critical and Visual Studies and
Professor, Cultural Studies
B.A., Simon’s Rock College of Bard; M.A., Syracuse
University; M.Phil., Ph.D., The Graduate Center,
Monica A. Grandy
Josiah Brownell
Coordinator, World History Program and
B.A., Western Michigan University; M.A., London
School of Economics; J.D., University of Virginia
Law School; Ph.D. Political Science, School of
Oriental and African Studies, University of London.
Tom Buechele
Visiting Instructor, Philosophy
B.A., Villanova University; M.A., Ph.D. candidate,
The New School for Social Research.
Visiting Assistant Professor, Psychology
B.A., Sarah Lawrence College; Ph.D., City
Mitchell Harris
B.F.A., State University of New York at Purchase;
M.A., M.Phil, City University of New York.
Gabriel Hernández
Visiting Instructor, Cultural Studies
B.A., State University of New York at Purchase;
M.A., Queens College, City University of New York;
M.Phil., Ph.D. candidate, The Graduate Center,
B.A., City College of New York; M.A., Ph.D.
candidate, State University of New York at
Stony Brook.
Caitlin Cahill
B.A., Hampshire College; Ph.D., Boston College.
Assistant Professor, Politics and Geography
B.A., Middlebury College; M.A., Hunter College;
M.Phil., Ph.D., Graduate Center, City University
of New York.
Ann Holder
Travis Holloway
B.A., Belmont College; M.A., Boston College,
M.F.A., New York University; Ph.D., State University
of New York at Stony Brook.
242
Estelle Horowitz
Gerald Levy
Ritchie Savage
Professor Emerita, Economics
Visiting Instructor, Economics
B.A., New York University; M.A., The New School
Visiting Instructor, Sociology
B.S., Bradley University; M.A., Ph.D., The New
School for Social Research.
Luka Lucic
Michelle Standley
Assistant Professor, Psychology and
Diaspora Studies
B.A., City College of New York; M.Phil.,
The Graduate Center of the City University
of New York.
B.A., Brigham Young University; Ph.D.,
Gregg M. Horowitz
Chair and Professor of Philosophy
B.A., Sarah Lawrence College; M.A., Boston
University; Ph.D., Rutgers University.
May Joseph
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Svetlana Jovic
B.A., M.A., University of Belgrade, Serbia; M.Phil.,
Ph.D. candidate, The Graduate Center of the City
Shelley Juran
Professor, Psychology
B.A., M.A., Brooklyn College; Ph.D., City University
of New York.
John McGuire
Adjunct Instructor, Philosophy
B.A., New York University; M.A., The
New School University.
Erum Naqvi
B.Sc. Hons., Philosophy and Economics, London
School of Economics; M.A., Ph.D. candidate,
Temple University.
Darini Nicholas
B.A., Columbia University; M.S., School of Social
Work, Columbia University.
Adjunct Instructor, Anthropology
B.A., University of Louisville; M.A., Goddard
College (Kentucky); Ph.D., The New School
University.
Josh Karant
Cheol-Soo Park
Marina Kaneti
Adjunct Assistant Professor, Philosophy
and Food Studies
B.A., Pomona College, M.A., The New School; M.A.,
Rutgers University; Ph.D., University of Maryland.
Visiting Instructor, Economics
B.A., M.A., Ph.D., Seoul National University;
Ph.D., The New School University.
Kathleen C. Kelley
Professor Emeritus, History
B.A., Brooklyn College; M.B.A., J.D.,
B.A., St. John’s College; M.A., Ph.D., The New
School for Social Research.
Todd Kesselman
B.A., Trinity College; M.A. The New School for
Social Research.
Annie Khan
B.A., Columbia University; M.A., City College of
New York; Ph.D. candidate, State University of
New York at Stony Brook.
Hunter Kincaid
B.S., University of Washington; M.A.,
University of Chicago.
Elizabeth Knauer
Ph.D. candidate, Steinhardt School of Culture,
Education, and Human Development, New York
University.
Irving Perlman
Robert Richardson
B.A., Wheaton College; M.A., ABD, Pennsylvania
State University.
Uzma Z. Rizvi
Assistant Professor, Anthropology and
Urban Studies
B.A., Bryn Mawr College; M.A., Ph.D.,
University of Pennsylvania.
John Santore
Professor Emeritus, History
B.A., M.A., Temple University; Ph.D.,
Zachary Sapolsky
B.A., University of Rochester; M.A., Ph.D.,
Long Island University.
Jeff Surovell
B.A., M.A., Ph.D., Columbia University.
Jennifer Telesca
B.A., University of Richmond; M.A., University of
Connecticut at Storrs; M.A., Ph.D.,
Critical and Visual Studies
Sameetah Agha
B.A., Smith College; M.A., M.Phil., Ph.D., Yale
University.
Josh Blackwell
Visiting Instructor, Fashion and Design History
B.A., Bennington College; M.F.A., California
Institute of the Arts.
Francis Bradley
B.A., M.A., Ph.D., University of Wisconsin
at Madison.
B. Ricardo Brown
Adjunct Assistant Professor, Sociology
B.A., Middle East Technical University, Ankara,
Turkey; M.A., Ph.D., The New School University.
Coordinator, Critical and Visual Studies and
Professor, Cultural Studies
B.A., Simon’s Rock College of Bard; M.A., Syracuse
University; M.Phil., Ph.D., The Graduate Center,
Paul Schweigert
Josiah Brownell
Kumru Toktamis
B.S., North Carolina State University; M.Phil., Ph.D.
candidate, The Graduate Center, City University
of New York.
Noah Simmons
Licence Histoire de l’Art et d’Archéologie, Maîtrise
Histoire de l’Art et d’Archéologie, Sorbonne Paris
IV-Université de Paris; M.A., Columbia University
School of International and Public Affairs; Ph.D.,
The Graduate Center, City University of New York.
Basil Tsiokos
B.A., Stanford University; M.A., New York
University.
Murtaza Vali
Coordinator, World History Program and
B.A., Western Michigan University; M.A., London
School of Economics; J.D., University of Virginia
Law School; Ph.D., Political Science, School of
Oriental and African Studies, University of London.
Tom Buechele
M.A., Queens College; M.Phil., Ph.D. candidate,
The Graduate Center, City University of New York.
Caitlin Cahill
Assistant Professor, Politics and Geography
B.A., Middlebury College; M.A., Hunter College;
M.Phil., Ph.D., The Graduate Center, City
Visiting Instructor, Art Theory
B.S., The Johns Hopkins University; M.A., Institute
of Fine Arts, New York University.
Mareena Dareedia
Zhivka Valiavicharska
Corey D’Augustine
Assistant Professor, Social and Political Theory
B.A., M.A., National Academy of Arts, Sofia,
Bulgaria; Ph.D., University of California at Berkeley.
Ron Van Cleef
A.B., Syracuse University, Maxwell School of
Citizenship; M.A., City College of New York; Ph.D.
candidate, Stony Brook University .
Visiting Instructor, Cinema Studies
B.F.A., York University; M.F.A., Pratt Institute.
243
Gabriel Hernández
Darini Nicholas
B.A., City College of New York; M.A., Ph.D.
candidate, State University of New York at
Stony Brook.
Adjunct Instructor, Anthropology
B.A., University of Louisville; M.A.,
Goddard College; Ph.D. Candidate, The
New School University.
Ann Holder
Uzma Z. Rizvi
B.A., Hampshire College; Ph.D., Boston College.
Assistant Professor, Anthropology
and Urban Studies
B.A., Bryn Mawr College; M.A., Ph.D.,
University of Pennsylvania.
Travis Holloway
B.A., Belmont College; M.A., Boston College,
M.F.A., New York University; Ph.D., State University
of New York, Stony Brook.
Gregg M. Horowitz
Chair and Professor of Philosophy
B.A., Sarah Lawrence College; M.A., Boston
University; Ph.D., Rutgers University.
May Joseph
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Shelley Juran
Professor, Psychology
B.A., M.A., Brooklyn College; Ph.D., City University
of New York.
Josh Karant
and Food Studies
B.A., Pomona College, M.A., The New School; M.A.,
Rutgers University; Ph.D., University of Maryland.
Kathleen C. Kelley
B.A., St. John’s College; M.A. and Ph.D. candidate,
The New School for Social Research.
Todd Kesselman
B.A., Trinity College; M.A., The New School for
Social Research.
Elizabeth Knauer
B.A., Oberlin College; M.A., Institute of Fine Arts at
Ph.D. candidate, Steinhardt School of
Culture, Education, and Human Development,
Lisabeth During
Luka Lucic
University of London; Ph.D., Trinity College,
Cambridge University.
Barbara Duarte Esgalhado
B.A., Rutgers University; Ph.D., Columbia
University.
Eric Godoy
Assistant Chair and Visiting Instructor, Philosophy
B.A., Rollins College; M.A., Ph.D., The New School
Assistant Professor, Psychology and
Diaspora Studies
B.A., City College of New York; M.Phil.,
The Graduate Center of the City University
of New York.
Erum Naqvi
B.Sc. Hons., Philosophy and Economics, London
School of Economics; M.A., Ph.D. candidate,
Temple University.
Ritchie Savage
Visiting Instructor, Sociology
B.S., Bradley University; M.A., Ph.D., The
New School for Social Research.
Jennifer Telesca
Assistant Professor
B.A., University of Richmond; M.A.,
University of Connecticut at Storrs; M.A.,
Ph.D., New York University.
Kumru Toktamis
Adjunct Assistant Professor, Sociology
B.A., Middle East Technical University, Ankara,
Turkey; M.A., Ph.D., The New School University.
Basil Tsiokos
B.A., Stanford University; M.A.,
Murtaza Vali
Visiting Instructor, Art Theory
B.S., The Johns Hopkins University; M.A. Institute
of Fine Arts, New York University.
Zhivka Valiavicharska
Assistant Professor, Social and Political Theory.
B.A., M.A., National Academy of Arts, Sofia,
Bulgaria; Ph.D., University of California at Berkeley.
Sal A. Westrich
Professor, History
B.A., City College of New York; M.A., University
of Wisconsin; M.A., Harvard University; Ph.D.,
Rebecca Winkel
Visiting Assistant professor, Psychology
M.A. Columbia University; M.A., Gordon-Conwell
Theological Seminary; Ph.D., The New School for
Social Research
Iván Zatz Díaz
Associate Professor, Globalization
M.F.A., New York University; Ph.D., The Graduate
Center, City University of New York.
Carl Zimring
Associate Professor, History and Sustainability
B.A., University of California at Santa Cruz; M.A.,
Ph.D., Carnegie Mellon University.
244
Ágnes Berecz
Ed DeCarbo
Ph.D., Université Paris I (Panthéon-Sorbonne);
teaches modern and contemporary art history;
Associate Professor at Christie’s Education;
lectures at the Museum of Modern Art; writings
have appeared in Art Journal, Art in America,
Artmargins and the Yale University Art Gallery
Bulletin as well as in European and U.S. exhibition
catalogs; recent work includes the two-volume
monographic study, Simon Hantaï, and the essay,
“The Event of Painting,” written for Judit Reigl’s
retrospective at the Ludwig Museum in Budapest;
review articles for Muérto, the Budapest-based
art monthly, include “Thomas Hirschhorn’s
Gramsci Monument,” and “American Traumspiel:
Mike Kelley”; she is working on a book titled Paint
No More: France, 1948-1982.
M.A., University of Chicago; Ph.D., M.A., Indiana
University; concentration is art and aesthetics in
post-colonial societies with foci in traditional and
contemporary arts; field research in aesthetics
in a traditional multicultural society in West
Africa and in the Pacific (Moana) in contemporary
arts; his courses survey the traditional and
contemporary arts of Africa and the Pacific, and
consider the theories and methods of analysis
that are applied to the post-colonial world; he
serves as a consultant to the College Board effort
to globalize the Advanced Placement Curriculum
in Art History; was Director of Education at the
National Museum of African Art, Smithsonian
Institution, and served as a senior university
administrator for many years.
Sam Bryan
Eva Díaz
B.A., Dartmouth College; M.A., Howard
University; D.A., History, Carnegie-Mellon
University; filmmaker and film archivist who
specializes in documentary film and criticism;
has taught courses in film history and production
at Brooklyn College, Fordham University and
at Pratt since 1983; since 1960 he has filmed
for the International Film Foundation in Africa
and South America; his films have been shown
at the American Film Festival, at the Museum of
Modern Art and the Metropolitan Museum
of Art; past president of the New York
Film Council and executive Director of the
International Film Foundation.
Assistant Professor
M.A., Ph.D., Princeton University; her book The
Experimenters: Chance and Design at Black
Mountain College will soon be released by the
University of Chicago Press; the project examines
how an interdisciplinary group of artists at
Black Mountain proposed new models of art
and focuses on three Black Mountain teachers
in the late 1940s and early 1950s: Josef Albers,
John Cage, and Buckminster Fuller; writing
appears in magazines and journals such as The
Art Bulletin, Art Journal, Art in America, Cabinet,
The Exhibitionist, Frieze, Grey Room, October,
and Tate Etc. and she is a regular contributor to
Artforum; she was recently awarded a Creative
Capital/Warhol Foundation Art Writers Grant to
research for her book about Buckminster Fuller’s
work, titled The Fuller Effect: The Critique of Total
Design in Postwar Art.
Sonya Abrego
Visiting Instructor
Ph.D. candidate, Bard Graduate Center;
M.Phil, Decorative Arts, Design History and
Material Culture Studies, Bard Graduate Center;
a Ph.D. candidate specializing in 20th-century
fashion, currently completing a dissertation on
western wear in the postwar United States; work
focuses on the interconnections between fashion
and popular culture, specifically music and film;
she has presented papers in New York, Montreal
and San Francisco, worked with the costume
collections at the Museum of the City of New York
and the Metropolitan’s Costume Institute; she is
the recipient of graduate fellowships from the
Metropolitan Museum of Art, the Bonnie Cashin
Foundation and the Autry National Center; she is
a senior editor at Worn Fashion Journal and works
in the vintage clothing market.
Kelly Rae Aldridge
Visiting Instructor
B.A., Art History, Colorado State University;
Stony Brook University; conducts research on
the place of food in art with particular focus
on contemporary collaborative interdisciplinary
projects; currently working on a dissertation,
“Crumbs from the Revolutionary Table,” that
examines art practices that focus on the table as
a critical site of physical consumption, sensuous
encounter, social production, and material
exchange; Instructor at Stony Brook University;
was Session Chair at the Association of Art
Historians and has presented papers at CAA and
other venues.
Lisa Banner
B.A., Princeton University; Ph.D., Institute of
Fine Arts, New York University; art historian
and curator; publications include Spanish
Drawings in the Princeton University Art Museum
(Yale University Press, 2013), and The Religious
Patronage of the Duke of Lerma (Ashgate, 2009);
has lectured on old master drawings at the Frick
Collection, Metropolitan Museum of Art, Morgan
Library, Courtauld Institute, and the Meadows
Museum; as a curator she has worked with The
Frick Collection (The Spanish Manner: Drawings
from Ribera to Goya, 2010-2011), the Museo del
Prado (Dibujos del Siglo de Oro en la Coleccion de
la Hispanic Society of America, 2006), the Museu
Nacional d’Art de Catalunya, and the Institute of
Fine Arts, NYU.
Corey D’Augustine
B.A., Visual Arts and Biochemistry, Oberlin
College; M.A., Art History, Advanced Certificate
in Art Conservation, Institute of Fine Arts, New
York University; conservator of modern and
contemporary art and technical art historian;
works for the Solomon R. Guggenheim Museum
and lectures on art history conservation at New
York University, Sotheby’s Institute of Art, City
College of New York, and Museum of Modern Art;
a specialist in American and European postwar art,
research includes 20th-century painting materials
and techniques and conservation of monochrome
paintings; selected publications: “Taoism in
the Work of Agnes Martin,” Kunst Nu, “Laser
Cleaning of a Study Painting by Ad Reinhardt and
the Analysis/Assessment of the Surface after
Treatment,” Modern Paints Uncovered; selected
awards: Samuel H. Kress Foundation grant;
Dedalus Foundation grant.
Dorothea Dietrich
Chair and Professor
B.A., M.A., M.Phil., Ph.D., Yale University; primary
research areas: The Weimar Republic and
post-1945 German art and culture; publications
include: The Collages of Kurt Schwitters: Tradition
and Innovation (Cambridge U. Press) and German
Drawings of the ´60s (Yale U. Art Gallery), and
numerous contributions to exhibition catalogues
and scholarly volumes in the United States and
Europe; was Chair of Arts and Humanities at
the Corcoran College of Art and Design, and
Curator of Prints and Drawings and Director of
the Morse Research Center at the Zimmerli Art
Museum at Rutgers; taught at Princeton University
and held visiting appointments at Yale, MIT,
Duke, Washington University, Boston University,
and Bryn Mawr College; recently was a Senior
Research Fellow at the Henry Moore Institute in
Leeds, England.
245
Mary Douglas Edwards
Frima Fox Hofrichter
Vivien Knussi
Adjunct Professor
Ph.D., M.L.S., M.A., Columbia University ;
publications include Wind Chant and Night Chant
Sand Paintings, articles in Journal of the Society of
Architectural Historians, Studies in Iconography,
Source: Notes in the History of Art, Il Santo: rivista
francescana, Zeitschrift für Kunstgeschichte,
and elsewhere; co-edited and wrote portions of
Gravity in Art: Essays on Weight and Weightlessness
in Painting, Sculpture and Photography; chaired
sessions and read papers at meetings of CAA;
SECAC; International Congress on Medieval
Studies; awards include Samuel H. Kress
Dissertation Fellowship, NEH Travel to Collections
Grant, Delmas Foundation Grant; past president,
14th-Century Society; former member, Executive
Council of Southeastern Medieval Association;
two-term associate, editorial board, Medieval
Perspectives.
Professor
M.A., Hunter College; Ph.D., Rutgers University,
Certificate in Fine and Decorative Art Appraisal,
Pratt Institute—in collaboration with the American
Society of Appraisers; Issues of gender and class
have informed her work; she is the author of a
monograph on the 17th-century Dutch artist,
Judith Leyster; numerous articles within Dutch
art and feminist/gender studies; organized several
Dutch exhibitions; and is currently working on
the theme of old women; co-author of Janson’s
History of Art: The Western Tradition (for the
Baroque and Rococo sections); was Dutch Book
Review Editor (2008-2013) for the Historians of
Netherlandish Art (HNA); a member of the College
Art Association’s Committee on Women in the
Arts and Chair, Jury for the Distinguished Feminist
Award (2012).
Adjunct Assistant Instructor
B.A., M.A.,Tufts University; Ph.D., Columbia
University; studied American Art and Photography
at Columbia University; was a Lecturer at the
Museum of Modern Art through the Department
of Photography; assembled and catalogued two
major corporate collections, The Dreyfus Fund
and McFrank and William Advertising Agency;
with the insight she gained into emerging
photographers that were featured in both,
she has specialized in teaching Contemporary
Photography at Pratt; currently writing a book
on the subject; has written catalogue essays
and most recently translated a German essay on
“Deconstructed Poetry” for Les Figues Press.
Charles Eppley
Visiting Instructor
B.A., Art History and Music, Hiram College;
Stony Brook University; focuses on site-specific
art, sound, and new media; completing a
dissertation on “Un-Fixed Media: Site-Specificity
and Materiality in the Work of Max Neuhaus”;
has organized a panel on Soundsites at the
Southeastern College Art Conference, and
presented papers on sound art and Max
Neuhaus at various venues; also teaches at
Stony Brook University.
Diana Gisolfi
Professor
B.A., Radcliffe/Harvard; M.A., Ph.D., University of
Chicago; research focus is on Cinquecento art
in Venice and the Veneto, including religious and
political context and artistic practice; developed
and directs the Pratt in Venice program; lectures
and chairs sessions regularly at CAA and RSA
and at international conferences; contributed
essays to three international exhibitions on Paolo
Veronese: Venice 2011, Sarasota, FL 2012-13,
Verona 2014; publications include: The Rule,
the Bible, and the Council: The Library of the
Benedictine Abbey at Praglia (CAA Monograph
Series); On Classic Ground, Caudine Country
(Illustrations), and articles in: Yale University Art
Gallery Bulletin, Artibus et Historiae, Arte Veneta,
The Art Bulletin, The Dictionary of Art (Oxford
Art Online), Renaissance Quarterly, Burlington
Magazine, caareviews.org.
Dimitri Hazzikostas
Assistant Professor
M.A., Ph.D., Columbia University; has done
archeological field work in Greece and published
in the Encyclopedia of Comparative Iconography;
awards include Sears Distinguished Professor 1991,
Whiting Fellowship.
Heather Horton
B.A., DePauw University; M.A., Ph.D., Institute of
Fine Arts, New York University; current research
focuses on questions of authorship, originality,
and imitation, especially in the career of the
pivotal writer and architect Leon Battista Alberti;
recently published a new interpretation of
Alberti’s treatises on painting and is completing a
book manuscript titled Leon Battista Alberti and
the Renaissance Crisis of the Author; has taught
at New York University, the City University of New
York, State University of New York at Purchase,
and The Cloisters Museum, where she remains a
frequent guest lecturer.
Susan Karnet
Visiting Instructor
B.F.A., The School of Visual Arts, New York
University; M.F.A., Hunter College, CUNY; a painter
and sculptor; has exhibited work in Chelsea, the
East Village, 57th Street, Brooklyn, New Jersey,
Europe and Africa; work has been reviewed in
The New York Times; has taught at a number of
schools in New York, New Jersey; and Cairo,
Egypt; including Parsons, New York University,
and The School of Visual Arts; she is interested
in Modern and Contemporary Art, sculpture, and
Egyptian Art.
Dara Kiese
B.A., Modern History, University of Minnesota;
M.Phil., Art History, Ph.D., Art History, The
Graduate Center, City University of New York;
research centers around the artistic and
architectural avant-gardes in Weimar Germany,
with focus on the Bauhaus; received a number
of grants, including a Fulbright fellowship to
Berlin and a Getty research travel grant; worked
as a Curatorial Assistant in the Architecture and
Design Department at the Museum of Modern
Art; presented papers on architectural and
design pedagogies at conferences and symposia
including the College Art Association and the
Bauhaus Universität Weimar; has published essays
on the Bauhaus.
Gayle Rodda Kurtz
Assistant Chair, Adjunct Associate Professor
B.A., Stanford University; M.A., Hunter College;
Ph.D., CUNY Graduate Center; specializes in 18thand 19th-century European art; was a contractual
lecturer at the Metropolitan Museum of Art with
a focus on the African Art Galleries from 1995 to
2013; Associate of Zeteo Journal (zeteojournals.
com) where she is a contributing editor and
writer; has presented papers at the 19th-Century
Studies Association; taught at Caldwell College,
Hunter College, and New York City College of
Technology, CUNY; received a Graduate Teaching
Fellowship from CUNY Graduate Center.
Marilyn Kushner
Visiting Professor
B.A., M.A., University of Wisconsin at Milwaukee;
Ph.D., Modern Art, Northwestern University;
Curator and Head of the Department of Prints,
Photographs and Architectural Collections at
the New York Historical Society (2006-present);
previously was chair of the Department of Prints,
Drawings, and Photographs and Curator of Prints
and Drawings at the Brooklyn Museum (19942006); has also served as Curator of Collections
at the Montclair Art Museum, New Jersey, and
Research Associate at the Whitney Museum
of American Art; has published and lectured
extensively on works on paper and has served on
juries and guest-curated exhibitions nationwide.
Thomas La Padula
Adjunct Professor
B.F.A., Parsons School of Design; M.F.A.,
Syracuse University; for more than 36 years,
he has illustrated for national and international
magazines, advertising agencies and publishing
houses; is the illustration coordinator for
the undergraduate Communications Design
Department at Pratt Institute where he teaches
both reflective and digital illustration.
246
Anca Lasc
William Lorenzo
Evan Neely
Assistant Professor
B.A., History and Theory of Art and Literature,
Jacobs University Bremen, Germany; M.A.,
Art History, Ph.D., Art History, University of
Southern California; studies the invention and
commercialization of the modern French interior
and the development of the professions of
interior designer and commercial window dresser;
received numerous grants, including a NEH
Summer Institute Grant at the Bard Graduate
Center, and published essays in the Journal of
Design History and Interiors: Design, Architecture,
Culture; Designing the French Interior, coedited
with Georgina Downey and Mark Taylor, is
forthcoming from Bloomsbury Publishing in 2015;
she has presented papers at various conferences,
including the College Art Association, Society
of Architectural Historians, Society for French
Historical Studies, and Interior Design Educators
Council’s annual meetings.
B.F.A., Brooklyn College; independent artist,
researcher, film archivist, and programmer;
publications include museum notes and articles
in Animation Magazine, AnimaFilm, and others;
author of Lillian Friedman Astor—Pioneer Woman
Animator; Executive Board Member ASIFA-East,
The International Animated Film Association;
curator, Animation over Broadway, Museum
of Modern Art, February 1993; other areas of
interest: film and illustration.
B.F.A., Fine Arts, Parsons School of Design;
M.Phil., M.A., Ph.D., Art History, Columbia
University; studied 20th-century and northern
European Renaissance art, as well as postEnlightenment political and aesthetic theory;
most recent work investigates the relationships
between 19th-century American literature and
20th-century painting and new genres; has taught
courses at Columbia University, Parsons The New
School of Design, and the Museum of Modern Art,
on modern and postmodern art, the history of
ethical and political theory, and Enlightenment
aesthetics; currently Core Lecturer for Art
Humanities at Columbia University in addition to
teaching at Pratt.
Jacob Lewis
Visiting Instructor
M.A., History of Art, Williams College; Ph.D., Art
History, Northwestern University; specializes in
19th-century French photography and art; his
dissertation addressed the role of instantaneity
and reproducibility in the photography of Charles
Nègre (1820–1880); he is a former Coleman
Fellow in the Department of Photographs of the
Metropolitan Museum of Art, and Blum/Model
Fellow at the National Gallery of Canada.
Rael Lewis
B.A., Swarthmore College; Ph.D., Stanford
University; specialist in 19th- and 20th-century
art with a focus on fin-de-siècle visual culture;
currently writing a book on the imagery of
absinthe and intoxication in modern Paris;
before coming to Pratt, he taught at UCLA,
Bowdoin College, Villanova University, and the
Claremont Colleges.
Michele Licalsi
B.A., M.A., Institute of Fine Arts with Certificate
in Art Conservation, New York University; studied
art at the New York Academy of Art, the Art
Students’ League, and the National Academy of
Design; has been teaching drawing, color and
composition at the National Academy of Design
from 1994 to the present; taught fresco painting
at the Conservation Center, Institute of Fine Arts,
NYU from 1993 to 2005; has also worked in art
conservation at the Brooklyn Museum and the
Metropolitan Museum of Art; has worked as a
conservator on sites in Florence, Rome, Parma,
and Sardis.
Elizabeth Meggs
Visiting Instructor
B.F.A., Communications Arts and Design,
Illustration, Virginia Commonwealth University;
illustrator, writer, designer of paintings,
photography and hand-bound artist books;
graphic designer (Hearst’s Victoria) and writer for
the Los Angeles Daily News; has worked at Pierogi
Gallery and taught at BBG, VCU, Pratt and NYCCT;
exhibitions include: ISE Cultural Foundation, Los
Angeles Center for Digital Art, Mariner’s Museum,
Firehouse Art Collective, Anderson Gallery, Target
Gallery/Torpedo Factory, Galapagos Art Space,
Edward Hopper House, Pratt Dean’s Gallery,
Lincoln Center, and Brooklyn Museum’s Go!
Brooklyn; selectee, NYC Center for Book Arts’
Letterpress Printing/Fine Press Publishing Seminar
for Emerging Writers; recipient, Virginia Museum
of Fine Arts Fellowship/Drawing.
Juan Monroy
B.A., Film Studies. University of California at Santa
Barbara; M.A., Cinema Studies, Ph.D. candidate,
Cinema Studies, New York University; scholar of
film, television and media studies, specializing in
history, technology, and cultural impacts of U.S.
film and television; doctoral candidate in the
Department of Cinema Studies at NYU, writing
a dissertation on television, Latin America, and
economic development in the 1960s; teaches
film and media classes at Fordham University,
Lincoln Center, CUNY Queens College, and Pratt
Institute; since 2009, has also worked as a video
and digital media librarian and database technician
at NYU-TV.
Marsha Morton
Professor
M.A., University of Chicago; Ph.D., Institute of
Fine Arts, New York University; books include
Max Klinger and Wilhelmine Culture: On the
Threshold of German Modernism (Ashgate 2014),
the co-edited anthology The Arts Entwined:
Music and Painting in the 19th Century (Garland
2000), and Pratt and Its Gallery: The Arts & Crafts
Years (1999); has published numerous essays on
19th-century German and Austrian art, many
with a focus on interdisciplinary topics (cultural
history, Darwinism, music, and ethnography) and
artists and critics such as Alois Riegl, Gustav Klimt,
Klinger, Alfred Kubin, Max Beckmann, and Max
Liebermann; currently serving her second term as
President of the Historians of German and Central
European Art (HGCEA).
Nicholas Parkinson
Visiting Instructor
B.A., Philosophy, DePauw University; M.A.,
Philosophy, Ph.D. candidate, Art History and
Criticism, Stony Brook University; Ph.D. candidate
at Stony Brook University, where is he completing
his dissertation on the popular and critical
reception of Nordic art in 19th-century France;
areas of research interest include imaginary
geographies of the 19th century, fin-de-siècle
art and culture, and the history of art criticism;
an active member of the Society for the
Advancement of Scandinavian Study; his most
recent publication, “De Chirico and the Finde-Siècle,” will be printed in Symbolist Roots of
Modern Art in 2015.
Joyce Polistena
Adjunct Professor
M.A., Art History, Hunter College; Ph.D., M.Phil.,
The Graduate Center of the City University of
New York; Certificate TESOL, Columbia University;
Certificate in 19th-century British History, Oxford
University; primary research areas are 19th- and
early 20th-century European and American
Art, with emphasis on French Romanticism;
publications include The Religious Paintings of
Eugène Delacroix (Mellen, 2008) and contributions
to scholarly volumes: NCAW; Bulletin du Société
des Amis du Musée Nationale Eugène Delacroix;
The Van Gogh Museum Journal; current research
involves artists’ activism and political prints as well
as ongoing research about French Romanticism;
appointed Visiting Assistant Professor of Art
History at The College of The Holy Cross (20142015); has served on the Board of Directors of
ASCHA; has organized several symposia on 19thcentury Romantic Art.
247
Katarina V. Posch
Elizabeth St. George
Sarah Wilkins
Associate Professor
M.A., University of Applied Arts, Vienna, Austria;
Ph.D., Tokyo University of Fine Arts and Music,
Japan; design historian specializing in intercultural
themes; teaches and publishes on Japanese,
European and American design in a socio-historical
context; publications cover issues relating to
design and material culture, from cross-cultural
comparisons (Changing Worlds, Changing Designs,
MAK, Vienna, 2012) to feminist approaches (“The
Seen and the Hidden. [Dis]covering the Veil,”
Austrian Cultural Forum New York, 2007); has
written monographs and exhibition catalogues
and curated for major museums including
the Pompidou Center in Paris (Portrait d’une
Collection, 1995), the Vitra Design Museum in
Germany (Isamu Noguchi—Sculptural Design, 2001)
and the Noguchi Museum in New York.
Visiting Instructor
B.A., Kent State University; M.A., Ph.D. candidate,
Bard Graduate Center; specializes in late 19thand 20th-century architecture and design;
has been an invited speaker at the Los Angeles
County Museum of Art and has served as a
research assistant for the Bard Graduate Center’s
exhibitions on Knoll textiles (2011), Artek and
Alvar Aalto (forthcoming), and the architect
and designer William Kent (forthcoming); her
dissertation explores interwar architecture and
design and themes of modern living in the former
Czechoslovakia; she is broadly interested in how
design is used to construct modes of cultural
interaction and identity, and how modernism and
notions of modernity were used to disseminate
social, political, and cultural reform in America
and Europe.
B.A., Vanderbilt University; M.S., Pratt Institute;
Ph.D., Rutgers, the State University of New Jersey;
specializes in Italian late medieval and Renaissance
art, with interests in mendicant patronage,
Angevin Naples, and the cult of the saints; awards
include a Fulbright fellowship and a Mellon
Finishing Grant; publications include “Imaging
the Angevin Patron Saint: Mary Magdalen in the
Pipino Chapel in Naples” (2012) and “Adopting and
Adapting Formulas: The Raising of Lazarus and Noli
Me Tangere in the Arena Chapel in Padua and the
Magdalen Chapel in Assisi” (2013); has presented
papers at conferences including Kalamazoo and
RSA; currently chair of the Italian Art Society’s
Emerging Scholars Committee.
Elena Rossi-Snook
Jack Toolin
B.A., Cinema, State University of New York at
Binghamton; M.A., Film Archiving, University of
East Anglia; archivist for the Reserve Film and
Video Collection of the New York Public Library;
Director of the Board, Association of Moving
Image Archivists; Chair, AMIA Film Advocacy Task
Force; selected publications include: “Persistence
of Vision: Public Library 16mm Film Collections
in America,” The Moving Image, “Continuing Ed:
Educational Film Collections in Libraries and
Archives,” Learning With the Lights Off: a Reader in
Educational Film; selected awards: 2002 recipient
of the Kodak Fellowship in Film Preservation;
Other: Producer, Why We Film 16mm series;
Documentary film We Got the Picture made official
selection of the 2005 Tribeca Film Festival.
B.F.A., Photography, Ohio University at Athens;
M.F.A., Photography, Performance, and
Installation, San Jose State University; artist
working in new media, digital imaging, and
performance; his work considers contemporary
life in light of the changing political, economic,
and technological landscape; individual and
collaborative work has been exhibited nationally
and internationally, including San Francisco
Camerawork;the Walker Art Center; the Whitney
Museum of American Art (2002 Whitney Biennial);
and the Museo Nacional de Bellas Artes, Buenos
Aires, Argentina; he has performed in the San
Francisco Bay area, New York, Pittsburgh,
Reno, Phoenix, Hong Kong, and Linz, Austria;
commissions include the Walker Art Center and
the Whitney Museum of American Art; he has
lectured nationally and internationally.
Ann Schoenfeld
M.A., University of Chicago; Ph.D., The Graduate
Center, City University of New York; received
a CUNY Dissertation Fellowship; work includes
Lecturer, SUNY at Purchase, and Nominator for
the Joan Mitchell Foundation for Painting and
Sculpture; has published in M/E/A/N/I/N/G:
An Anthology of Artist’s Writings, Theory, and
Criticism, i-D, Eye.
Dorothy Shepard
M.A., Southern Methodist University; Ph.D.,
Bryn Mawr College; received an AAUW American
Fellowship and a Haakon Traveling Fellowship;
invited lectures include: CAA, Kalamazoo and
Medieval Academy; Symposia on History of the
Bible held at Barnard, Rutgers, and Princeton
Universities; published in Medieval Germany: An
Encyclopedia; Rutgers Art Review; The Apocalypse
in Word and Image; and Canterbury and the
Medieval Bible.
Alice Walkiewicz
Visiting Instructor
B.A., University of Kansas; M.Phil., Ph.D. candidate,
The Graduate Center, City University of New
York; specializes in 19th-century art from Europe
and the United States; current research focuses
on issues of gender and labor, and the way that
anxieties about these issues are addressed
through visual culture (both in fine art and popular
imagery) within a transnational (and transatlantic)
context; her dissertation explores these concerns
by examining representations of the archetypal
figure of the exploited, laboring seamstress in
England, France, and the United States in the late
19th century within the context of the rising labor
movement; has taught at Parsons The New School
for Design as well as Pratt Institute.
Bor-Hua Wang
M.A., University of Kansas; Ph.D., Columbia
University; a specialist in Chinese painting and
calligraphy of the Song dynasty; areas of research
include: Contemporary Chinese Art; Buddhist Art
of Southeast Asia and Western art theory; curator
of Contemporary Korean Art, Abstract Chinese
Art, for Taipei Fine Art Museum; she presented
“Pan Yuliang’s Life and Art: Alienation to Freedom
of Expression,” CAA, 2001.
Karyn Zieve
B.A., Wellesley College; M.A., University of
Pennsylvania; Ph.D., Institute of Fine Arts, New
York University; specialist in 19th- and early 20thcentury art, with a focus on Eugène Delacroix,
orientalism, the history of photography and the
graphic arts; in addition to teaching at various NYC
institutions and museums, she has written about
and organized exhibitions of prints, drawings and
photographs on various topics; presently she is
working on a manuscript based on her work on
Delacroix and images of the East.
The Writing Program
Priscilla Becker
M.F.A., Columbia University; Becker’s first book of
poems, Internal West, won The Paris Review book
prize, and was published in 2003. Her poems have
appeared in Fence, Open City, The Paris Review,
Small Spiral Notebook, Boston Review, Raritan,
American Poetry Review, Verse, and The Swallow
Anthology of New American Poets; her music
reviews in The Nation and Filter Magazine; her book
reviews in The New York Sun; and her essays in
Cabinet magazine and Open City. Her essays have
also been anthologized by Soft Skull Press, Anchor
Books, and Sarabande. She teaches poetry at Pratt
Institute, Columbia University, and in her apartment.
Her second book, Stories That Listen, was released
by Four Way Books in 2010.
Christopher Bollen
Visiting Instructor
B.A., Columbia University; Bollen is the author
of the novels Lightning People (2011) and Orient,
forthcoming in 2015. His writing has appeared in
The New York Times, Artforum, The Believer, the
Paris Review, GQ, and Details. He is currently the
editor at large of Interview magazine.
248
Gabriel Cohen
John Glassie
Christian Hawkey
Visiting Instructor
B.A., Wesleyan University; Gabriel Cohen is
the author of five novels and a nonfiction book
and has written for The New York Times, Poets
and Writers, Shambhala Sun, Gourmet.com, Time
Out New York, and many other publications; he
has taught fiction and nonfiction writing at New
York University, mentors writing students at
the New School, and lectures and gives
workshops frequently; his website is www.
gabrielcohenbooks.com.
Visiting Instructor
B.A., The Johns Hopkins University; is a former
contributing editor for The New York Times
Magazine, where for several years he edited the
weekly “Lives” column; he has written for The New
York Times, The Believer, Salon, Wired, The Dallas
Morning News, and The Atlanta JournalConstitution, among other publications, and is the
author of a non-fiction book about a 17th-century
polymath, published in the fall of 2012; as well as
the author of a book of photographs, Bicycles
Locked to Poles (McSweeney’s, 2005).
Professor
The author of three award-winning books of
poetry, including The Book of Funnels (Wave
Books, 2004), which won the 2006 Kate Tufts
Discovery Award, HourHour (Delirium Press, 2005),
and Citizen Of (Wave Books, 2007); his poems have
appeared in Conjunctions, Volt, Denver Quarterly,
Tin House, Crowd, BOMB, Chicago Review, and
Best American Poetry; he has received awards
from the Academy of American Poets and the
Poetry Fund, and in 2006 he received a Creative
Capital Innovative Literature Award; in 2008, he
was a DAAD Artist-in-Berlin Fellow.
Jon Cotner
Visiting Instructor
B.A. Humanities, Shimer College; M.A., St. John’s
College; Ph.D. candidate in Poetics, SUNY at
Buffalo. Professor Cotner is co-author of Ten
Walks/Two Talks (Ugly Duckling Presse, 2010) and
has worked on a collaboration titled Conversations
over Stolen Food and projects for The Believer,
the BMW Guggenheim Lab, Elastic City, and the
Poetry Society of America.
Steven Doloff
Professor, Lecturer in Intensive English
B.A., Stony Brook University; was named a Pratt
Institute Distinguished Professor (2001–2002)
and received the Institute’s Student Government
Association Faculty Excellence Award in 1990.
Laura Elrick
Assistant Professor
Author of three books of poetry, including
Propogation (Kenning Editions, 2012), Fantasies
in Permeable Structures (Factory School,
2005) and sKincerity (Krupskaya, 2003). Her
psychogeographically-inspired research and
performance works include the oppositional
cartography Blocks Away, exhibited at the
Skybridge Art and Sound Space in 2010, and the
video-poem Stalk, commissioned by the Positions
Colloquium in Vancouver in 2008 and exhibited in
the Social Environmental Aesthetics Series at Exit
Art (New York, 2009) and the Rustbelt Sightsound
Collision at the SPACES gallery (Cincinnati, 2013),
A sound work, 5 Audio Pieces Doubled Voice
was commisioned by new Langton Arts for the
Performance Writing Series in San Francisco
in 2005. Her work also appears in several
anthologies, including Viz. Inter-Arts Intervention:
A Trans-Genre Anthology (forthcoming), Against
Expression: Anthology of Conceptual Writing, and
Eco Language Reader, and has been translated
into Spanish, French, Italian and Norwegian.
Wes Enzinna
Visiting Instructor
B.A., Temple University; M.A., University of
California at Berkeley; writer whose reportage and
essays appear in The New York Times Magazine,
Harper’s, London Review of Books, Mother Jones,
The Nation, and n+1; also a filmmaker who
regularly produces documentaries for Vice, where
he is a senior editor.
David Gordon
Visiting Instructor
M.F.A., Writing, M.A., English and Comparative
Literature, Columbia University; David Gordon
was born in New York City. He attended Sarah
Lawrence College and has worked in film, fashion,
and publishing. His first novel, The Serialist, was
published by Simon and Schuster in March 2010.
Jason Helm
James Hannaham
Samantha Hunt
M.F.A., Creative Writing, Sarah Lawrence College;
first book, Exposure, a YA sci-fi fantasy novel,
is currently on the market; he is at work on
a collection of short stories about mid-’90s
gutterpunk culture in Minneapolis.
249
Sean C. Kelly
Anna Moschovakis
Justin Taylor
Visiting Instructor
B.A., University of Montreal; was editor of
National Lampoon and a founding editor of Heavy
Metal; he has been a staff writer for Saturday
Night Live, and as a freelance writer he has
written for numerous television productions
and for periodicals, including Bazaar, Colors,
Interview, Playboy, Spy, The Village Voice, and The
New York Times; he is the author and editor of
numerous books and anthologies.
B.A., University of California at Berkeley; M.F.A.,
Bard College; she is the author a book of poems,
I Have Not Been Able to Get through to Everyone,
and a translator of poetry, fiction, and theory
from the French; she is also an editor, designer,
and printer at Ugly Duckling Presse, a nonprofit
publishing collective based in Brooklyn; she
is pursuing graduate studies in comparative
Literature at the CUNY Graduate Center.
Rachel Levitsky
Cecilia Muhlstein
B.A., University of Florida; M.F.A., The New School.
author of the story collection Everything Here Is
the Best Thing Ever (Harper’s Perennial, 2010) and
the novel The Gospel of Anarchy (Harper’s
Perennial, 2011); he is the editor of The Apocalypse
Reader, Come Back Donald Barthelme, and
co-editor (with Eva Talmadge) of The Word Made
Flesh: Literary Tattoos from Bookworms Worldwide
(Harper’s Perennial, 2010); with Jeremy Schmall,
he publishes The Agriculture Reader, a limitededition arts annual.
Assistant Professor
M.F.A., Naropa University, B.A., State University of
Albany; her first full-length volume, Under the Sun,
was published by Futurepoem books in 2003; she
is the founder and co-director of Belladonna*,
an event and publication series of feminist
avant-garde poetics; she is also the author of
five chapbooks of poetry, Dearly (a+bend, 1999),
Dearly 356, Cartographies of Error (Leroy, 1999),
The Adventures of Yaya and Grace (PotesPoets,
1999), 2(1×1) Portraits (Baksun, 1998), and a series
of poetry plays.
Adjunct Assistant Professor, Tutor
California State University at Los Angeles; Cecilia
was born in Texas, but grew up in Los Angeles; her
work and interests reside in fiction, critical theory,
art, and eco-poetics; her current work can be
found in the pages of NYArts magazine and in the
archives of Safe-T-Gallery.
Assistant Professor
B.A., Yale University; M.F.A., University of Texas;
first novel, God Says No (McSweeney’s, 2009),
was a finalist for a Lambda Book Award, named an
honor book by the American Library Association’s
Stonewall Book Awards, a semi-finalist for a
VCU Cabell First Novelist Award, and made the
shortlist for the Green Carnation Prize in the
U.K.; his stories have been published in The
Literary Review, Open City, JMWW, One Story,
and will soon appear in Fence; his criticism and
journalism have appeared in The Village Voice,
Spin, and Salon.com, where he was on staff, and
have been reprinted in Best African American
Essays 2009 and Best Sex Writing 2009; he has
received fellowships from The MacDowell Colony,
Yaddo, The Blue Mountain Center, The Constance
Saltonstall Foundation for the Arts, Chateau de
Lavigny, Fundación Valparaíso, Bread Loaf, and a
NYFFA Fellowship in Fiction.
Associate Professor
M.F.A., Warren Wilson College; second novel
The Invention of Everything Else (Houghton Mifflin
Harcourt, 2008) was a finalist for the Orange Prize
and winner of the Bard Fiction Prize; her first
novel, The Seas (Picador, 2005) won a National
Book Foundation award for writers under 35; work
has appeared in The New Yorker, McSweeney’s,
A Public Space, Cabinet, Esquire, jubilat, The
Believer, Blind Spot, Tin House, New York Magazine,
on the radio program This American Life and in a
number of other fine publications.
B.A., Marymount Manhattan College; stories have
appeared in A Public Space, Ploughshares, The
Paris Review, and are collected in the book Double
Happiness; her novel is Wavemaker II (Atlantic
Monthly Press, 2002).
Visiting Instructor
M.F.A., Columbia University; B.A., University of
Minnesota; novel Tiger in a Trance was a New
York Times Notable Book; his short fiction has
appeared in Tin House, Meridian, HOW Journal,
Nerve, Outerbridge, On the Rocks, The KGB Bar
Fiction Anthology, and others.
Ryan Fischer-Harbage
Lucy Ives
Tracie Morris
B.A., Kalamazoo College; M.F.A., Bennington
College; a literary agent who runs the FischerHarbage Agency, represents several New York
Times bestselling authors and has placed books
with all major publishers in the U.S. and the U.K.;
he previously served as an editor at Simon and
Schuster, Little, Brown and Company as well as
The Penguin Group (U.S.A.).
B.A., Harvard; M.F.A., University of Iowa; editor
of Triple Canopy and the author of four
collections of poetry and prose; in spring 2015,
Little A will re-issue her novel, nineties.
Professor
B.A., M.F.A., Hunter College; M.A., Ph.D., New York
University; a multidisciplinary poet, performer, and
scholar who works extensively as a sound artist,
writer, bandleader, and actor; her installations
have been presented at the Whitney Biennial,
Ronald Feldman Gallery, the Jamaica Center for
Arts and Learning, and the New Museum; she
recently completed her latest poetry manuscript,
“Rhyme Scheme” and is working on an academic
work, “Who Do with Words” on the significance of
philosopher J.L. Austin; she is also developing two
audio projects: an untitled CD with music with her
band and another CD in collaboration with
composer Elliott Sharp.
Mary-Beth Hughes
Caitlin Kelly
Visiting Instructor
B.A., University of Toronto; author of Malled: My
Unintentional Career in Retail and Blown Away:
American Women and Guns; former reporter for
The Globe and Mail, Montreal Gazette and New
York Daily News, she has reported from the Arctic
Circle, Denmark, Sicily and Fiji; she is a winner of a
Canadian National Magazine Award for humor and
writes frequently for The New York Times; her blog,
www.broadsideblog.wordpress.com, has more
than 12,000 readers worldwide.
Robert Lopez
M.F.A., The New School for Social Research; is the
author of two novels, Part of the World (Calamari
Press, 2007) and Kamby Bolongo Mean River (Dzanc
Books, 2009), and a collection of stories, Asunder
(Dzanc Books, 2010); he has taught at The New
School and Columbia University and is a 2010 New
York Foundation for the Arts fellow in fiction.
Max Ludington
Shelly Oria
Visiting Professor
B.A., Tel Aviv University; M.F.A., Sarah Lawrence
College; fiction has appeared in McSweeney’s,
Quarterly West, cream city review, and
fivechapters; she is a recipient of the 2008
Indiana Review Fiction Prize among other awards
and curates the monthly series “Sweet! Actors
Reading Writers.” Her first novel is New York 1,
Tel Aviv 0.
Eric Rosenblum
Visiting Instructor; Lecturer, Intensive English
B.A., English, Ohio University; M.F.A., Creative
Writing-Fiction, Syracuse University; fiction and
non-fiction have appeared in Guernica Magazine,
the Chicago Tribune and the Chicago Reader.
Jonathan Santlofer
Visiting Professor
B.F.A., Boston University School of the Arts;
M.F.A., Pratt Institute; is the author of five
bestselling crime novels, short stories in many
anthologies and collections, winner of the Nero
Wolfe Award for Best Crime Novel, co-author/
contributor to The Dark End of the Street
anthology (Bloomsbury USA, 2010); recipient
of two National Endowment for the Arts grants,
Rome Prize; and on the board of directors
of Yaddo, the oldest arts community in the
United States.
Holly Tavel
Visiting Instructor
B.A., The New School; M.F.A., Brown University;
recipient of a 2009 Fulbright Scholarship in
Creative Writing to the Czech Republic.
Johnny Temple
Visiting Instructor
B.A., Wesleyan College; publisher and editorin-chief of Akashic Books, an award-winning
Brooklyn-based independent company
dedicated to publishing urban literary fiction
and political nonfiction; he won the 2013 Ellery
Queen Award, the American Association of
Publishers’ 2005 Miriam Bass Award for Creativity
in Independent Publishing, and the 2010 Jay
and Deen Kogan Award for Excellence in Noir
Literature; teaches courses on the publishing
business at Wilkes University and Wesleyan
University and is the chair of the Brooklyn
Literary Council, which works with Brooklyn’s
borough president to plan the annual Brooklyn
Book Festival; he also plays bass guitar in the
band Girls Against Boys, which has toured
extensively across the globe and released
numerous albums on independent and major
record companies; he has contributed articles
and political essays to various publications,
including The Nation, Publishers Weekly, AlterNet,
Poets & Writers, and BookForum.
Ellery Washington
Associate Professor
D.E.U.G., Sorbonne University, Paris, France;
writing has appeared in the French publication
Nouvelles Frontières, Out Magazine, The Berkeley
Fiction Review and various literary anthologies,
including Griots Beneath the Baobab (IBWA
Press), Geography of Rage (RGB Publisher), and
State by State (Harper Collins); he is a recipient
of the PEN Center West–Rosenthal Emerging
Voices Fellowship and the IBWA Best Short
Fiction Award.
250
251
Graduate Admissions
Uljana Wolf
Visiting Instructor
Magister, Humboldt University, Berlin; a German
poet and translator based in Brooklyn and Berlin;
she has published four books of poetry in German,
and three chapbooks in English translated by
Nathaniel Otting (Nor By Press), Susan Bernofsky
(UDP) and Monika Zobel (Belladonna*); translates
numerous English-language poets into German,
among them Matthea Harvey, Erin Mouré, John
Ashbery, Yoko Ono, and Cole Swensen, and she also
translates into German from the Polish, Belarusian,
Bulgarian, Slovenian, and Spanish; her own work has
been translated into more than 13 languages.
Thad Ziolkowski
Coordinator, The Writing Program; Professor
B.A., George Washington University; Ph.D., Yale
University; author of a novel, Wichita, a memoir,
On a Wave, and a collection of poems, Our Son,
the Arson.; his journalism has appeared in the New
York Times, Slate, Bookforum, Travel & Leisure,
and the Village Voice; among other honors, he
is the recipient of a fellowship from the John S.
Guggenheim Foundation.
Gina Zucker
B.A., Washington University; M.F.A., The New
School; has published fiction and nonfiction
in magazines and journals such as Tin House,
Salt Hill, The Chicago Sun-Times, The New York
Post, Elle, Glamour, GQ, Rolling Stone, Redbook,
and Cosmopolitan, as well as on various online
journals. Her writing has been anthologized in two
collections: ALTARED (Vintage, 2007) and BEFORE
(Overlook Press, 2006); she is a recipient of a
Vermont Studio Center Fellowship and a New
School Merit Scholarship.
Writing and Tutorial Center
Randy Donowitz
Director of the Writing and Tutorial Center
Terri Bennett
Tutor
Priya Chandrasekoran
Applications are welcome from all
Guided Campus Tours
Graduate Admissions
qualified students, regardless of
Guided campus tours of the Brooklyn
All applicants to graduate programs at
Maura Conley
age, sex, religion, race, color, creed,
campus are scheduled Monday and
Pratt must have received a bachelor’s
national origin, or disability. Admissions
Friday at 10 AM, 12 PM, and 2 PM. Tuesday
degree from an accredited institution
Brian Cook
committees base their decisions on
and Thursday tours are scheduled at
in the United States or have been
a careful review of all credentials
10 AM and 2 PM. Schedule a campus tour
awarded the equivalent of the
submitted by the applicant. Although
online at www.pratt.edu/visit, call the
Elizabeth (Lol) Fow
admission standards at Pratt are high,
Office of Admissions at 718.636.3779 or
Adjunct Instructor, Tutor, Thesis,
Graduate Writing
extraordinary talent may sometimes
800.331.0834, or email us at visit@pratt.
International students should see
offset a lower grade point average or
edu. Prospective graduate applicants or
the international student section for
test score. If a student is not accepted,
students are encouraged to contact their
additional requirements.
this decision is not a negative reflection
academic department directly to discuss
Tutor, Writing, Thesis, Conversation
on the student’s chances for successful
the program and see the facilities.
Joseph Herzfeld
completion of similar studies at another
Diane Cohen
Tutor
Amanda Davidson
Tutor
Dominica Giglio
Tutor, Writing, Art History
Heather Green
Lecturer Intensive English, Tutor, Writing
Kwame Heshimu
Visiting Instructor, Tutor, Writing
Cecilia Muhlstein
Adjunct Assistant Professor, Tutor,
Writing, Thesis
Evan Rehill
Visiting Instructor, Tutor, Writing, Thesis
Zachary Slanger
Deadline for Applications
Completed applications for most
institution, nor does it preclude
Graduate Merit-Based Scholarships
programs (including letters of reference,
the student’s eventual admission to
Incoming students will be evaluated by
statement of purpose, transcripts,
the Institute.
their academic department for merit-
and portfolio) should be submitted
based scholarships upon acceptance.
by January 5 for fall entrance. Some
open weekdays from 9 AM to 5 PM from
Beginning with fall 2014 incoming
programs will accept applications after
September through May, and from 9 AM
students, these are renewable for the
the deadline if there is room. See the
to 4 PM during June, July, and August.
duration of the program with a 3.0. There
department requirements section
is no application form. Assistantships are
on page 253 for specific deadline
awarded to some second-year students.
information as well as for programs that
The Office of Graduate Admissions is
Tutor
accept students in the spring. Applicants
Vice President For Enrollment
Graduate Admissions Counselor
Judith Aaron
Russell Tyler
Myrtle Hall, 2nd floor
718.636.3743
718.636.3551
Tel: 718.636.3514 or 800.331.0834
jaaron@pratt.edu
rtyler@pratt.edu
Fax: 718.399.4242
www.pratt.edu/admissions
Director of Graduate and
Graduate Admissions Counselor
International Admissions
Brian Mulroney
Questions?
Young Joo Hah
718.230.6887
Ask Pratt’s “Virtual Advisor”
718.636.3683
bmulron@pratt.edu
at www.pratt.edu/ask
yhah@pratt.edu
252
Graduate Admissions
for the spring semester must apply by
2.Unofficial transcripts from all
application deadline. It generally takes
Mailing Documents: submit any print
Willoughby Ave, Brooklyn, NY.)
four to six weeks to receive the scores.
documents in one envelope if possible
Architecture First Professional M.Arch.
The Pratt Institute code for TOEFL
and mail to:
(Fall entrance only) Brooklyn Campus
institutions attended after graduation
applicants). Applications received after
from secondary school. Make sure your
that time will be considered only if there
manuscript contains the school name
Make sure you contact your
is 2669. Check www.toefl.org for
is room in a particular program.
and your name before uploading it to
references and request a
information on testing sites.
the application.
recommendation letter from them.
Application Forms
Graduate applicants are required
to apply online at www.pratt.edu/
apply. Please use your full name on all
International students must have
all transcripts officially translated into
English. (Both the unofficial original
and the English translated version must
be uploaded online at our application
site.) Students who have studied
documents and do not use nicknames or
outside the U.S. in an educational
middle names.
structure different from the U.S.
(three-year degrees, for example) are
Application Requirements
asked to submit a World Education
The online application, hosted
Services (WES) (www.wes.org)
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. See www.
pratt.edu/apply for instructions on
submitting your application and
supporting documents.
Candidates for graduate admission
must submit the following:
evaluation to expedite their application
Let them know the process is online.
b.Additional writing sample (required
Applicants from China
In order to provide an in-person
by City and Regional Planning, Urban
interview opportunity for all Chinese
Placemaking and Management,
applicants interested in Pratt Institute
Sustainable Environmental Systems,
Historic Preservation, Media Studies,
Theory, Criticism, and History of
Art, Design, Architecture, and
Writing only) may be uploaded at the
application site.
c.Résumé (required for Design
and to process your application faster,
we have partnered with Vericant.
Vericant will conduct video interviews
and short writing samples with our
applicants in Mainland China. Vericant
does not evaluate candidates but,
instead, posts the interviews online for
Management; optional for all other
our admissions team to review. The
include translations. The documents
graduate programs) should be
Vericant interview will form part of
must be officially translated into
uploaded at the application site.
your application package if you opt to
or any other reputable education
evaluation service, e.g., your embassy.
3.Supporting Documents: The following
documents should be submitted
electronically on the online application
site at www.pratt.edu/apply. Please
include the following:
a.Two letters of recommendation
d.Statement of purpose giving your
long-range goals and interest in
the chosen discipline and reason
for applying to the programs. The
be interviewed.
Although the Vericant interview is
not mandatory, we highly recommend
it as it will give you an excellent
statement of purpose, which must
opportunity to showcase your skills and
be 250–500 words, should be
professionalism to our admissions team.
uploaded to the application site.
To learn more about Vericant and
to schedule an interview, please visit
4.TOEFL score or IELTS score for
from employers, professors, or
international applicants whose
others able to judge your potential
native language is not English. Unless
Office of Graduate Admissions
Pratt Institute
processing. WES evaluations do not
English before submitting to WES
253
Office of Graduate Admissions, 200
October 1 (September 1 for international
General Credentials
Graduate Admissions
Vericant’s website at www.students.
vericant.com. Vericant provides
interviews in the following cities:
Brooklyn, NY 11205
admissions@pratt.edu
Tel: 718.636.3669 or 800.331.0834
Fax: 718.399.4242
If you plan to messenger your
documents, please do so before
December 24 or after January 2. Pratt
closes for winter break during that time.
We strongly suggest making photocopies
of all mailed forms for your own records.
Please use your full name on the
application and on all documents and
not nicknames or middle names so that
we are able to match TOEFL scores,
transcripts, etc. with your application.
Department Requirements
Graduate programs have different
professional requirements. See the
following section for particular programs’
requirements.
Applicants must have received a
bachelor’s degree from an institution
in the U.S. that is accredited by a
recognized regional association or have
been awarded the equivalent of the
Applicants must present a portfolio
providing evidence of their interest in
architecture or their visual sensibility
through the media of their choice—
photography, drawing, essays, videos,
etc. Portfolios must be submitted online
at pratt.slideroom.com. The GRE is
required. The GRE code is R2669. TOEFL
of 550 (79 internet) is required.
Architecture M.S. Post-Professional
(Summer entrance only)
Brooklyn Campus
This program is three semesters,
beginning in summer and ending in
spring. Applicants must have earned
a Bachelor of Architecture (five-year
B.Arch.) from an accredited school
of architecture or the international
equivalent. Applicants should submit all
materials as early as possible in order to
for graduate study in the specific
otherwise indicated under each
Beijing, Shanghai, Shenzhen as well as
program. Recommendation letters
department, the minimum required
Chengdu, Chongqing, Dalian, Guangzhou,
decisions and, in the case of international
nonrefundable $50 application fee at
are submitted online. See www.
TOEFL score is 550 (paper)/213
Hangzhou, Nanjing, Qingdao, Wuhan,
students, to get the I-20. Ideally,
www.pratt.edu/apply. (International
pratt.edu/apply. (If your references
(computer)/79 (Internet) and the
Xi’an, Zhengzhou.
applicants (particularly international
students must pay a $90 application
prefer not to submit online, please
required IELTS score is 6.5. Please
ask them to seal the envelope,
applicants) should submit all materials,
fee.) Graduate students are required
make sure that you register for a
sign across the flap, and mail their
including portfolio, by December 1.
to apply online.
TOEFL or IELTS test that will enable
references to Pratt at Pratt Institute,
you to submit your scores by the
Applications will be accepted after
1. Online graduate application with
ensure enough time to review and make
Graduate Admissions
254
Graduate Admissions
the deadline of January 5 only if there
paper or report done for work depending
Urban Placemaking and Management M.S.
Facilities Management M.S. (Fall and
is room. A digital portfolio should be
the deadline until the program is full.
on the applicant’s background and is
(Fall and spring entrance)
spring entrance) Manhattan Campus
submitted at pratt.slideroom.com.
TOEFL of 575 (90 internet) is required
not required to be related to planning.
Brooklyn campus
A TOEFL score of 550 (79 internet)
for international students. Applicants
Applicants may also submit additional
is required.
must submit, in addition to the general
material that they feel contributes to
application requirements: (1) a resume
their application, such as work sample or
Architecture and Urban Design M.S.
and (2) an extended piece of writing to
portfolio. The GRE or GMAT is optional;
Post-Professional. (Summer entrance
support their application for advance
neither is required. All documents but
only) Brooklyn Campus
study. The writing sample may be a term
a visual portfolio should be uploaded to
the application. Visual portfolio should
be submitted at pratt.slideroom.com.
This program is three semesters,
beginning in summer and ending in
spring. Applicants must have earned
a Bachelor of Architecture (five-year
B.Arch.) from an accredited school
of architecture or the international
equivalent. Applicants should submit all
materials as early as possible in order to
ensure enough time to review and make
decisions and in the case of international
students to get the I-20. Ideally,
applicants (particularly international
applicants) should submit all materials
including portfolio by December 1.
not required to be related to historic
preservation. Applicants may also
submit additional material that they feel
M.S. (Fall and spring entrance)
contributes to their application, such
Brooklyn campus
as work sample or portfolio. The GRE or
GMAT is optional; neither is required. All
documents but a visual portfolio should
be uploaded to the application. Visual
portfolio should be submitted at pratt.
slideroom.com.
City and Regional Planning M.S. (Fall and
spring entrance) Brooklyn Campus
Applicants are welcome from all fields
degree in architecture, construction
of study. Applicants should have
management, engineering, business,
received their bachelor’s degree from
or interior design. Applicants in other
an accredited institution in the U.S.,
fields are eligible but may be required
or the equivalent from an international
to take non-credit courses in building
technology unless they have acquired
equivalent knowledge through non-
academic experience. The GRE or
GMAT is optional; neither is required.
Applications will be accepted after the
deadline if there is room.
School of Art
Fine Art M.F.A. (Fall entrance only)
Brooklyn Campus
an accredited institution in the U.S or
the equivalent from an international
not required to be related to planning.
Applicants may also submit additional
material that they feel contributes to
A TOEFL score of 550 (79 internet) is
their application, such as work sample or
the deadline of January 5 only if there
Applicants should have received a
required for international students.
portfolio. The GRE or GMAT is optional;
is room. A digital portfolio should be
bachelor’s degree from an accredited
Applicants must submit, in addition to
neither is required. All documents but
submitted at pratt.slideroom.com.
institution in the U.S., or the equivalent
the general application requirements:
a visual portfolio should be uploaded to
A TOEFL score of 550 (79 internet)
from an international institution of
(1) a resume and (2) either a writing
the application. Visual portfolio should
is required.
acceptable standards. Applicants
sample or visual portfolio, depending
are welcome from all fields of study.
on their background. The writing
Historic Preservation M.S. (Fall and spring
sample or portfolio should indicate an
entrance) Brooklyn Campus
interest in or awareness of issues to be
addressed in this program. The GRE or
GMAT is optional; neither is required.
Applications will be accepted after the
deadline if there is room. All documents
but a visual portfolio should be uploaded
to the application. Visual portfolio should
an accredited institution in the U.S. or
the equivalent from an international
Applicants should have a bachelor’s
Applicants must have a bachelor’s
degree from an accredited U.S. college,
university or art/design school or the
equivalent degree from a recognized
international institution. It is not
required that applicants have majored
in studio art as undergraduates, only
that they demonstrate their readiness
for the challenges of M.F.A. studies.
The 60-credit MFA program in Fine Arts
comprises four consecutive 15-week fall/
spring semesters and begins in the fall.
We welcome visits to Pratt at any time,
and interested applicants (or potential
applicants) should contact Nat Meade,
Assistant Chair of Fine Arts, to schedule
an appointment and tour of facilities/
studios (tel. 718.636.3792, email:
nmeade@pratt.edu).
255
In addition to Pratt’s general
graduate admissions requirements,
applicants to the Fine Arts M.F.A.
program must upload the following
materials to pratt.slideroom.com: 1)
a portfolio of up to 20 well-selected
images (including detail views) of works
made in the last 2-3 years; and 2)
information for each image including the
work’s title, dimensions, materials used,
and date of completion. The Graduate
Admissions Committee is looking for
work that shows the artist’s conceptual
and aesthetic direction as well as the
potential for successful growth over the
two years of the program. Candidates
whose applications are completed and
submitted by the January 5 deadline
will be given priority consideration for
merit scholarships. A TOEFL score of 550
(79 internet) is required for non-native
English speakers.
Master of Fine Arts in Digital Arts (Fall
entrance only) Brooklyn Campus
Applicants should have an undergraduate
degree or considerable background
in the digital arts and should submit a
strong visual portfolio demonstrating
a conceptual and aesthetic focus.
No reviews are done in person, but
applicants are encouraged to arrange
a visit to the department by calling
718.636.3411. Applicants must submit
12–15 pieces of work in traditional or
digital media (1) online at https://pratt.
slideroom.com. The graduate admissions
review committee is interested in work
256
Graduate Admissions
that reflects creativity, technical facility,
Developmental Psychology; and course
Design Management M.P.S. (fall entrance
and the conceptual skills to develop a
work in anatomy/kinesiology. Students
only) Manhattan campus
sophisticated body of work. A TOEFL
must also have extensive experience
score of 550 (paper)/213 (computer)/or
in at least two idioms of dance, one of
79 (Internet) is required for
which must be modern dance. Students
international students.
must have experience in body/mind
modalities, such as meditation, yoga,
Art Therapy and Creativity Development
and body therapy. A written synopsis
M.P.S. (Fall entrance for academic year
of dance training and experience must
program and spring entrance for low
be submitted with the application. A
residency program), Brooklyn Campus
personal interview will be required, part
degree, preferably in studio art or
psychology. Applicants must have 18
undergraduate credits in studio art, to
include course work in drawing, painting,
and 3-D media to include ceramic/
clay work, and 12 credits in psychology,
to include course work in General,
of which will include movement. A TOEFL
score of 600 or 100 Internet is required
of all international students. No TOEFL
waivers will be issued unless student’s
first language is English.
Arts and Cultural Management M.P.S. (Fall
entrance only) Manhattan campus
Applicants must demonstrate experience
and interest in applying design to shaping
our shared world. The program provides
the strategic leadership skills to enable
participants to manage, market, innovate,
resource and run creative enterprises
Graduate Admissions
257
Art And Design Education (Professional)
post-secondary school. Candidates
would contribute to and benefit from
M.S. A 34 credit hour program open to
must also have completed the following
a collaborative learning environment. A
applicants who already have their Initial
workshops: Child Abuse Identification
TOEFL of 575 (paper)/233 (computer)/90
Certification as a Teacher of Visual Arts
Workshop; School Violence Prevention
(internet) is required.
and have prior teaching experience.
and Intervention Workshop; and Training
in Harassment, Bullying, Cyberbullying,
Interior Design M.F.A. (fall entrance only)
and Discrimination in Schools: Prevention
Brooklyn campus
Advanced Certificate
and Intervention. These workshops must
and shape sustainable strategic
A 24-credit hour program open to
advantage for their firms. The required
individuals with an M.F.A. degree or those
statement of purpose should reflect the
currently enrolled in the MFA program
applicant’s personal vision of how this
at Pratt.
program fits in with his/her personal
All applicants must submit a portfolio
and professional goals including how the
of 15 images of work (submit online at
applicant hopes to use the skills he/she
pratt.slideroom.com). The required
acquires in this program. The statement
should be no more than 500 words or
significant consideration. Applicants are
two pages. Ideally, applicants should
contacted for a Skype interview when
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)
and Education Teacher Performance
Assessment (edTPA), are also required.
School of Design
Industrial Design M.I.D. (Fall entrance
only) Brooklyn campus
Applicants with an undergraduate degree
in interior design or architecture may
be eligible for the 60-credit two-year
graduate program and must submit a
portfolio to pratt.slideroom.com that
demonstrates experience, sensibility
and skills from previous education and/
or professional experience. Please
make sure to attribute your specific
contributions in group projects and/or
professional work.
have an undergraduate degree in one of
all credentials have been received. A
Personality, Abnormal and Developmental
Applicants must demonstrate experience
the design disciplines with a minimum of
TOEFL of 600 or 100 Internet is required
Applicants should submit a portfolio
of an additional 24 credits is required
psychology. A portfolio of 12 to 15
and interest in applying the arts to
three years of professional experience.
for international students. All applicants
online at https://pratt.slideroom.
for applicants whose undergraduate
slides or digital images (submit online
shaping our shared world. The program
We also consider social media managers,
are encouraged to schedule a visit to
com, including both text (descriptions,
backgrounds are unrelated to interior
at pratt.slideroom.com) is required of
provides the strategic leadership skills to
engineers, material scientists and others
the department by calling 718.636.3637
problem statement, etc.) and images
or architecture but whose applications
all applicants. Applicants are contacted
enable participants to manage, market,
whose work converges with design. A
or emailing awilson2@pratt.edu, or by
(from development sketches to finished
for an interview when all credentials
innovate, resource and run a creative
resume is also required. A TOEFL score
attending one of our Open Houses.
work). The portfolio must contain
study. These students complete 84 credits
have been received. A TOEFL score of
enterprise and to use the arts to connect
of 600 or 100 Internet is required of
examples of drawing as a communication
in three years. Applicants to the Qualifying
600 or 100 Internet is required of all
culture, community and commerce. The
international students. Applications will
programs are New York State Education
tool, three-dimensional objects, and a
Program are not required to submit
international students. No TOEFL waivers
required statement of purpose should
be accepted throughout the semester.
Department (NYSED) “approved teacher
basic understanding of graphic design,
a portfolio, but these applicants are
will be issued unless student’s first
reflect the applicant’s personal vision
The GMAT is optional and not required.
preparation programs” and meet the
executed through presentation and
encouraged to submit a portfolio
language is English.
of how this program fits in with his/her
of work from relevant disciplines such as
The Art and Design Education
A two-semester Qualifying Program
new requirements for New York State
layout. Showing both the process
personal and professional goals including
Art and Design Education M.S. (Initial/
Initial Teacher Certification in Visual
and execution of a project, along
fine arts, fashion, industrial design,
Dance/Movement Therapy M.S. (Fall
how the applicant hopes to use the
Professional) (fall only) Brooklyn campus
Arts PreK-12. However, in order to be
with problem-solving and research,
or communications design. This portfolio
entrance for academic year program
skills he/she acquires in this program.
recommended for New York State Initial/
is recommended. Please include any
must also be submitted to pratt.slideroom.
and spring entrance for low residency
The statement should be no more than
Professional Certification in Visual
additional materials that tell the story of
com. We do not schedule interviews in
program), Brooklyn Campus
500 words or two pages. A TOEFL score
Arts PreK-12, candidates must also
who you are as a creative person. The
person but applicants are encouraged
have completed a three-credit course
M.I.D. program is highly collaborative and
to arrange a visit to the department by
in child and adolescent psychology
includes students from a wide variety of
calling 718.636.3630. A TOEFL score of
and a three-credit course in a foreign
backgrounds; therefore, in your written
575 (paper) or 90 (Internet) is required of
language. These courses may be taken
statement, discuss aspects of your
international students.
at Pratt or transferred from another
personal character and background that
degree, preferably in dance or
psychology. Prerequisites are 12 credits
of 600 or 100 Internet is required of
international students. The GMAT is
optional and not required.
A 38-credit program open to individuals
with a bachelor’s degree or the
equivalent with a minimum of 25 credit
hours in art, design and/or the history of
art from an accredited higher education
institution or the equivalent of the
in psychology to include General,
Abnormal, Theories of Personality, and
258
Graduate Admissions
Communications Design M.F.A. (Fall
Package Design M.S. (Fall entrance only)
entrance only) Manhattan campus
Manhattan campus
Library Science
Library and Information Science M.S.
Graduate Admissions
259
a personal statement explaining the
professional), Art History, and the
Media Studies M.A. (Fall entrance only)
selection of Pratt and motivation for
combined Art History/Library Science
Brooklyn campus
the degree, a writing sample (5–10
and combined Art History/Fine Art
pages) that demonstrates analytic and
programs. Pratt’s Institutional Code
communication skills, and recently
is R2669.
Applicants must be highly motivated
Applicants should hold an undergraduate
individuals who hold an undergraduate
degree in graphic design or related
degree in graphic design or related
design fields such as industrial or interior
design fields such as industrial or interior
design, architecture, fine arts, or media
Applicants must have a superior
on analytical writing on any subject.
design, architecture, fine arts, or media
arts, but we welcome applications from
scholastic record or otherwise give
The sample should be uploaded to the
arts. Exceptional individuals from other
individuals with degrees/backgrounds
evidence of ability to perform work
online application. A TOEFL score of 100
disciplines may be admitted provisionally
from non-design fields such as business,
on the graduate level. Applicants
Internet is required.
and required to take design foundation
liberal arts, and the sciences who
are expected to offer evidence of
courses. All applicants must submit a
demonstrate a strong aptitude for
maturity and leadership potential
Writing M.F.A. (Fall entrance only)
portfolio of work to be reviewed by an
graduate study. A qualifying program of
for the profession. An in-person or
Brooklyn campus
Admissions Committee composed of
an additional six credits of prerequisite
telephone interview may be required;
faculty. Work included in the portfolio
classes may be required for these
applicants will be contacted by the
may be personal work, professional
applicants. All applicants must submit
School of Information and Library
assignments, or course assignments
a portfolio of work to be reviewed by
Science (SILS) if an interview is deemed
done in an undergraduate or graduate
an admissions committee composed of
necessary. Applicants may apply for
program. Your portfolio should contain
faculty. Work included in the portfolio
non-matriculated status and take up to
between 12 and 20 examples of your
may be personal work, professional
six credits. International students whose
best work in traditional or digital
assignments, or course assignments
first language is not English must submit
media. In addition to the portfolio, the
done in an undergraduate or graduate
a TOEFL score of at least 82 Internet.
program. Your portfolio should contain
Students who are not international but
significant consideration. The intent
between 12 and 20 examples of your
whose first language is not English must
of this portfolio review is for you to
best work in traditional or digital media.
submit the TOEFL or GRE. Students may
demonstrate creative potential and
In addition to the portfolio, the written
continue to apply after the January 5th
provide enough information about
statement of purpose is given significant
deadline until the department is full. SILS
you to determine whether or not this
consideration. The intent of this portfolio
accepts applications on a rolling basis.
program is appropriate for you. Most
review is for you to demonstrate
important, the Admissions Committee
creative potential and the potential
will determine if you demonstrate the
to successfully complete the master’s
Advanced Certificates (Fall, summer, and
potential to successfully complete the
degree program in Communications or
spring entrance) Manhattan campus
M.F.A. in Communications Design. Submit
Package Design. Submit online at https://
online at https://pratt.slideroom.com.
pratt.slideroom.com. For international
For international applicants whose first
applicants whose first language is not
language is not English, a minimum TOEFL
English, a minimum TOEFL score of 575
score of 575 (paper)/90 (internet)
(paper)/233 (computer)/90 (Internet)
is required.
is required.
(Fall, spring, and summer entrance)
Manhattan campus
Applicants must hold a master’s degree
in library and information science. A
TOEFL score of 600 (250 computer, 100
Internet) is required.
Applicants must submit 10–20 pages of
relevant writing sample(s), with emphasis
Applicants must submit 10 to 20 pages
of relevant writing samples of any genre
with an emphasis on creative work. We
also welcome cross-genre writing and
writing that exists in relation to theory,
activism, performance, and visual art.
Upload your writing sample with your
online application. All applicants must
follow the standard admissions process
for graduate programs at Pratt. A TOEFL
score of 100 internet is required
History of Art and Design M.S. (Fall
entrance only) Brooklyn campus
Applicants must demonstrate the skill
of observation and description, analysis
and criticism, and the potential to
successfully complete the coursework
and to design and present a 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
earned scores from the Graduate
Record Examination (GRE code R2669).
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.)
General Requirements
Deficiencies in Undergraduate
Preparation
Accepted International Students
All enrolling international students need
to submit International Student forms
to the Office of International Affairs.
International Students include students
who need an I-20 for the F1 student
visa as well as international students in
other immigration statuses. Students will
not be permitted to register for classes
Domestic applicants with deficiencies in
until the forms are submitted. (U.S.
their undergraduate preparation of not
permanent residents are not considered
more than six credits may be admitted,
international students.)
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.
Graduate Record Examination
Requesting the I-20
To request the I-20, first submit your
enrollment deposit to the Office of
Admissions. Then you will receive your
OneKey, which is a login and password.
This can take up to seven days to receive.
After you receive your OneKey, go to
MyPratt at www.pratt.edu/mypratt. Log in
with your OneKey. Under Pratt Resources,
go to Web Services, then International
Student Forms. Submit your I-20 Request
online and print out the PDFs to send with
Although Pratt Institute does not require
the supplemental documents by express
the Graduate Record Examination for
mail directly to the Office of International
most programs, students who already
Affairs. For information, go to www.pratt.
have taken this examination should
edu/oia/I20. For questions, write to
have the results forwarded to the
oia@pratt.edu.
Office of Graduate Admissions. The
GRE is required for Architecture (first
260
Graduate Admissions
Enrolling International Students for
Health Requirements
Admission to Pratt
All new students need to submit
In addition to providing the TOEFL
documentation, in English, of
or IELTS, for admission to Pratt, all
all immunizations (including two
international students who enroll whose
measles, one mumps, and one rubella
first language is not English are required
immunization received after the first
to take an English examination before
birthday) to the health services office
they register for classes. Students who
prior to registration. All students should
do not pass will be required to complete
submit the completed Health Form,
Intensive English at Pratt. Students who
parts A and B. The form is available in
are otherwise acceptable but have
the Enrollment Guide and online at the
low English scores on the TOEFL may
Graduate Accepted Student page at
be accepted provisionally and may be
www.pratt.edu/apply. All students are
required to take only English classes
required by Pratt Institute to carry health
until they achieve the TOEFL score
insurance providing acceptable coverage.
required by their department, at which
Some countries have health insurance
time they may enroll in their degree
plans that are valid in the United States.
courses. These students will receive an
Graduate Admissions
261
Nonmatriculated/Special Students
Deferring
Non-matriculated (non-degree) students
Students may request a deferral to the
may take courses for graduate credit,
next available term by emailing Young Hah
providing the department approves
at yhah@pratt.edu. Only one deferral
the registration, but they may not be
is permitted. The deposit must be
The number of credits toward the
admitted to candidacy for a degree
submitted for a deferral to be approved.
master’s degree that may be transferred
without first gaining admission to a
from another recognized graduate
graduate degree program. No more
institution varies within the schools
than a total of 18 credits may be taken
and programs, but generally it will not
by a student with non-matriculated/
exceed 25 percent of the total credits
special status (no more than six credits
required. The First-Professional Master
per semester). The non-degree form and
of Architecture Program has a residency
procedures can be found at www.pratt.
requirement of 66 percent, which
edu/apply.
to enroll in the spring semester are
was accepted for admission but never
required to make a deposit of US $500
registered must reapply in writing to the
by December 1 or two weeks following
Office of Graduate Admissions.
acceptance, whichever comes later.
The full amount of this nonrefundable
deposit is deducted from the student’s
first-semester tuition. The US $500, if
not paid online, must be in the form of an
international money order or via credit
card for international students and can
be paid on the phone by calling graduate
admissions. A space will not be held for
students who do not send the deposit.
Other Graduate Admissions Services
Readmission
Transfer Credits
permits 33 percent of transfer credits.
Students interested in receiving graduate
Mailing Address
Graduate students must apply for
transfer credits should arrange for an
Graduate Office of Admissions
If a student cannot present evidence
readmission if they were not in
appointment with their department
Pratt Institute
I-20 for English only. Students who are
of acceptable coverage, he or she will
attendance for two consecutive
chair. Credit will be allowed for graduate
accepted with a possibility of needing
be required to subscribe to a health
semesters (excluding summer session).
courses that are appropriate to the
Brooklyn, NY 11205
English language study indicated on their
insurance plan provided by the Institute.
Master of Science students in the
curriculum at Pratt and that have been
I-20 and their acceptance letter will
To request a waiver of health insurance
Graduate School of Art and Design who
passed with a grade of B or better.
admissions@pratt.edu
be tested for English when they arrive
or enroll for health insurance through
attend four consecutive summer sessions
Transfer credit is provisional until
Tel: 718.636.3669 or 800.331.0834
at Pratt. Students who need to take
Pratt, use the online waiver process
do not have to apply for readmission
the student has completed at least
Fax: 718.399.4242
English will take it with their academic
found online at www.pratt.edu/health.
each summer. If they do not attend one
15 semester hours of credit at Pratt
session of the four sessions offered, they
Institute. Credit for courses taken, with
must apply for readmission. Students
permission, at another graduate school
applying for readmission must pay a $50
while matriculated at Pratt is limited to a
readmission application fee. A graduate
maximum of six credits.
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).
Notification and Deposit
Applicants for fall with complete
applications by the deadline are generally
notified of the decision of the admissions
committee by April 1. Applicants for
spring are notified by November 15.
Accepted students who plan to enroll
in the fall semester are required to
make a deposit of US $500 by April 15
or two weeks following acceptance,
whichever comes later. Deposits should
be paid online at https://payments.
pratt.edu. Accepted students who plan
student who wishes to register after an
absence of two or more consecutive
semesters, excluding summer session,
must apply to the Office of the Registrar
for readmission. The form is available
at www.pratt.edu/admissions/apply.
Deadline dates for application are August
15 for the fall semester, December 15 for
the spring semester, and May 1 for the
summer session. A graduate student who
Withdrawal After Deposit
Applicants who decide not to enroll after
submitting a deposit must notify the
admissions office by email (yhah@pratt.
edu) or mail as soon as possible. Deposits
are not refundable.
Title IX Statement
It is the policy of Pratt Institute to
comply with 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
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:
Pratt Institute
Disability Resource Center
215 Willoughby Avenue (WH-1)
Suite 117
Brooklyn, NY 11205
Tel: 718.802.3123
Fax: 718.399.4544
A person may also file a written complaint
with the Department of Education’s
Office for Civil Rights regarding an
alleged violation of Title IX by visiting
www2.ed.gov/about/offices/list/
ocr/complaintintro.html or calling
800.421.3481.
262
263
Financial Aid
Pratt offers various kinds of assistance,
Currently Enrolled Graduate Students
ranging from academic merit-based
Students who are interested in applying
scholarships to assistantships and loans.
for federal aid must submit the FAFSA to
the Department of Education. The FAFSA
Entering Graduate Students
should be filed no later than March 1 if
Graduate students who are interested in
the student wishes to be advised of aid
applying for federal aid must complete
in a timely fashion. Documents such as
and submit the Free Application for
IRS tax transcripts may be requested. If
Federal Student Aid (FAFSA) to the
requested, they must be submitted by
Department of Education electronically
May 15.
by March 1.
File electronically using the FAFSA or
The Office of Financial Aid, upon
receipt of student grades, evaluates the
renewal application at www.fafsa.ed.gov
eligibility of each applicant and sends
or Pratt’s website. Do not submit more
email notifications of the awards to
than one application!
continuing students in early summer, if
The FAFSA should be submitted no
the student has applied by March 1.
later than March 1 if the student wishes
to receive timely notification of financial
Grant and Scholarship Programs
aid. Other documents, such as federal
Graduate Scholarships
tax transcripts, may be requested and
must be submitted by May 15.
If financial need has been
established and adequate funding is
available, students are considered
for federal loan programs. Graduate
students are not eligible for Federal
Pell Grants and Federal Supplemental
Pratt Restricted Awards and Scholarships
What is the purpose of the program?
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
To provide funds to full-time students
recommendations.
based on merit. These are awarded by
academic departments; all incoming
How much do I have to pay back?
students are considered. There is no
No repayment is required.
application form. They are renewable
with a 3.0 cumulative GPA.
Educational Opportunity Grants
(FSEOGs), and Subsidized Stafford Loans.
Manhattan Campus
Brooklyn Campus
HEOP
144 West 14th Street, 3rd Floor
Assistant Director of Financial Aid
New York, NY 10011
Myrtle Hall, Room 6
Savior Wright
Brooklyn, NY 11206
swright@pratt.edu
Senior Financial Aid Counselor
718.636.3563
Sonya Chestnut
Financial Aid Counselor
schestnu@pratt.edu
Leonor Santillana
212.647.7788
lsantill@pratt.edufravja@pratt.edu
718.399.4491
Office of Financial Aid
www.pratt.edu/financing
www.pratt.edu/financial-aid
264
Financial Aid
How do I apply?
Rights and Responsibilities of Recipients
There are no special application forms
for restricted and endowed scholarships.
Each 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.
Pratt Assistantships/Fellowships
To provide funds and professional
experience to help meet a student’s
costs from institutional sources.
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.
How do I apply?
Through your department chair.
For assistantships or fellowships to be
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.
Other Pratt Programs
Pratt Student Employment Program
Student employment is funded
entirely by Pratt Institute and offers an
opportunity for qualified students to
work part time on campus. 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.
Federal Programs
Federal College Work-Study (FCWS)
What Is FCWS?
Financial Aid
265
Application Procedures
responsible for submitting signed time
Origination/Insurance Fees
year, the student is considered half
All students must submit the FAFSA
sheets electronically to the Office of
Borrowers pay an origination fee of
time for financial aid; and the third, the
before a determination of eligibility will
Student Employment. Employment forms
1.073 percent. Interest rate is fixed at
student must be registered for at least
be made. Eligible candidates will be
such as the W4, I-9, and Employment
5.41 percent, but may change July 1.
six credits in the major or electives to be
notified by the Office of Financial Aid of
Authorization Form must be submitted
job assignments and the forms required
prior to working.
before initiating employment.
Federal Unsubsidized Stafford Loans
Selection of Recipients and
Allocation 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.
Schedule
Pratt arranges jobs on campus, for up to
20 hours per week. Factors considered
by the Office of Financial Aid in
determining whether the applicant may
work under this program are financial
need, class schedule, academic progress,
and specific skills. Level of salary must
be at least the minimum wage; maximum
wage is dependent on the nature of the
job and the applicant’s qualifications.
Students may work for only one
department each semester.
Federal College Work-Study is a federally
These loans have the same terms and
conditions as Stafford Loans, except that
the borrower is responsible for interest
that accrues during deferment periods
(including in-school) and during the sixmonth grace period. Interest may
be deferred while in school but interest
will be capitalized if the student requests
a deferment.
Program is open to students who
may not qualify for subsidized Federal
Stafford Loans. (Combined total cannot
exceed Stafford limits.)
Loan Schedule
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)
eligible for aid.
least a half-time student, the borrower
Master Promissory Note (MPN) to apply
must make formal arrangements
for a Federal Direct Loan (subsidized and
with the Department of Education
unsubsidized). The MPN is an application
to begin repayment. The following
for the Stafford Loan Programs and is
regulations apply:
valid for 10 years from the time that you
1. The minimum monthly payment will
originally submit. Please keep in mind
that you will still have to submit the Free
Application for Federal Student Aid
(FAFSA) each year by March 1.
The Office of Financial Aid will
10 years.
3.The maximum period of a loan from
date of the original note may not
exceed 15 years, excluding authorized
deferments of payments.
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
offers qualified students a chance to
Satisfactory academic progress must
earn money to help pay for educational
be maintained. Students must not owe
expenses. These funds are paid directly
any refunds on Federal Pell Grants or
to students for job assignments and are
any other awards paid, and not be in
the student is considered full time for
not deductible from the Institute’s bill.
default on any student loan. Students are
financial aid purposes only; the second
origination fee.
2.The maximum repayment period is
aid award letter of your loan eligibility. If
from each disbursement as an
be $50 plus interest.
notify you via your electronic financial
assisted employment program that
of the loan amount will be deducted
Six months after ceasing to be at
All borrowers are required to submit a
are registered for Thesis in Progress
(TIP) also have a minimum attendance
requirement. The first year of TIP,
4.Repayment in whole or part may be
made at any time without penalty.
Disbursement and Refund of
Credit Balances
The Institute credits all loan disburse
ments 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 to students
at the address submitted to the
Registrar’s Office.
266
Financial Aid
If you have any questions regarding
• Students receiving federal and Pratt
program type shown on the chart
your refund checks, please feel free
financial aid who drop credits will
requires that as you begin each
to contact the Bursar’s Office at
be subject to adjustments in their
718.636.3799.
financial aid package.
Sources of Outside Scholarships
Review Policies
In addition to the Financial Aid
The Office of Financial Aid will
Information Center notices of
periodically review the GPA and number
outside scholarships and scholarship
of credits earned by each financial aid
workshops held each month on campus,
recipient using his or her academic
the Financial Aid Office has lists of
transcript. Credits earned include
agencies to which you may also apply.
only those for courses with A through
(Contact Peggy West-Barton-Feagin at
D grades.
718.399.4489 for more information.)
A student not meeting these
Financial Aid
267
Out-of-State Programs
Virgin Islands
Selection of Recipient and
Other state or commonwealth
Board of Education
Allocation of Awards
term shown:
scholarship programs and where to
PO Box 11900
To be eligible, the applicant must:
• You must have earned at least the
apply:
St. Thomas, VI 00801
1. Be at least one-fourth American
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.
Standards of Degree Progress
Master’s Degree/Post-Master’s
Certificate
340.774.4546
Maryland
Indian, Eskimo, or Aleut.
2.Be an enrolled member of a tribe,
Higher Education Commission
Washington, D.C.
band, or group recognized by the
State Scholarship Administration
Washington, D.C. Grant Program
Bureau of Indian Affairs.
Jeffrey Building
Educational Assistance Office
16 Francis Street, 219
2100 Martin Luther King Jr. Avenue
enrollment at Pratt, pursuing at least a
Annapolis, MD 21401-1700
Suite 401
four-year degree.
410-260-4500
Washington, D.C. 20020
202.698.2400
Rhode Island
3.Be enrolled in or accepted for
4.Demonstrate financial need.
standards will be placed on financial
Term
GPA
Credits
Rhode Island State Scholarship
The above state and district programs
Veterans Administration
Academic Progress and Pursuit
aid warning for one semester. After the
1
na
0
560 Jefferson Boulevard
are available only to residents of the
Educational Benefits
Financial Assistance Standards
grades for the warning semester are
2
3.00
12
Warwick, RI 02886
appropriate state or district. Pratt knows
Application forms are available at all
calculated, the student’s transcript will
3
3.00
21
800.922.9855
of no other states that make awards to
Veterans Administration (VA) offices,
be reviewed. If the student fails to meet
4
3.00
30
students at a New York college.
active duty stations, and American
the standards, all of his or her financial
5
3.00
39
Vermont
Standards of Academic Progress
for Determining Eligibility for Pratt and
Federal Financial Aid
Pratt applies minimum academic
progress 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 nine 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.
embassies. Completed forms are
submitted to the nearest VA office. (See
aid will be revoked beginning with the
6
3.00
48
Vermont Student Assistance Corporation
United States Bureau of Indian Affairs
semester following the warning semester.
7
3.00
57
PO Box 2000
Aid to Native Americans Higher
Winooski, VT 05404
Education Assistance Program
800.645.3177
Application Procedures
State Education Agencies
Application forms may be obtained from
Alaska
the Bureau of Indian Affairs office. An
Alaska Commission
to study without Title IV aid if the
application is necessary for each year
on Post-Secondary Education
department grants approval. In this
of study. An official needs analysis from
707 A Street, Suite 206
instance, the student must apply and be
Pratt’s Office of Financial Aid also is
Anchorage, AK 99567
approved for an alternative loan prior to
required each year.
907.269.7973
Once the student meets the minimum
standards, he or she may reapply for
financial aid.
A student may choose to continue
getting registration approval from the
Bursar’s Office.
Standards of Academic Progress for
Determining Eligibility for Student Aid
The following chart lists Pratt Institute’s
standards of degree progress for
determining eligibility. Note that each
8
3.00
66
9
3.00
75
Veterans Assistance under Registration.)
Each first-time applicant must
obtain tribal enrollment certification
Arkansas
from the bureau agency or tribe which
Student Loan Guarantee Foundation
records enrollment for the tribe.
of Arkansas
10 Turtle Creek Lane
Little Rock, AR 72202
800.622.3446
Financial Aid
269
Dream Big Endowed Scholarship
Amy C. Koe Endowed Scholarship
Frank O. Price Scholarship
The Dream Big Endowed Scholarship
The Amy C. Koe Endowed Scholarship
This fund was established by friends
for restricted and endowed scholarships.
awards one annual partial scholarship
is awarded to needy and deserving
of Professor Frank O. Price, longtime
4 Barrell Court
Recipients are selected by deans or
to an undergraduate in the School
students in the School of Architecture
teacher in the School of Architecture,
Concord, NH 03302
department chairs based on criteria
of Architecture based on need and
with demonstrated financial need.
and is awarded to a worthy student.
603.255.6612
established by the donors. These
merit, with financial need as the
awards are generally made to continuing
primary consideration.
Charles Macchi Scholarship
Edward Re Jr. Scholarship
The Charles Macchi Scholarship provides
This scholarship was established by
268
Financial Aid
California
New Hampshire
Restricted Grants and Scholarships
California Student Aid Commission
New Hampshire Higher Education
There are no special application forms
3300 Vinsandel Drive
Assistance Foundation
Rancho Cordova, CA 95670
888.224.7268
Connecticut
State Scholarship Program Commission
New Jersey
students in the spring semester for
for Higher Education
New Jersey Higher Education
one year only, and are based on the
The G+B+M Architectural Scholarship
one or more full or partial scholarships
Professor Edward D. Re Jr. in order to
PO Box 1329
Assistance Authority
availability of funds in any given year.
The G+B+M Architectural Scholarship
to academically qualified students in the
aid students studying in the School of
Hartford, CT 06115
PO Box 545
Notification of scholarship and fellowship
provides a need-based scholarship to an
Architecture and the Department of
860.713.6543
Trenton, NJ 08625
availability will be made by individual
undergraduate architecture student.
800.792.8670
departments in the spring of each year.
Delaware Post-Secondary
New York
Education Commission
New York State Higher Education
Carvel State Office Building
Services Corporation
820 North French Street, 5th Floor
99 Washington Avenue
Wilmington, DE 19801
Albany, NY 12255
800.292.7935
888.697.4372
Delaware
Florida
Pennsylvania
Bureau of Student Financial Assistance
Pennsylvania Higher Education
325 W. Gaines Street
Assistance Agency
Tallahassee, FL 32399.0400
State Grant and Special Programs Division
850.245.0414
1200 North 7th Street
Harrisburg, PA 17102
Illinois
800.692.7392
Illinois Student Assistance Commission
500 West Monroe, 3rd Floor
Texas
Springfield, IL 62704
Texas Higher Education
800.899.4722
Coordinating Board
Collaborative Endowment for
Architecture/Peter Schreter
Endowed Scholarship
This scholarship endowment provides
recognition and financial assistance to
undergraduate students enrolled at Pratt
Institute in the School of Architecture.
Patrick F. Corvo ’88 Memorial Scholarship
A scholarship established by the family
and friends of Patrick Corvo, class of
1988, in his memory. An award is given to
a student entering the final year of study
in the School of Architecture who has
demonstrated a serious commitment to
the field of architecture.
Construction Management.
David Mandl Memorial Scholarship
Goodstein Development Corporation
A scholarship established in memory of
Donna and Martin Rich ’63
Scholarship in Honor of Jack and
David Mandl, the David Mandl Memorial
Architecture Travel Fund
Florence Goodstein
Scholarship supports deserving and
This fund provides financial assistance
Established by Pratt alumnus
academically qualified students in the
to students who are accepted into the
Steven H. Goodstein, class of 1966, in
“Pratt In Rome” travel program.
benefits students majoring
Patrons Program Scholarship
Lee and Norman Rosenfeld Award
in Construction Management.
A scholarship established by Pratt
The Lee and Norman Rosenfeld
memory of his parents, this scholarship
family member Edmund S. Twining III,
Award provides monetary awards to
Benjamon Goldberger Memorial
the Patrons Program Scholarship
professionally motivated, academically
Scholarship
provides support to outstanding
qualified, and/or deserving
The Benjamin Goldberger Memorial
architecture students.
undergraduate students in the School
of Architecture who have completed
Scholarship was established by Beatrice
Goldberger, class of 1934, in honor of
Planning Scholarship
one year of study. Preference is given to
her father, Benjamin Goldberger, class
The Planning Scholarship fund was
students who are honest and honorable,
of 1909.
established for students in the graduate
as established by academic leadership
program in City and Regional Planning.
and character, and who will use the funds
to perpetuate their educational, creative,
William Randolph Hearst Scholarship
The William Randolph Hearst Scholarship
Pratt Planning Alumni Scholarship
and professional goals.
1200 E. Anderson Lane
is a fund established by the William
A fund established by Pratt Planning
Massachusetts
Austin, TX 78752
Randolph Hearst Foundation for students
Alumni for students in the Graduate
Clyde Lincoln Rounseville Scholarship
American Student Assistance Corporation
800.242.3062
in architecture. Financial need and
Planning Program in the School
The Clyde Lincoln Rounseville Scholarship
100 Cambridge Street
academic merit being equal, preference
of Architecture.
is awarded to deserving students in the
Boston, MA 02114
is given to minority students.
800.999.9080
Financial Aid
271
Robert F. Calrow Memorial Scholarship
Jacques and Natasha Gelman
Elaine Gluckman Popowitz
A scholarship fund established by Trudi
Endowed Scholarship
Memorial Scholarship
of Sandra K. Benjamin-Hannibal,
Calrow in memory of her husband,
A scholarship established by Jacques
The Elaine Gluckman Popowitz Memorial
Lucinda Veikos, class of 1992, the Lucinda
awarded to two first-year students
Robert F. Calrow, a well-known
and Natasha Gelman, awarded to
Scholarship was established in memory
Veikos Endowed Scholarship benefits
who are in the process of completing
painter and inspirational teacher. This
undergraduate students in studio
of Elaine Gluckman, class of 1981, a
provides aid to students in the School
a deserving student in the School
their Foundation Year studies and are
scholarship is awarded annually to a
arts who demonstrate exceptional
faculty member of the Graduate Art
of Art, School of Design, or School
of Architecture.
candidates or finalists in the Foundation
Fine Arts major on the basis of merit
talent in drawing or painting. With the
Therapy Department. The scholarship
Art Competition.
and need.
level of creative merit being equal,
is awarded annually to a second-year
preference is given to those of Mexican
student in the Graduate Creative Arts
or Latino descent.
Therapy Department who has exhibited
270
Financial Aid
Charles and Marie Schade
Lucinda Veikos Endowed Scholarship
Sandra K. Benjamin-Hannibal Scholarship
Endowed Scholarship
A fund established by William and
A scholarship established in honor
A scholarship established by Charles
Elizabeth Pedersen in memory of
and Marie Schade, the Charles and
Marie Schade Endowed Scholarship
of Architecture who demonstrate
good academic standing as well as
Veikos Travel Scholarship for Architecture
financial need.
Study and Travel
Raymond and Mabel Bolton Art
Andrea M. Cella and Grace Hansen
A scholarship established by Kohn
and Design Scholarship
Cella Memorial Scholarship
Thomas F. and Tess L. Schutte
Pederson Fox Associates in memory of
A scholarship fund established in honor
The Andrea M. Cella and Grace Hansen
Anthony Gennarelli Memorial
Endowed Scholarship
Lucinda Veikos, class of 1992, for travel
of Raymond and Mabel Bolton for
Cella Memorial Scholarship was
Sculpture Award
Named in commemoration of President
abroad for a deserving student in the
deserving students in the School of Art
established by Robert and Warren Cella
The Anthony Gennarelli Memorial
Charles Pratt, Jr. Award for Excellence
and Mrs. Schutte and in honor of the
and the School of Design.
and aids students in the School of Art
Sculpture Award is awarded to students
in Photography
and the School of Design who actively
enrolled at Pratt Institute who are
Established by Pratt Institute Trustee
promote the arts in their community.
studying sculpture. The award is based
Mike C. Pratt in honor of his father, the
on artistic and academic merit, as well as
Charles Pratt, Jr. Award for Excellence in
quality of student work.
Photography is distributed annually to a
President’s 20th anniversary at the
outstanding scholarship, integrity, and
concern for others.
institution, the Thomas F. and Tess L.
Winnemore Endowed Scholarship
Alma H. Borgfeldt Scholarship
Schutte Endowed Scholarship provides
Established by Augustine E. Winnemore,
A bequest by Alma H. Borgfeldt for
scholarship support for undergraduate
this scholarship is awarded to
scholarships for worthy female students
John A. Dreves Art and
students in the schools of Art, Design
outstanding students in the School
to be selected by the dean of the School
Design Scholarship
and Architecture.
of Architecture.
of Art. The scholarships are awarded to
A scholarship established from the Estate
Haskell Travel Scholarship
at Pratt Institute and is based on a
applicants who have majored in the study
of John A. Dreves, class of 1935, the John
The Haskell Travel Scholarship was
combination of academic merit and
of art in a public high school located in
A. Dreves Art and Design Scholarship
established for students in the School of
financial need.
Kings County (Brooklyn) and who reside
provides support for students in the
Art and the School of Design for travel
in Kings County (Brooklyn).
School of Art and the School of Design
abroad within two years of graduation.
Vincent A. Stabile Endowed Scholarship
A scholarship fund established by Vincent
A. Stabile, class of 1940, the Vincent A.
Stabile Endowed Scholarship benefits
students in the School of Architecture.
Gihei and Sato Takeuchi Memorial
Endowed Scholarship
A scholarship established by John M.
Takeuchi in honor of his parents, the
Gihei and Sato Takeuchi Memorial
Endowed Scholarship is awarded to a
full-time student in her or his
second year studying in the School
of Architecture, who shows promise
through academic achievement.
School of Art
Art Students’ Association Scholarship
A fund raised by the Art Students’
Association over a period of years, this
scholarship is awarded by competition.
Mary Pratt Barringer Scholarship
A scholarship established by Mary Pratt
Barringer, awarded annually to five
incoming Delaware College of Art and
Design students to Pratt, selected by a
joint committee of representatives from
both schools.
The Reggie Behl Drawing Award
The Reggie Behl Drawing Award provides
a financial award annually to a student in
the School of Art who exhibits excellence
in drawing.
student in the Photography Department
Mary Buckley and Joseph Parriott
Walter Rogalski Scholarship
The Walter Rogalski scholarship is
who demonstrate financial need.
Steve Horn Art and Design Award
awarded annually to a graduate Fine Arts
Endowed Scholarship
Faith Ellis Art Financial Aid Scholarship
The Steve Horn Art and Design Award is
student on the basis of merit and need.
Established by Mary Buckley, a former
A fund established by Faith Ellis, class
a scholarship established by Steve Horn,
The recipient is selected by a faculty
professor at Pratt Institute who taught
of 1939, in memory of her son Rolan
awarded annually to one outstanding
committee that reviews candidates
in the Foundation Art Department, this
R. Ellis, the Faith Ellis Art Financial Aid
student studying Photography, Film, or
who exemplify the creative ability that
scholarship is awarded to Foundation
Scholarship allows students to access
other media arts.
characterized the work of former Pratt
students who exhibit excellence in color
special training as determined by the Art
work and is intended to encourage work
Education Department.
in that discipline.
professor Walter Rogalski.
Anna K. Rust Endowed Scholarship for
Students in Art and Design
A scholarship for students in the Schoolof
Art and the School of Design established
by Leo Lewis Rust in memory of his wife,
Anna Klenke Rust, class of 1938.
Financial Aid
272
Financial Aid
James Seeman Endowed Scholarship
Dorothy Toole Scholarship
Endowed Scholarship
Established by the family and friends
Created through a bequest in the
A scholarship established by Charles
of interior design leader and muralist
will of Mrs. Dorothy Rodgers Toole,
and Marie Schade, the Charles and
James Seeman, this scholarship provides
class of 1931, the Dorothy Toole
Marie Schade Endowed Scholarship
resources for dedicated Painting
Scholarship is for students who
provides aid to students in the School
students, with preference given to those
demonstrate unusual interest and
of Art, School of Design, or School
who recently moved to the United States.
talent in the field of fashion illustration.
of Architecture who demonstrate
Monica Shay Scholarship
Max Weber Scholarship
financial need.
Established with gifts made in memory of
A gift given by Mrs. Max Weber and
Professor Monica Shay, this scholarship
Miss Frances Weber in memory of the
Dorothy G. Schmidt Scholarship
is awarded to a deserving student who
well-known artist who was a member
A scholarship established in honor of
meets the following criteria: a graduate
of the class of 1900. It provides annual
Dorothy G. Schmidt, used for elementary
student in the Department of Design
scholarship aid for students in the School
and junior high school teachers seeking
Management and Arts and Cultural
of Art and the School of Design.
courses at Pratt for professional
Management with demonstrated financial
enhancement in their work of teaching
need or dedicated and exemplary service
Willard Scholarship
art and related subjects in the public
and commitment to the Department
The Willard Scholarship was established
schools of Brooklyn. The scholarship is to
of Design Management and Arts and
to aid students in the School of Art and
be awarded on the basis of need. Other
Cultural Management.
the School of Design who are graduates
factors being equal, females shall be
given preference.
of Washington Irving High School.
Ruth P. Taylor Scholarship
The Ruth P. Taylor Scholarship is a fund
Henry Wolf Scholarship
Frederick J. Schuback Endowed
established by the estate of Ruth P.
An endowed scholarship fund, the
Scholarship
Taylor, class of 1921, for students in the
income of which is used to award
The Frederick J. Schuback Endowed
School of Art and the School of Design.
one or more scholarships to support
Scholarship is awarded to one Fine
economically disadvantaged students
Arts undergraduate each year who is
Virginia Pratt Thayer Scholarship
pursuing B.F.A.s or M.F.A.s in
in good academic standing and who
in Fine Arts
Photography or Communications Design.
demonstrates financial need. The
The Virginia Pratt Thayer Scholarship
scholarship was established in memory of
in Fine Arts is a fund created by Robert
Irma Holland Wolstein Endowed
Frederick J. Schuback, class of 1975.
Thayer in memory of his mother, Virginia
Scholarship
Pratt Thayer, and provides scholarship aid
The Irma Holland Wolstein Endowed
to an outstanding student entering his or
Scholarship is a scholarship fund
Endowed Scholarship
her junior year in the Fine Arts program.
established by Dr. Benjamin Wolstein
and provides gifted students in the Arts
Education program with financial aid.
and Architecture.
School of Design
Don Ariev 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.
This award is based strictly on merit.
Ralph Appelbaum Endowed Scholarship
The Ralph Appelbaum Endowed
Scholarship is a fund established by Ralph
Appelbaum and is awarded to Industrial
Design students on the basis of need
and merit.
Mary Pratt Barringer Scholarship
A scholarship established by Mary Pratt
Barringer, awarded annually to five
incoming Delaware College of Art and
Design students to Pratt, selected by a
joint committee of representatives from
both schools.
Bernice Bienenstock Scholarship
The Bernice Bienenstock Scholarship
is awarded to students pursuing home
furnishings-related studies.
Ruth Campbell Bigelow and David E.
Bigelow Scholarship
The Ruth Campbell Bigelow and David
E. Bigelow Scholarship is awarded to a
student in Interior Design on the basis of
need and academic promise.
Raymond and Mabel Bolton Art and
Design Scholarship
A scholarship fund established in honor
of Raymond and Mabel Bolton for
deserving students in the School of Art
and the School of Design.
273
Federico Castellon Endowed Scholarship
Rick Goodwin Memorial Scholarship
A scholarship established by Hilda
This scholarship fund is established with
Castellon in memory of her husband,
gifts made in memory of Rick Goodwin, a
Federico Castellon. This scholarship is
former faculty member in the Department
awarded on a yearly basis to a promising
of Industrial Design, and supports an
student in Graphic Arts.
Industrial Design student based on
financial need and academic merit.
Andrea M. Cella and Grace Hansen
Cella Memorial Scholarship
Charles L. Goslin Endowed Memorial
The Andrea M. Cella and Grace Hansen
Scholarship
Cella Memorial Scholarship was
The Charles L. Goslin Endowed Memorial
established by Robert and Warren Cella
Scholarship provides recognition and
and aids students in the School of Art
financial assistance, based on need
and the School of Design who actively
and merit, to students enrolled in Pratt
promote the arts in their community.
Institute’s Communications Design
program in the School of Design.
Coyne Family Foundation Scholarship
A fund established by the Richard and
Richard and Anne L. Boetzel
Jean Coyne Family Foundation for
Gunn Scholarship
students in Communications Design.
The Richard and Anne L. Boetzel Gunn
Scholarship is awarded annually to a
Tomie dePaola Scholarship
student majoring in Communications
An endowed scholarship supporting
Design on the basis of scholarly
students majoring in Illustration,
achievement, with preference given to
established by alumnus Tomie dePaola,
students majoring in Advertising Design
class of 1956.
or Illustration. The scholarship is named
for and established by alumni from the
John A. Dreves Art and Design Scholarship
class of 1937.
A scholarship established from the Estate
of John A. Dreves, class of 1935, the John
Haskell Travel Scholarship
A. Dreves Art and Design Scholarship
The Haskell Travel Scholarship was
provides support for students in the
established for students in the School of
School of Art and the School of Design
Art and the School of Design for travel
who demonstrate financial need.
abroad within two years of graduation.
William Fogler Endowed Scholarship
A scholarship established in memory
of Professor William A. Fogler, class
of 1955, for promising students in
Industrial Design.
274
Financial Aid
Financial Aid
275
John and Joan Herlitz Memorial
Helen of Klucharka Endowed Scholarship
William L. Longyear Scholarship
Gino and Clarice Nahum
Marc Rosen Scholarship
Endowed Scholarship
The Helen of Klucharka Endowed
A fund established by students, alumni,
Memorial Scholarship
Funded by friends and associates of
Endowed Scholarship
This scholarship provides recognition
Scholarship was established by Pearl
and friends from the business world as a
The Gino and Clarice Nahum Memorial
Marc Rosen, class of 1970, in his honor,
A scholarship established by Charles and
and financial assistance, based on need
K. Schwartz in honor of her mother
tribute to William L. Longyear, associate
Scholarship provides scholarships
this award is made to an outstanding
Marie Schade to aid students in either
and merit, to undergraduate students
and is awarded to students studying
dean emeritus and former chair of the
to professionally motivated and
graduate Communications/Packaging
the School of Art, School of Design, or
enrolled in the Industrial Design
Fashion Design.
Department of Advertising Design. It is
academically qualified students in
Design student. The recipient is selected
School of Architecture who demonstrate
awarded annually to Communications
undergraduate Communications Design,
by the chair and members of the
financial need.
program in the School of Design. It was
established in memory of John Herlitz,
Leeds Scholarship in Interior Design
Design students and to graduate
who have already completed one year of
faculty of the Department of Graduate
class of 1964, and Joan Herlitz.
A scholarship for Interior Design students,
Packaging Design students on the basis
study at Pratt. Preference will be given to
Communications/Packaging Design.
this scholarship was established through a
of need and scholarship. The recipients
undergraduate students who show great
gift from the estate of Harold Leeds.
of the scholarship are nominated by
potential, and the scholarship will be
Barbara Hauben Ross Interior
Endowed Scholarship
the department chairs and two faculty
awarded based on merit.
Design Award
The Barbara Hauben Ross Interior
The Bill and Barbara Hilson Scholarship
The Bill and Barbara Hilson Scholarship
provides merit-based, renewable partial
Naomi Leff Excellence in Interior
members for approval by the deans of
scholarships to incoming graduate
Design Scholarship
the School of Art and the School
Point of Purchase Scholarship
Design Award is a fund established to
students in Communications Design.
Established with a generous bequest
of Design.
The Point of Purchase Scholarship
honor two outstanding Interior Design
is funded by grants from numerous
juniors annually.
from Naomi Leff, class of 1973, this
The Hilson Family Fund
full scholarship is awarded annually to
The John S. Marquardt Award in
companies with significant interest in
The Hilson Family Fund was established
one student who exhibits excellence in
the design of displays used at the Point
Anna K. Rust Endowed Scholarship for
by the Hilson Family to enhance and
Interior Design, who is in good academic
An endowed scholarship fund established
of Purchase (POP). An annual award
Students in Art and Design
and Architecture.
strengthen the Graduate Communications
standing, and who demonstrates
by George Klauber, class of 1952, in
is given to either undergraduate or
A scholarship for students in the School of
Design program. Part of the fund is used
financial need.
memory of John S. Marquardt, class
graduate Industrial Design students who
Art and the School of Design established
Seeman-Burse Fund
of 1989. This scholarship is awarded
have demonstrated design leadership
by Leo Lewis Rust in memory of his wife,
The Seeman-Burse Fund is a scholarship
Herschel Levit Scholarship
annually to outstanding undergraduates
potential in the field of POP design.
Anna Klenke Rust, class of 1938.
for students in the School of Design,
Founded in 1986 by a group of donors
majoring in Illustration, Advertising/Art
Industrial Design Scholarship
to honor Professor Herschel Levit’s
Direction, or Graphic Design, solely on
Alan Pottasch Memorial Scholarship
David Saylor Scholarship for Design
The Industrial Design Scholarship
31 years of service to Pratt, this
the basis of merit.
A scholarship established by Lisa
The David Saylor Scholarship for Design
Selma Seigel Memorial Scholarship
consists of a number of scholarships
scholarship is given to talented Pratt
Pottasch, honoring Alan Pottasch,
was established to benefit undergraduate
A fund created by Morton Flaum, class
from a fund established by business
students in their sophomore or junior
Phyllis and Conrad Milster Endowed
the Alan Pottasch Memorial
and graduate students in the School of
of 1971, in memory of Selma Seigel, that
contributions and is awarded to students
year, majoring in Advertising, Graphic
Scholarship
Scholarship supports undergraduate
Design who are studying either Industrial
provides scholarship aid to Interior
in Industrial Design for experimental
Design, or Illustration.
Established by Conrad Milster, Pratt
Communications Design students, with
Design or Interior Design. Preference is
Design students in the School of Design.
Institute’s Chief Engineer, the Phyllis and
a preference given to those who have
given to students who combine the fields
Ted and Betsy Lewin Endowed Scholarship
Conrad Milster Endowed Scholarship
declared a concentration in Advertising
of industrial design and interior design
Starr Foundation Scholarship
Melvin K. Jung Memorial Scholarship
This fund was established by Pratt
provides one or more annual partial
Art Direction and display financial need.
in their studies, or who plan to do so in
A scholarship fund established by the
The Melvin K. Jung Memorial Scholarship,
alumni Ted Lewin, class of 1956, and
scholarships to undergraduate or
their careers.
Starr Foundation for students in the
named in memory of an alumnus from
Betsy Lewin, class of 1959, and provides
graduate students in the Industrial Design
Lillian Pratt Fashion Scholarship
Department of Communications Design.
the class of 1975, is awarded to a worthy
support for Illustration students.
Department.
A scholarship benefiting outstanding
Awards are made annually to three
juniors and seniors in Fashion Design,
students majoring in Illustration, Graphic
established by Pratt family member
Design, or Advertising. Academic merit
Lillian Pratt.
being equal, preference will be given to
for scholarships for students in Graduate
Communications Design.
projects in the laboratory.
graduate student in Industrial Design.
specifically Fashion Design.
Asian students.
Financial Aid
276
Financial Aid
Ruth P. Taylor Scholarship
Henry Wolf Scholarship
Library School Graduates’
George Simor Scholarship
Michael M. Mahoney Writers’ Fund
William Bingham II Scholarship
The Ruth P. Taylor Scholarship is a fund
An endowed scholarship fund, the
Association Scholarship
A scholarship fund established in memory
Named in memory of former Pratt
A trust for charitable purposes established
established by the estate of Ruth P.
income of which is used to award
The Library School Graduates’
of George Simor, a former faculty
student Michael Mahoney, this award is
by the late William Bingham II for students
Taylor, class of 1921, for students in the
one or more scholarships to support
Association Scholarship is a fund
member in the School of Information and
presented to undergraduate students
from Bethel, Maine, other towns in Oxford
economically disadvantaged students
established for graduate students in
Library Science.
majoring in writing, specifically those
County, Maine, or elsewhere in the state
pursuing B.F.A.s or M.F.A.s in
Information and Library Science.
interested in writing for publication and
of Maine (in that order).
Dorothy Toole Scholarship
Photography or Communications Design.
Created through a bequest in the will of
277
The Edmund S. Twining III and Diana
performance media. Recipients are
Library Science Fund
Twining School of Information and Library
chosen by the dean of the School of
Black Alumni of Pratt Endowed
Liberal Arts and Sciences.
Scholarship
Mrs. Dorothy Rodgers Toole, class
The Library Science Fund is a scholarship
Science Fellowships in Florence
of 1931, the Dorothy Toole Scholarship
Library Science
fund for graduate students in Information
This fund provides two graduate
and Library Science.
fellowships each summer for
H.W. Wilson Scholarship
scholarships to students who have
is for students who demonstrate unusual
interest and talent in the field of
fashion illustration.
Max Weber Scholarship
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. It provides annual
scholarship aid for students in the School
of Art and the School of Design.
Stephan Weiss Endowed Scholarship
Funded by Donna Karan’s Karan-Weiss
Foundation and awarded to Fine Arts
students in good academic standing, this
scholarship honors Stephan Weiss.
Willard Scholarship
The Willard Scholarship was established
to aid students in the School of Art and
the School of Design who are graduates
of Washington Irving High School.
Beta Phi Mu Scholarship
A scholarship fund established by Beta
Phi Mu, an honor society for elite
graduates in the School of Information
and Library Science.
Mabel Bogardus Scholarship
Established for graduate students in
Information and Library Science, the
Mabel Bogardus Scholarship is named for
an alumna from the class of 1913.
Dorothy M. Cooper Endowed Fellowship
The Dorothy M. Cooper Endowed
Fellowship, named for an alumna from
the class of 1931, was established from
the Dorothy M. Cooper Trust to provide
support for students in the School of
Morton D. Flaum Memorial Scholarship
A scholarship established by Morton D.
Flaum, class of 1971, through his estate,
to benefit students in the School of
A fund established to provide
students studying in the School of
A fund established by the H.W. Wilson
completed a year at Pratt, are in good
S.M. Matta Endowed Scholarship in
Information and Library Science’s
Foundation for graduate students in
academic standing, and demonstrate a
Information Technology
Florence Summer Program.
Information and Library Science or
need for financial assistance. Academic
standing and financial need being equal,
A scholarship established in honor
of Seoud M. Matta, former dean
H.W. Wilson Scholarship
of the School of Information and
A fund established by the H.W. Wilson
Library Science.
Foundation for graduate students in
Information and Library Science or
Sylvia G. Mechanic Merit Award in
Business Librarianship
The Sylvia G. Mechanic Merit Award in
Business Librarianship is a scholarship
for graduate students in Information and
Library Science.
Pratt-Severn Student Research Award
in Information Science
This annual award, funded by a bequest
from alumnus David Severn, class of
1968, is presented to a master’s degree
student selected by the American
Society for Information Science (ASIS).
Marvin Scilken Endowed Scholarship
A fund established in memory of Marvin
Scilken, class of 1960, a former faculty
member in the School of Information and
Library Science.
preference will be given to students of
All Schools
Alumni Scholarship
The Alumni Scholarship is a fund
established in 1957 by various alumni, the
income from which is used for scholarship
assistance for worthy students.
Izchak Friedman Endowed Scholarship
An endowed fund established by Pratt
James W. Atkinson Memorial Scholarship
alumna Estelle Friedman, class of 1969,
A scholarship established from the trust
and her children. It is named in memory
of Yvonne Atkinson, in memory of her
of her husband, Pratt alumnus, professor,
husband James W. Atkinson, class of
and dean of the School of Liberal Arts
1938, a generous and active alumnus
and Sciences, Izchak Friedman, class
and graphic designer who headed
of 1962. The scholarship is awarded to
Pratt’s alumni branch in Detroit. This
students with an interest in combining
fund provides resources for general
science and the arts, based on merit and
scholarship purposes.
financial need.
Dorothy P. Barrett Endowed Scholarship
A fund established by the estate of
Dorothy P. Barrett for general charitable
and educational uses.
African and Latino descent.
Elsa K. Brooks Scholarship
Created through a charitable gift annuity
from Elsa K. Brooks, class of 1939, this
scholarship is awarded to incoming
freshman students.
Helen R. Fecke Endowed Scholarship
Awarded to students in good academic
standing who demonstrate financial
need, the Helen R. Fecke Endowed
Scholarship is named for an alumna of
the class of 1926.
Esther Brigham Fisher Scholarship
A scholarship fund established by Edward
M. Fisher, in memory of his wife, to assist
Pratt Institute students.
Lewis H. Flynn Scholarship
A fund established under the will of Lewis
H. Flynn, class of 1916, for scholarship aid.
Financial Aid
279
Richardson (Jerry) Pratt Endowed
Utrecht Scholarships
International Student Scholarships
Scholarship
The Utrecht Scholarships will provide
The International Student Scholarship
A scholarship established by Leo J.
Funded by gifts from the Pratt family and
four merit-based scholarships to
for the academic year 2015–16 will be
M. Junge Memorial Scholarship is
Pantas, class of 1937, trustee emeritus,
established in honor of Richardson Pratt
support undergraduate students at
available to those students who have
awarded to talented and deserving
with a matching grant from Eaton
Jr., former president of Pratt, this
Pratt Institute.
encountered financial hardship. Students
need. Financial need being equal,
undergraduates who demonstrate
Corporation. The scholarship is awarded
scholarship is awarded to outstanding
preference will be given to minorities,
financial need.
to a full-time student with financial need
students with demonstrated financial need.
278
Financial Aid
Ford-EEOC Scholarship
Ferdinand M. Junge Memorial Scholarship
Leo J. Pantas Residence Center
The Ford-EEOC Scholarship is an
A fund established from the estate of
Scholarship
endowment fund established by the Ford
Ferdinand M. Junge, the Ferdinand
Motor Company to provide scholarships
for students with demonstrated financial
living in Pantas Residence Hall.
women, Ford employees, their spouses,
must demonstrate unforeseen economic
J. Sherwood Weber Memorial Scholarship
need. A Financial Aid Committee will
A fund established in memory of J.
determine the eligibility of the applicant.
Richardson and Mary O. Pratt Scholarship
Sherwood Weber, former provost and
The scholarship funds are very limited.
for Disabled Students
Pratt Art Supply Product Scholarship
This scholarship, made possible by
faculty member, to be awarded annually
Since the award is based only on
General Scholarship
A fund established for disabled students
A fund established by the Pratt Art Supply
the gifts of various donors, honors
to an outstanding student in any school.
unforeseen economic need, there is no
A fund established in 1956 through gifts
in honor of former Pratt professor
Shop to provide supply scholarships for
the legacies of Richardson Pratt Jr.,
from industries made as matching
Herman Y. Krinsky.
qualifying students. Scholarships will be
former president of Pratt, and his wife,
The Jae Kwan Woo Scholarship
if awarded, is to be used for tuition and
awarded annually during a scholarship
Mary O. Pratt.
Established by former Pratt trustee and
fees only.
and their children.
Herman Y. Krinsky Scholarship Fund
scholarships or tuition grants, the income
from the General Scholarship is used for
Jacob and Gwendolyn Lawrence
general scholarship purposes.
Endowed Scholarship
and fall trade show.
application deadline. The scholarship,
alumnus Young S. Woo, class of 1980, the
Paige Rense Scholarship
Jae Kwan Woo Scholarship will provide
You Must Follow These Guidelines:
1. You must in be in good academic
The Jacob and Gwendolyn
Charles Pratt II Memorial Scholarship
A scholarship established in honor of
partial scholarships to Pratt Institute
Kathleen L. Gerla Endowment Scholarship
Lawrence Endowed Scholarship is
This endowed scholarship was
Paige Rense.
undergraduate students based on merit
standing and must submit the latest
The Kathleen L. Gerla Endowment
a fund established for general
established by Edmund Twining III in
and need. With the level of academic
copy of your transcript.
Scholarship is a fund established by the
scholarship support.
memory of his grandfather, Charles
Raoul Settle Scholarship
merit and financial need being equal,
Pratt II, to support any full-time
A fund established in memory of Raoul
preference will be given to students from
Settle, class of 1952.
Korea or of Korean descent.
Kathleen L. Gerla Charitable Trust.
2.You must have been enrolled at Pratt
for at least one academic year.
MacDonald Scholarship
student at Pratt Institute who best
Wilson Y. Hancock Endowed Scholarship
This scholarship, named in honor of
demonstrates the ideals of the founder
A scholarship that provides general
Helen Babbott MacDonald, provides
of Pratt Institute. These are defined
Irene C. Shea Endowed Scholarship
any outstanding debts with the Bursar
support for students in good academic
financial resources to an undergraduate
as leadership, community service, and
A fund established by Irene C. Shea,
will not be considered.
standing, the Wilson Y. Hancock Endowed
student at Pratt Institute. The award is
self-motivation. Additionally, the award
class of 1934, for students who
Scholarship was established through a
granted based on financial need and
is made to a student who demonstrates
demonstrate financial need and are in
bequest from the Estate of Elizabeth
academic merit.
artistic achievement at the college level.
good academic standing.
Margaret A. Middleditch Fund
George D. Pratt Scholarship
Katherine Pratt Twitchell Fund
The Margaret A. Middleditch Fund is a
A scholarship fund established by Vera
A fund established in memory of
Coby Hoffman Scholarship
fund established anonymously to finance
H. A. Pratt in memory of her husband,
Katherine Pratt Twitchell.
The Coby Hoffman scholarship was
scholarship or maintenance abroad, or
George D. Pratt, for worthy students.
established to support students in the
the travel itself.
Office of the Bursar. Those who have
Marie Hancock in memory of her late
husband, Wilson Y. Hancock, class of 1933.
3.You must have clearance from the
4.You must submit copies of bank
statements for the past six months;
telephone, utility, and rent bills; and a
budget for the academic year.
5.If you are sponsored, you must
submit proof of your sponsor’s
inability to continue with the financial
commitment.
280
6.You must submit a statement outlining
Financial Aid
Financial Aid Instructions and Schedule
281
Tuition and Fees
loan application. We can only notify
Costs
Books and Supplies
students of their loan eligibility levels
The following approximate costs are in
in the electronic award letter, which is
effect at the time of publication. They
sent to your Pratt email address.
are subject to change by action of the
3.Direct subsidized and
your academic goals at Pratt, as well as
All application materials are available
unsubsidized loans
what contributions you have made as
at www.pratt.edu/financing. You must
Continuing students who wish to
an international student to the campus
submit the following to be considered
apply for a loan should file the FAFSA
life and why you need the scholarship.
for federal, state, and Pratt Institute
by February 1. If you filed the Master
aid (including bank loans) for the next
Promissory Note (MPN) last year, you
academic year:
don’t have to submit another MPN
7.You must submit a letter of
recommendation.
8.If you are receiving Pratt’s financial
assistance, your travels will be
restricted.
The above-listed documents must
be submitted as proof of unforeseen
economic need to the Office of
International Affairs, attention: Jane Bush.
1. Financial aid forms for 2015–16
Free Application for Federal Student
Aid (FAFSA). You send the FAFSA to the
federal processor. We strongly suggest
it be completed and be submitted
4.Other information we request
Board of Trustees. The Institute reserves
A financial aid counselor may ask
the right to change regulations at any
ed.gov or at the financial aid section of
for additional information and or
time without prior notice. It also reserves
Pratt’s website.
documentation after your application
the right to change tuition and fees as
is reviewed. Respond quickly—we can’t
necessary. Tuition and fees are payable
finalize your aid until we receive the
in full at the time of registration.
electronically, online at www.fafsa.
2.IRS tax transcript for 2014, if
requested. If you did not file a tax
return, you must submit a notarized
letter stating your source of income.
requested information.
Mail early. We award financial aid only
Graduate
when your file is complete! Call us with
No flat rate. $1,591 per credit. Note:
Mail to:
questions at 718.636.3599 or email at
The charge per credit for the School of
Office of Financial Aid
finaid@pratt.edu.
Information and Library Science is $1,278.
Pratt Institute
For the 2015–2016 academic year, please
Brooklyn, N.Y. 11205
refer to the financial aid section of the
718.636.3739 fax
Pratt website: www.pratt.edu/financing.
Deadline: May 15, 2015, for requested
tax transcript.
Fees
Approximately $2,500 per year,
depending on program.
Other Expenses
For resident students (students living
away from home in either on-campus or
off-campus housing), an estimated $600
per month (for a nine-month period)
should be allowed for food, housing,
clothing, and other personal needs. For
commuter students (students living at
home), an estimated $250 per month
should be allowed for personal expenses
and transportation.
Students provide their own textbooks
and instructional and art supplies. These
Fees vary according to program. For a
books and supplies may be purchased
complete listing of fees, see next page.
either online or at local art supply stores.
Please refer to the undergraduate bulletin
Bookstore expenses are not chargeable to
for undergraduate tuition and fees.
the student’s Institute tuition account. For
those students who have a third-party
book voucher, they must purchase their
books up front and provide the voucher
with eligible copies of the receipt in order
to be reimbursed.
Tuition Payment
Undergraduate and graduate students
are charged tuition according to their
enrollment status. An undergraduate
student taking a graduate course
applicable to his or her undergraduate
degree is charged at the undergraduate
rate. A graduate student taking an
undergraduate course is charged tuition
at the graduate rate.
Terms of Payment
Bills are payable by personal or certified
check, money order, VISA, MasterCard,
American Express, Discover, debit
cards featuring the NYCE symbol, or
wire transfer in advance of each term.
Checks should be made payable to Pratt
Institute. Payment is also accepted
online. Payment for fall is due August 1 for
all students. There is a 2.5% convenience
fee charged with each credit card
transaction. Library fines, lost ID cards,
and fees not charged to your student
account do not incur the fee. Pratt Card
transactions also do not incur the fee.
E-checks are free.
Bursar
Associate Bursar Manhattan
Office
Yvette Mack
Madeline Vega-Mourad
Tel: 718.636.3539 | Fax: 718.636.3740
ymack@pratt.edu
mvegamou@pratt.edu
bursar@pratt.edu
Associate Bursar
Loretta Edwards
ledwards@pratt.edu
282
Tuition and Fees
Available Payment Plan through Tuition
Pratt Institute Graduate Fees
Management Systems Deferred Plan
General Fees
Option (Fall- and Spring-Based)
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 10 months, beginning
$50
Application fee
$90
Application fee/
Academic Facilities Fees
$350
full-time students
$195
part-time students (This fee is
$500
Acceptance deposit
targeted to improve facilities,
$300
Residence deposit
equipment, and materials that
continuing students. The start date
of August 15 for the nine-month plan
$106
or September 15 for the eight-month
$84
Graduate activities fee each
fall and spring term: part-time
also a semester-based plan for $97 each
semester. TMS will provide an easy-
Technology Fees
to-use worksheet to assist the student
$325
or write:
Tuition Management Systems
Each fall and spring term:
$195
$45
All 200–600-level courses in
Printmaking
$100
Shop Safety Certification Class
$35
Fee for issuance of
duplicate diploma
Each summer term for
and clay: $75
$100
Portfolio/work experience
Architecture Fees
Architecture shop fee. Each fall,
spring, summer term: full-time
deposit
TBD
Mandatory fee per semester.
May be waived with proof of
personal health insurance.
$383
Fee–30 percent of per-credit
$25
$25
Fee–30 percent of per-credit
Each summer term for all
Digital Arts Lab Fees
students
$45 per All 100/200/300- level
course
DDA courses
1.25 percent interest fee is
assessed on all delinquent
accounts one month or older
Transcript Request Fee* (Per Copy)
$7.50
By Internet,
www.pratt.edu/registrar
charge–SILS
$477
Deposit for key replacement
Returned Check Fees
$10
By Internet, www.pratt.edu/
registrar (request leaves Pratt
charge–graduate
within one working day of
receipt on campus)
and part-time students
$65 per All 600-level DDA courses
Thesis-in-Progress Fees
$15
Each semester of In-Progress varies by
$18.50 UPS Service
academic department.
All fees are charged 100 percent
In-person requests
when dropping classes during the add/
Late Payment Fees
a.A late fee of $80 will be charged for
drop period.
Auditing Courses
any unpaid balance after the initial
Students and Community
disbursement of financial aid has
Pay 50 percent of the published “per
been applied for each semester.
credit” tuition rate for each course.
b.A late registration fee of $55 will
be charged after the first 15 days
Pratt Alumni
of each semester/session for
Pay 40 percent of the published “per
students who did not complete their
credit” tuition rate for each course.
registration during their designated
registration period.
Tel. 718.636.3539
bursar@pratt.edu
* The plan is not available for summer.
Miscellaneous Fees
Leave of absence fee
www.afford.com/PRATT
Brooklyn, NY 11205
Jewelry
Deposit for the entire program
and refunded by check.
$20
course
Deposits are paid to the Bursar’s Office
courses, but requesting use of facilities
800.722.4867
Student Financial Services
part-time students
student.)
$55 per All 400/500-level DDA courses
Office of the Bursar/
Studio Deposit
$50
Ceramics
$45
M.F.A. Fine Arts Refundable
Readmission fee
Warwick, RI 02886
Pratt Institute
$94
$55
course
are using TMS.
full-time students
Health Insurance Fees
$45
Students not enrolled in ceramics
171 Service Avenue, Second Floor
Please notify the Bursar’s Office if you
$185
available to the international
part-time students
$165
Fine Arts Studio Refundable Deposits
all students
full-time students
$165
International student services
Health Services Fees
improve the quality of services
students
The fee is $105 for the year. There is
available. For further information, call
$45
283
Sculpture
fee (This fee is targeted to
Graduate activities fee each
students
Tuition Management Systems (TMS) firm.
the year. A semester-based plan is also
$75
fall and spring term: full-time
plan is available for new students.
in budgeting educational expenses for
$50
directly enhance instruction.)
Activities Fees
an application) are available through the
Fall and Spring
international students
with July 15 for the 10-month plan for
Brochures explaining this plan (including
Fine Arts Shop Fee (per course):
Tuition and Fees
* Subject to change.
All persons auditing courses are charged
100 percent of all fees.
284
Tuition and Fees
Zero-Credit Internships
Pratt Institute Refund Policy
Refunds on Student’s Credit Balance
Billing
Late Payment Fee and Interest
Returned Checks
Full Refund
A credit balance on a student’s account
Bills are mailed to one address. One copy
A late payment fee is assessed each
The Institute charges a processing fee
Withdrawal prior to and including the
after applying Title IV funds (Federal
of each bill will be mailed to the address
semester on all bills remaining unpaid, in
of up to $25 when a check is returned
opening day of term
Student Aid Funds) will be automatically
the student lists as his or her billing
whole or in part, after the due date for the
by the student’s bank for any reason.
85 Percent Tuition Refund
refunded and a refund will be mailed or
address on registration records. A billing
semester. An interest fee of 1.25 percent
Any check in payment of an Institute
Withdrawal from the second through
applied to the debit card within 14 days
address may be established, changed, or
per month is assessed on all delinquent
charge that is returned by the bank may
eighth day of the term
of the later of any of the following dates:
deleted at any time by writing or visiting
accounts one month or older.
result in a late-payment charge, as well
1. the date the credit balance occurs.
the Office of the Registrar. Due dates
Withdrawal from the ninth through 15th
2.the first day of classes of a payment
cannot be extended because bills have
Notice of IRS Filing
not been received.
For any cash amount paid totaling
Adjustments
$10,000 or more made within a 12-month
We strongly recommend that you view
period, the IRS form 8300 will be
your bill online periodically. In addition,
completed and sent to the IRS. Please be
we recommend giving parents or any
www.pratt.edu/mypratt.
sure to present photo ID.
third-party payer access to the Parent
Billing Schedule
Payments
bill online. A student who contests
For those students who have registered,
Payments must include the student’s
a portion of the bill should pay the
fall semester bills are mailed during the
name and student ID number. Checks
uncontested portion by the due date
first week of July, and spring semester
and money orders should be made
and immediately contact the appropriate
bills are mailed during the first week
payable to Pratt Institute in U.S. dollars
office to request an adjustment.
of December. All other bills, including
and drawn on a U.S. bank. Checks drawn
Adjustments should be pursued and
summer, are available online. Fall bills are
on an international bank may delay credit
resolved immediately to avoid a hold on
available online after July 1, if registration
to the student’s account and may be
registration or grades.
has already occurred.
subject to a collection fee imposed by
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.
Course Withdrawal Refunds
Procedures for official withdrawals are
as follows:
Students who want to withdraw
must fill out the official withdrawal form
(available in the student’s academic
department), have 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.
day of the term
Withdrawal from the 16th through 22nd
day of the term
No Refund
Withdrawal after the 22nd day of the term
Individual fees are not refundable
after the first day of the term. Once a
student’s request is received, processing
takes 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 calculated based on the
date the student submits a completed
Adjustment Form to the Office of
Residential Life.
Refunds for withdrawn courses are
not automatic and must be requested
from the Office of the Bursar.
Tuition and Fees
period of enrollment.
3.the date the student rescinds his
or her authorization to apply Title
IV funds to other charges or for the
Institute to hold excess funds.
Refund checks are valid for 90 days
from the date of the check issued. In
keeping with 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 being returned to the
federal government.
Before such actions are taken,
students will be notified by email.
Banking Facilities
Arrangements have been made with a bank
on campus for students to open accounts,
making it possible to cash personal checks
with the Pratt ID (providing the student’s
available bank account balance covers the
amount of the check to be cashed) and a
primary ID (state-issued or passport). An
automated teller machine is also available
on campus.
If no billing address is specified, bills
are mailed to the permanent address.
You may also pay online at www.
285
as a returned-check charge.
Module so they can view/pay your
If you do not receive a bill, you may
contact the Office of the Bursar prior
Pratt’s bank.
Students may pay in person and
Direct Loans (Stafford, PLUS)
Loan funds are sent to Pratt by the
to the due date to ascertain the amount
receive a receipt by presenting the
federal government electronically (EFT).
due. Please consult the costs section
invoice and payment to the Bursar’s
Funds will be disbursed in accordance
and your housing license if you need
Office, Myrtle Hall 6th Floor, between
with federal regulations, and a signature
an earlier estimate. Consult the annual
10 AM and 4 PM, Monday, Tuesday,
may be required.
Academic Calendar and Academic Guide
Wednesday, and Friday. Evening hours
for exact payment deadlines.
are on Thursdays. Payment by mail avoids
waiting in line. Please allow five working
days for mail delivery and a minimum of
three weeks for processing.
A staff member is available for
questions in the Manhattan Campus
Wednesdays from 9 AM to 5 PM, located
on the second floor in room 207.
The office does not take any forms
of payment, nor does it distribute
refund checks.
286
Tuition and Fees
Alternative Loan Checks
Pratt Prepaid Discover Debit Card
peerTransfer for International Students
In order to attend any course at Pratt
In some instances, lenders disburse
The Pratt Prepaid Discover Debit card is a
Pratt Institute is always looking for ways
Institute, a student must:
the Bursar. Students—and persons
are not recognized as students and are
faster way for you to receive your tuition
to accommodate the busy lives of our
1. Be formally approved for admission.
approved by that student via the
not entitled to student services. To find
Parent Module—can view the bill on
out more about the PrattCard, log in at
www.pratt.edu/mypratt. See the
www.pratt.edu/mypratt (the PrattCard
Tuition and Fees section of this Bulletin
is on the left side of the dashboard).
The PrattCard Office is located in the
Alternative Loans in paper check form
refunds. Partnering with www.acceluraid.
students. With you in mind, Pratt Institute
checks are made payable jointly to Pratt
com, students have the flexibility of
has recently partnered with peerTransfer
Institute and the student. Payee must
receiving their tuition refunds in a variety
Corporation to offer an innovative way
endorse the checks before they can be
of ways. You can now manage and receive
to streamline your international tuition
your funds faster than ever, plus have
payments. Developed by an international
which may require a signature. Loan
applied to the student’s account.
the convenience of carrying a Discover
student, peerTransfer offers a simple,
for the loan portion of the balance on
branded debit card. This card will serve as
secure, and cost-effective method for
his or her account whether or not he or
your student refund card for the duration
transferring and processing education
The student will be held responsible
she receives the loan. It is the student’s
of your studies at Pratt Institute. All
responsibility to contact the federal
future student refunds will be disbursed
payments in foreign currencies.
By offering favorable conversion
government when delays occur. A
through it so you must be careful not to
rates unmatched by larger financial
student whose Institute bills are overdue
misplace the card.
institutions, peerTransfer enables Pratt’s
will not be allowed to register in the
The Accelluraid ATM located in the
international students to pay from any
Institute, receive grades, transcripts, or
Design Center is the FREE ATM where
country and any bank while saving a
diploma, or have enrollment or degrees
no charges are assessed for withdrawing
significant amount of money.
confirmed until financial obligations are
funds. You may use the Sovereign
paid in full.
Bank ATM located by the guard booth;
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.
however, fees will apply.
You can also transfer the available
funds to your personal checking/savings
account or request a paper check be
Furthermore, students will be able to:
1. Track the progress of their payment
throughout the transfer.
2.Be alerted when their payment is
received.
3.Track the progress of their tuition
• Matriculated students will receive an
acceptance letter/email that includes
a OneKey (username) and ID number
(initial password). It may also include
additional requisites required for
admission to a program.
• All final and official college and high
Tuition and Fees
287
4.Pay prescribed tuition and fees to
produce a student identification card
Students are fully responsible for tuition
Activities and Resource Center (ARC),
and fees after they complete steps 1
Lower Level, Room A109.
through 3 above. If students do not
complete Step 4 before the first day
Pratt Email Accounts and
school transcripts (indicating date of
of class, their unpaid registrations may
My.Pratt Access
graduation) must be submitted to the
be canceled according to the payment
The portal www.pratt.edu/mypratt is
Institute prior to enrollment.
schedule. Responsibility for a correct
Pratt’s interactive student gateway. It
registration and a correct academic
provides access to grades, schedules,
provided this information once they
record rests entirely with the student.
bills, applications for graduation, and
submit a non-matriculated student
Students are responsible for knowing
transcripts, as well as other academic
application in the Registrar’s Office and
regulations regarding withdrawals,
information. No additional applications or
pay the fee. They do not have to follow
refund deadlines, program changes, and
activations are necessary.
steps 2 and 3.
academic policies.
• Non-matriculated students will be
2.Meet with an academic advisor and
Instructors will not admit students
All student user names are
automatically assigned by the Information
have a program of courses approved
to classes in which they are not officially
Technology Office. Pratt email and www.
by that advisor on Academic Tools—the
registered. Proof of official registration
pratt.edu/mypratt accounts are assigned
portion of www.pratt.edu/mypratt
may be obtained in the Office of the
to all students at the time of admission.
that allows students to register for
Registrar or through the Academic Tools.
The Admissions Office mails a letter to all
payments via an online dashboard and
classes, add or drop sections, view
be assured that their payments are
Any student who attends a class without
deposited students with their Pratt email
their grades, and review their degree
going to the correct account.
valid registration (i.e., they are not on the
address and ID number.
audit. Your academic advisor and your
official class roster) will not have credits
the card. All questions regarding your
You can find the link to the peerTransfer
appointment dates for advisement and
or a grade recorded for that course.
card can be answered through the
solution on the www.pratt.edu/bursar web-
registration are listed on your degree
Collection Accounts
Acceluraid website, www.acceluraid.
site or by visiting www.peerTransfer.com.
audit. Students should contact their
The student will be responsible for
com/pratt or for more information
all collection costs associated with
regarding the debit card please see
delinquent accounts forwarded to
www.pratt.edu/debitcard. If you have
online during the designated
must present their PrattCard to receive
an outside collection agency because
not received a card and would like
registration period. A student’s
services and privileges, to gain entry
of nonpayment.
one, please contact the Bursar’s office
registration date is displayed under the
into campus buildings, and to identify
student’s name when he or she logs
themselves to Institute officers as
in to www.pratt.edu/mypratt. Online
necessary. People who cannot or will not
mailed to you, at no cost.
Registration (First Day of Class)
Included with your card are
We reserve the right to restrict
instructions on how to activate and use
eligibility for registration for students
it. The Acceluraid Company administers
with high balances.
directly at bursar@pratt.edu.
advisor for assistance.
3.Register for the approved courses
registration is done on Academic Tools.
Identification Cards and Services
As part of orientation, new students are
issued identification cards. Students
288
289
Registration and
Academic Policies
In order to attend any course at Pratt
classes, add or drop sections, view
of class, their unpaid registrations may
Institute, a student must:
their grades, and review their degree
be canceled according to the payment
audit. Your academic advisor and your
schedule. Responsibility for a correct
appointment dates for advisement and
registration and a correct academic
registration are listed on your degree
record rests entirely with the student.
audit. Students should contact their
Students are responsible for knowing
advisor for assistance.
regulations regarding withdrawals,
1. Be formally approved for admission.
• Matriculated students will receive an
acceptance letter/email that includes
a OneKey (username) and ID number
(initial password). It may also include
additional requisites required for
admission to a program.
3.Register for the approved courses
online during the designated
registration period. A student’s
refund deadlines, program changes, and
academic policies.
Instructors will not admit students
registration date is displayed under
to classes in which they are not officially
the student’s name when he or she
registered. Proof of official registration
school transcripts (indicating date of
logs in to www.pratt.edu/mypratt.
may be obtained in the Office of the
graduation) must be submitted to the
Online registration is done on
Registrar or through the Academic Tools.
Institute prior to enrollment.
Academic Tools.
Any student who attends a class without
• All final and official college and high
• Non-matriculated students will be
4.Pay prescribed tuition and fees to
valid registration (i.e., they are not on the
provided this information once they
the Bursar. Students—and persons
official class roster) will not have credits
submit a non-matriculated student
approved by that student via the
or a grade recorded for that course.
application in the Registrar’s Office
and pay the fee. They do not have to
follow steps 2 and 3.
2.Meet with an academic advisor and
have a program of courses approved
by that advisor on Academic Tools—the
Parent Module—can view the bill on
www.pratt.edu/mypratt. See the
Tuition and Fees section of this Bulletin
Students are fully responsible for tuition
and fees after they complete steps 1
portion of www.pratt.edu/mypratt
through 3 above. If students do not
that allows students to register for
complete Step 4 before the first day
Registrar
Tashana Curtis
TAP Certification Officer/
Lisle Henderson
tcurtis6@pratt.edu
Veterans Advisor
Charlotte Outlaw-Yorker
lhenders@pratt.edu
Matthew Townsend
Assistant Registrars
coutlaw@pratt.edu
mtownse@pratt.edu
Marcia Approo
Office
mapproo@pratt.edu
Tel: 718.636.3663 | Fax: 718.636.3548
reg@pratt.edu
Registration and Academic Policies
290
291
in late fees. Late registrations will also
Veterans Affairs
As part of orientation, new students are
for all official Institute communication
severely jeopardize a student’s chances
Pratt Institute participates in the following
active military service must submit a
issued identification cards. Students
through the Internet as an individual’s
of obtaining their preferred academic
Veterans Administration Benefits:
certified copy of their DD 214 (discharge
must present their PrattCard to receive
Pratt email address is the only way
course schedule.
The New York Regional Office is at
to validate the authenticity of the
should be certified by their commanding
245 W. Houston Street (at Varick Street)
into campus buildings, and to identify
requester. No official requests will be
officer, and the signature of the Pratt
New York, NY 10014
themselves to Institute officers as
fulfilled from any email address that does
• Chapter 33 Post 9/11 GI Bill
• Chapter 30 Montgomery GI Bill (MGIB)
• Chapter 1606 Montgomery GI Bill
papers). Students in Active Reserve
services and privileges, to gain entry
necessary. People who cannot or will not
not end with a pratt.edu suffix. Likewise,
produce a student identification card
all official Institute communications sent
are not recognized as students and are
electronically are emailed to this address.
not entitled to student services. To find
Some notices are only sent electronically.
out more about the PrattCard, log in at
Students are responsible for the
www.pratt.edu/mypratt (the PrattCard
information sent to their Pratt email.
Identification Cards and Services
Pratt online accounts must be used
provides access to grades, schedules,
bills, applications for graduation, and
transcripts, as well as other academic
information.
No additional applications or
activations are necessary.
All student user names are
automatically assigned by the Information
Technology Office. Pratt email and www.
pratt.edu/mypratt accounts are assigned
to all students at the time of admission.
The Admissions Office mails a letter to all
deposited students with their Pratt email
address and ID number.
Rehabilitation
and the Academic Calendar. Registration
accept certification of enrollment
or reinstatement after the published
before the first class day of any session,
add period requires a written appeal to
students planning to enroll under any
the Office of the Provost. Only after the
of the VA programs should initiate the
New students should receive information
approval from the Provost will students be
certification procedure by making an
about registration in the mail once
registered and allowed to attend classes.
appointment to see the veterans’ advisor
New Student Initial Registration
Pratt’s interactive student gateway. It
subject to a late fee. The amounts and
• Chapter 31 Veterans Vocational
Veterans Administration (VA) will not
Activities and Resource Center (ARC),
The portal www.pratt.edu/mypratt is
designated registration periods are
(MGIB-SR)
Because the New York Regional
Student Registration
My.Pratt Access
not complete registration during their
Tuition and Fees section of this bulletin
The PrattCard Office is located in the
Pratt Email Accounts and
New and continuing students who do
timing of these fees are described in the
is on the left side of the dashboard).
Lower Level, Room A109.
Late Registration
they have paid their deposit. Each
department’s advisement office provides
detailed academic advisement and
curriculum counseling for entering new
students. Contact your department for
further information.
Continuing Student Registration
in the Office of the Registrar after
Admission to Class
It is the responsibility of each student
to obtain an official schedule (printout
of registered course, section, credit,
and time) on www.pratt.edu/mypratt
after completion of the registration
process. Students are strongly cautioned
Continuing students are assigned a
to review and confirm all data. If any
registration date based on their degree
course/section/credit correction is
progress. Official registration dates can
necessary, the student can make advisor-
be found in the Academic Calendar or
approved changes on www.pratt.edu/
in the Academic Guide for Students
mypratt through the first two weeks of
(emailed to all students each fall). To
classes (drop/add period) only. Students
avoid late fees, all registered students
may also alter their schedule with the
who plan to continue in subsequent
assistance of their department or with
semesters are required to register
a Drop/Add form available in academic
during the open registration period. This
offices or the Office of the Registrar.
registration period closes at the end of
the previous semester. Failure to register
during the open registration period and
make payment in advance will both result
registration is completed. Depending on
the Chapter, students receive monthly
checks from the VA or the VA will send
the check directly to Pratt six to eight
weeks after certification. Failure to
request certification upon completion
of registration may result in a four- to
six-week delay in the receipt of the first
benefit check. As of January 1976, those
students receiving survivor’s benefits
(children of deceased veterans) are
no longer required to be certified by
the school. Appropriate forms may be
obtained at the student’s VA Regional
Office. New transfer students who have
already received educational benefits
should bring their VA claim number to the
veterans’ advisor.
New students who have been in
P.O. Box 4616
Buffalo, NY 14240
veterans’ advisor should be obtained
from the Registrar’s Office. Students
who support spouses, children, or
parents should submit birth certificates
or marriage certificates as appropriate.
Students in the Reserve (Chapter 1606)
seeking to obtain educational benefits
should see their commanding officer
for eligibility counseling and forms and,
if eligible, should then see the Pratt
veterans’ advisor for certification.
All students receiving benefits under
Veterans’ Vocational Rehabilitation
(Chapter 31) should contact their
counselors at the VA, who will forward an
“authorization form” to Pratt’s veterans’
advisor. These veterans should then go
to the Registrar’s Office after having
been programmed by their respective
departments in order to present a signed
copy of the authorization to the Office
of the Bursar. Only after receiving this
signed authorization will the Office of the
Bursar validate tuition payment. Veterans
receiving an allocation for books should
note that Pratt Institute does not
maintain the campus bookstore. The
VA should be notified accordingly. Final
and official authorization cannot be
forwarded to the VA until the student has
completed registration. Pratt Institute
serves only as a source of certification
and information to the VA Regional
Office. The student must carry out
all financial transactions with the VA
directly. All transactions are carried out
with the Buffalo Office:
Residency Requirement
Graduate students are expected to
complete 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
Transfer Credit Prior to Matriculation
Transfer credit is granted for courses
that are appropriate to the program
curriculum at Pratt from a school
accredited by an accrediting agency or
state approval agency recognized by
the U.S. Secretary of Education or the
international equivalent.
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
292
graduation, with the exception of the
Transfer Credit after Matriculation
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 a portfolio reflective
of their studio coursework completed
in a prior institution as part of the
admission application.
International students may be
required to submit additional class hour
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
by 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.
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 credit by the institution
attended and must be passed with a
grade of B or better. Grades lower than
B (including B-) are not transferable.
Grades of transfer credits are not
included in the GPA.
Portfolio/Work Experience Credit
Based on previous work experience and/
or portfolio, credit may be granted only
for work experience gained before initial
To apply for portfolio/work experience
Student Status
credit, the following steps must be
Full-Time Graduate
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 copy of the document and be
sure another is in your permanent file.
• Present a copy of the Statement of
Intent to the Registrar’s Office with
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
one week for evaluation.
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
address of the company or person that is
combination of credits and activities
• Obtain a Good Student Discount
to receive the verification letter.
recognized as applicable). Graduate
students enrolled in their thesis course
or 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
Graduate students are classified as
part time if they schedule or drop to
fewer than nine credits of registered
course work.
Attendance Policy
absences or cuts. Students are expected
School of Architecture, School of Art,
• Return the application with the proper
authorization to the Office of the
Registrar to complete the process.
You will be billed accordingly. Payment
is due upon billing. Credits earned
through this procedure are not
included in the GPA. They will not
count toward the Institute’s minimum
residence requirement.
provide written permission to release
student may also:
credit evaluated.
departmental chair. Please allow
the direct recipient, that student must
under “Verifications and Transcripts.”
more semester credits (or an equivalent
take attendance. There are no excused
described above to the appropriate
In all cases where the student is not
left side of the page. Click on “log in”
the information as well as the name and
the regular per-credit tuition rate per
available to all graduate students in the
2.Click on “Academic Tools” on the
Through the Self-Service menu, a
Faculty members are encouraged to
• Submit documentation as
293
graduate students must enroll for nine or
to a fee schedule of 30 percent of
matriculation at the Institute. This is
and School of Design. When applying for
To establish full-time equivalence,
to attend all classes. Any absences may
affect the final grade. Three absences
may result in course failure at the
discretion of the instructor.
Enrollment Verification Letters
Students can generate a watermarked
PDF record of their periods of
enrollment and current status at Pratt
Institute online through the National
Student Clearinghouse. This service
can be accessed at any time through
www.pratt.edu/mypratt.
1. Log in with your OneKey at
www.pratt.edu/mypratt;
Certificate.
• View the enrollment information
on file with the National Student
Clearinghouse. (Enrollment
information is provided to the National
Student Clearinghouse by many postsecondary institutions. Enrollment in
those schools is included.)
• View the student loan deferment
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
notifications that the Clearinghouse
system. A student who wants to change
has provided to your loan holders
his or her major must first meet
(lenders and guarantors).
with the department chair and then
• View the proof(s) of enrollment that
notify Graduate Admissions. Course
the Clearinghouse has provided to your
requirements for the new major reflect
health insurers and other providers of
the current catalog year. Hence, a change
student services or products.
in major may result in more credits being
• Order or track a transcript.
• View specific information about your
student loans.
A student may request an enrollment
verification letter on Pratt Institute
letterhead several ways:
• Through the Academic Tools student
menu (under My Courses).
• A written request including ID number
and mailing/fax destination from a
student’s Pratt email account.
• In person at the Registrar’s Office with
a Pratt ID.
• A written request by fax with copy of
student ID and signature.
required to graduate. It may also have
an effect on the number of transfer
credits allowed.
294
Course/Section Changes
from a registered course will receive a
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 during the first two weeks
of each semester. Once this add period
is over no courses may be added to the
student’s schedule. Students paying by
the credit who drop a course on or after
the first day of the term will be charged
a percentage of the course fee. (See
refund period schedule below.)
Last day to add
a class or change
sections
Fall
Spring
Summer
Sep. 4
Feb. 1
May 23
Withdrawal form is turned into the
stop attending a course without having
Registrar’s Office is the official date used
officially dropped the course during
for withdrawal. This date determines
the published refund period will not be
eligibility for WD grades and a student’s
eligible for a retroactive refund.
charges for the term of withdrawal. Only
Students may withdraw from a
Jan. 19
Last day to drop
a class with 85%
refund
Aug. 31
Jan. 26
Last day to drop
a class with 70%
refund
Sep. 7
Last day to drop
a class with 55%
refund
Sep. 14
May 16
form will deactivate your status as a
fall or spring semesters. A class that is
currently enrolled student. Until that
dropped from a student’s schedule after
time, registration and billing stay in effect
the second week of the semester will
and grades of WF will be issued for class
remain on the student’s academic record
absences.
with the noncredited designation of WD
an official withdrawal or reduce financial
accepted after the published deadline.
liability for a semester:
WD grades earned via the official
• Notifying a faculty member,
withdrawal procedure cannot be changed.
Students who are leaving Pratt without
Complete Withdrawal form in the
Registrar’s Office. This form permits the
Registrar to drop or withdraw a student
Feb. 2
N/A
from all registered classes (a student
cannot do this online). The form also
Feb. 9
May 23
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
None of the following actions cause
(withdrawal). No course withdrawal will be
graduating are required to fill out a
N/A
the submission of a Complete Withdrawal
course during the first 11 weeks of the
Complete Withdrawal from the Institute
Last day to drop Aug. 24
a class with 100%
refund
The date that the Complete
WF for nonattendance. Students who
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.
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, his or her
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
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Leave of Absence
Readmission
Preferred Name
A student in good academic and financial
Students who do not attend Pratt for
standing may request a leave of absence
a semester or more without receiving an
for not more than two consecutive
official leave of absence must apply for
semesters (excluding summer sessions).
readmission. Applications for readmission
Students must apply with a Leave of
are available from the Registrar’s Office.
Absence Request form in the Office of
Those applying for readmission must
the Registrar.
submit a $55 application fee payable to
• Students must apply for a leave of
Pratt Institute.
absence on or before the last day
to withdraw from classes for any
given semester.
• Only students in good academic and
financial standing will be approved.
• A leave of absence will not be granted
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.
once a student’s thesis is in progress.
• International students must obtain
authorization from the Office of
International Affairs.
• Students applying for a leave of
absence must pay a $20 processing fee.
• A student who wishes to register after
an undocumented absence must apply
for readmission.
• Students requesting leave for medical
reasons must obtain authorizations
Application
Deadline
Fall
Spring
Summer
Aug. 15
Dec. 15
May 1
to identify themselves. As long as the
use of this preferred name is not for
the purposes of misrepresentation, the
Institute acknowledges that a “preferred
name” can and should be used where
possible in the course of Institute
business and education.
Therefore, beginning in the fall
semester of 2015-16 any member of
the Pratt Community may choose to
identify a preferred name in addition to
their legal name. The preferred name
will be used in all Institute business,
except where the use of the legal name
is required. For example, some records,
require use of a legal name; in such
All personal data changes must be made
circumstances, the Institute will not
in written form only by the student.
be able to use the preferred name.
Students are responsible for reporting
However, whenever reasonably possible,
the following personal data changes to
“preferred name” will be used.
the Office of the Registrar:
• Change of name (requires legal
documentation)
completed a Complete Withdrawal or
Note: Consult the Office of the
Leave of Absence form will be officially
Registrar for procedural details on
withdrawn from the Institute and will
reporting these changes.
need to apply for readmission.
to use names other than their legal ones
such as paychecks and transcripts,
fall or the spring semester and have not
who are not enrolled during either the
members of the Pratt Community prefer
Personal Data Changes
• Change of address
• Change of major
from Health and Counseling
Pratt Institute recognizes that many
Inappropriate use of the preferred
name, including but not limited to
misrepresentation or attempting to
avoid a legal obligation, may be cause for
denying the request.
296
Parent Module
Transcripts
Students can authorize parents,
Unofficial Transcripts are available for
guardians, or sponsors to view current
viewing and printing through the online
schedules, grades, degree progress,
Academic Tools at www.pratt.edu/
and/or access the tuition bill to see the
mypratt.
current balance and make payments.
Students manage (grant or rescind) these
permissions through their Academic
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
Rights” (listed under “My Personal
Information”), students decide which
information they allow each account to
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 may also be ordered in
person or by mail at the Office of the
Registrar. Records containing financial
Online Orders
Official transcripts may be ordered
To order an official transcript by mail,
online through the National Student
please send a written request and check
Clearinghouse with a valid major credit
or money order (no cash) to:
card at www.getmytranscript.com. You
will receive a confirmation sheet that
must be signed and returned by one of
the following methods:
• Fax it to 1.703.742.4238 (remember to
• 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
hold is cleared. More information can
destination. Regular service (mailed first
be found at www.pratt.edu/registrar.
class from Pratt in three to five business
Your request must have the following
days) is $5 per copy. Rush service (mailed
information to be processed:
first class from Pratt in one business day)
“My Personal Information”). If a person
• Name while attending Pratt Institute.
is $10 per copy. Express service with UPS
is missing an email address or other
• Nine-digit Social Security or
Students can request to add people
not listed on this screen by returning
to the Students menu and clicking
“Request New Parent/Sponsor” (under
important information, a request to
update their account can be made
through the same process.
seven-digit student ID number.
• Date of birth.
• Telephone number.
• Dates of attendance and/or
graduation.
• Destination information where
transcript is to be mailed.
Pratt Institute
Office of the Registrar
Myrtle Hall, Sixth Floor
Brooklyn, NY 11205
dial 1.703 first).
holds will not be processed until the
see or rescind previously given access.
U.S. Mail Orders
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 pickup 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.
Payment is by check or money order
only. Only regular service (mailed first
class from Pratt in three to five business
days) is available using the mail service.
The charge is $15 per copy. Records
containing financial holds will not be
processed until the hold is cleared.
General Policies on Transcripts
• Transcripts are not released
above are generally for graduate
paid in full.
students only. A graduate course
• Copies of transcripts from other
schools that you may have attended
must be requested directly from those
schools. We cannot release or copy
transcripts in our file.
Organization of Course Offerings
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
with junior or senior class standing
and graduate students. Courses in this
range are considered either 1) Technical
Elective; 2) Qualifying; or 3) Graduate
the student’s written request or
courses whose content complements
authorization to issue a transcript.
advanced undergraduate studies. Credit
Parents cannot authorize the
earned within the 500-numbered
Registrar’s Office to mail a transcript.
courses by undergraduate students
seal and Registrar’s signature.
• Partial transcripts are not issued. A
transcript is a complete record of all
credit work completed at Pratt.
• Allow five business days from receipt
may not be applied toward a graduate
degree. Graduate students enrolled
in 500-level courses are expected to
perform with greater productivity and
capacity for research and analysis than
their undergraduate colleagues enrolled
in the same courses. Significantly more is
of the transcript request for the
expected of graduate students in course
transcript to be mailed. At certain
projects, papers, and conferences.
peak times, such as registration and
commencement, the processing time
may be longer.
Courses Numbered 600 and
until a student’s account has been
• The Registrar’s Office must have
• Official transcripts bear the Institute’s
297
embraces highly developed content
that demands advanced qualitative
and quantitative performance and
specialization not normally appropriate
to undergraduate courses.
Courses Numbered 900 and above
are elective internship courses.
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 outof-class homework, assignments, or
other student work. A minimum of one
clock hour per week, or equivalent time
in variable-length courses, represents
classroom or direct instruction time.
To determine the appropriate
amount of classroom time required for
each course, Pratt follows the standards
established by its accrediting agencies.
Typically, for each credit hour awarded
to lecture or seminar courses, the
students receive 15 clock hours of direct
298
instruction and are required to perform
F failure
The instructor has received approval to
an additional 30 hours of out-of-class
The student has failed to meet the
award CR grades from the Office of the
work. For each credit awarded to a
minimum standards for the course.
studio course, undergraduate students
(Numerical Value: F= 0)
typically receive 22.5 clock hours, and
299
NG (No Grade Reported)
submitting a Change of Grade form
the grade holds the authority to change
Indicates that the student was properly
directly to the Office of the Registrar.
the grade unless appeal is granted by
Provost. (This does not apply to liberal
registered for the course but the
Time limits have been allotted for
Department Chair or Dean. If a grade is
arts courses within the School of Liberal
faculty member issued no grade. The
resolving grade problems. Spring and
to be changed, the student must be sure
Arts and Sciences.)
student should contact the professor.
summer grades may not be changed after
that the change is submitted within the
Students cannot graduate with an NG
the last day of the following fall semester.
following semester. Petitions of change
on their record.
Fall grades cannot be changed after the
of any grade will be accepted only up to
last day of the following spring semester.
the last day of the semester following the
graduate students receive 15 hours of
Note: The highest grade acceptable for
direct instruction and are required to
recording is A (4.0) and not A+; D (1.0),
IP (In Progress)
complete a minimum of 30 additional
not D–, is the only grade preceding F
Designation used only for graduate
(0.0). The +/– grading system went into
student thesis, thesis project for which
NR (No Record)
Once this time limit has passed, all INC
one in which the grade was given. Other
effect as of the fall 1989 semester and is
satisfactory completion is pending,
Grade given for no record of attendance
and NR grades will convert to Fs. To view
than resolution of an initially assigned
Grading System
not acceptable for recording purposes
or Intensive English course for which
in an enrolled course. (All NR
grades online:
incomplete grade or of a final grade
Letter Grades That Affect
for prior semesters.
satisfactory competence level is pending.
designations must be resolved by the
reported in error, no letter grade may be
end of the following term or the grade
hours of out-of-class work.
the Academic Index
A, A– excellent
The student has consistently
Grades That Do Not Affect
INC (Incomplete)
is changed to a letter grade of F with a
the Academic Index
Designation given by the instructor at
numerical value of 0.)
demonstrated outstanding ability in the
AUD (Audit, no credit)
comprehension and interpretation of the
Students must register for courses they
content of the course. (Numerical Value:
plan to audit by contacting the Registrar’s
A = 4.0; A– = 3.7)
Office in person or by way of their Pratt
email account.
B+, B, B– average
The student has acquired a
CR (Credit)
comprehensive knowledge of the content
Grade indicates that the student’s
of the course. (Numerical Value: B+ = 3.3;
achievement was satisfactory to
B = 3.0; B– = 2.7)
assure proficiency in subsequent courses
in the same or related areas. The CR
C+, C acceptable
The student has shown satisfactory
grade does not affect the student’s
academic index. The CR grade is to
understanding of the content of the
be assigned to all appropriately
course. C is the lowest passing grade
documented transfer credits.
for undergraduate students. (Numerical
Value: C+ = 2.3; C = 2.0 )
D+, D less than acceptable
The student lacks satisfactory
understanding of course content in some
important respects. (Numerical Value: D+
= 1.3; D = 1)
The CR grade is applied to credit
earned at Pratt only if:
• The student is enrolled in any course
the written request of the student and
Repeated Courses
A repeated course must be the same
course as the one for which the previous
available only if the student has been
WD (Withdrawal from a Registered Class)
in regular attendance, to indicate the
Indicates that the student was permitted
student has satisfied all but the final
to withdraw from a course in which he
requirements of the course, and has
or she was officially enrolled during the
furnished satisfactory proof that the
drop period for that semester.
Final Grades, Grade Disputes, and
illness or other circumstances beyond
WF (Withdrawal Failing)
All grades are final as assigned by the
students must repeat all required
his or her control. The student must
Grade given to a student with a failing
instructor. If a student feels that a grade
courses in which F is the final grade.
understand the terms necessary to fulfill
grade due to lack of attendance.
received is an error, or that he or she
The initial grade will remain, but only
was graded unfairly, it is the student’s
the subsequent grade earned will be
Grade Reports
responsibility to make prompt inquiry
averaged in the cumulative index from
Grade reports are not mailed to
of the instructor after the grade has
the point of repeat onward.
work was not completed because of
the requirements of the course and the
date by which work must be submitted.
If the work is not submitted by the
understood date of submission, the
incomplete will be converted to a failure.
If unresolved at the end of the following
semester, the grade is changed to failure
with a numerical grade value of 0.
offered by a school other than the one
NCR (No Credit)
in which the student is matriculated,
Indicates that the student has not
and had requested from the professor
demonstrated proficiency. (See CR for
at the start of the term a CR/NCR
conditions of use.)
option as a final grade for that term.
changed following graduation.
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 are any questions about
the grade received, a student should
contact the instructor immediately.
Only the instructor can change a grade
by properly completing, signing, and
4.Choose from the options offered
under “My Grades and Transcripts.”
Grade Appeal Policies
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 a meeting and appeal
the grade. If this appeal is unsuccessful,
a further and final appeal can be made
to the dean of the school in which the
course was taken. It is important to note
that the faculty member who issued
final grade was awarded. No graduate
student may choose to repeat a course
that was passed with a grade of C or
higher without specific authorization
from the chair or dean. Graduate
300
Grade Point Average
Total Grade Points ÷ Total Credits
Institute. Students subject to academic
Degree Audits
A student’s grade point average is
Attempted = Grade Points
discipline are encouraged to take
Degree audits are computerized
Courses that usually do not count
calculated by dividing the total Grade
30 ÷ 9 = 3.33
advantage of support services available
checklists of graduation requirements.
towards a program’s requirements
Points received by the total Credits
30 (total grade points) divided by 9 (total
to them, including academic advisement,
These reports are similar to transcripts
are listed in this bottom section.
Earned. A Grade Point is computed
credits) makes a GPA of 3.33.
in an effort to help them meet Institute
because they list all academic activity.
Sometimes a course will not count
academic standards.
They are different from transcripts,
toward graduation because it was
however, because they organize the
dropped, or carries a grade that
by multiplying the Credits Attempted
for each class by the Quality Points
INC (incomplete) and NR (no record)
earned for completing that class. Only
carry no numerical value for one semester
the end of each semester to determine
coursework attempted into logical blocks
credits evaluated with letter grades that
after the grade is given. Thereafter,
whether any student who has failed to
that represent what is required. They
earn quality points (see table below) are
if unresolved, the INC and NR grades
remain in good standing may continue in
also clearly flag what has been taken and
used in GPA calculations. Each semester
convert to an F and carry a numerical
the program.
what has yet to be taken.
has a minimum length of 15 weeks. In
value of 0.
Good Standing
There Are Four Parts to an Audit:
All graduate students must maintain
1. Student Information
courses that are passed, a credit is
The following grades do not
earned for each period of lecture or
carry numerical values and are never
studio work, each week throughout one
calculated in the GPA:
term or the equivalent.
Quality Points
A = 4.00
C+ = .30
A– = 3.70
C = 2.00
B+ = 3.30
C– = 1.70
B = 3.00
D+ = 1.30
B– = 2.70
D = 1.00
F = 0.00
(If unresolved at the end of the
following semester, INC = F = 0.00
and NR = F = 0.00)
Grade = Quality Points × Credits Earned =
Grade Points
standing. A graduate student whose
U
Unsatisfactory
GPA falls below a 3.0 at any time may
the requirements are being checked
WD
Withdrawal
be subject to academic dismissal. The
against, and the student’s anticipated
WF
Withdrawal Failing
AUD
Audit
NCR
No Credit
IP
In Progress
A=
4.00 × 3 =
12.00
B+=
3.30 × 3 =
9.90
B–=
2.70 × 3 =
8.10
=30.00
specific conditions under which this
policy will be invoked are as set forth
by the dean of each school. Written
notification will be furnished to the
student by the dean.
or achieve academic honors.
Each student is responsible at
all times for knowing his or her own
standing. These standings are based
on the published academic policies,
regulations, and standards of the
graduation date (based on the date
of admission). This section may also
contain one or many text messages
specific to the student, depending on
his or her status at Pratt.
2.Credit and GPA Information
Final grades for credit transferred from
they are subject to academic discipline
students choose to take an extra
class for additional knowledge even
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 after seven years without the
written approval of the provost.
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
This section is usually the longest. It
lists the entire range of requirements
and electives specific to the academic
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
though it doesn’t fulfill any particular
thesis registration. Any extension beyond
degree requirement.
the three-year duration is subject to an
acceptable demonstration of extenuating
How to Get a Copy of a Degree Audit
1. Log in with your OneKey at www.pratt.
Credit
students receive timely notification when
such as an F or an INC. Also, some
time using their Academic Tools.
CR
standing intend to ensure that all
makes it ineligible for consideration,
Students may view or print an audit at any
being evaluated, the catalog year that
Pratt Institute’s policies on academic
Thesis Enrollment
student’s name, the academic program
Pass
record are not computed in the GPA.
4.Other Courses
The top of the first page lists the
P
other institutions to the student’s Pratt
301
a cumulative GPA of at least a 3.0
(equivalent of a B) to remain in good
Academic Standing
In the Following Example the GPA is 3.33:
All students’ records are reviewed at
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
to select a potential major to review.
program being evaluated. Fulfilled
Students may go online and receive
requirements will be listed with the
a degree audit at any time. If you do
grade earned (or CR for transfer
not have a computer or access to a
credit). Missing requirements are also
computer lab, come to the Office of the
noted with credits needed.
Registrar. Students who have questions
about how to read the audit should visit
their academic advisor’s office or stop by
the Office of the Registrar during office
hours for an explanation.
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
first semester, completion of the thesis
is pending and the student will receive
an IP (In Progress) grade. The student
must enroll in Thesis in Progress the
following semester.
302
Subsequent Semesters of Thesis
must be submitted to the Library. The
Examples of violations include but are
in Progress
form is available at the Library Reference
not limited to the following:
desk. The department chair’s signature is
1. The supplying or receiving of
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 five consecutive
semesters. If at the end of five semesters
the thesis is still pending completion,
the student will be withdrawn from the
original Thesis course. Re-enrollment
in the Thesis course will only take place
with the written permission of the
department chair.
Certification of Enrollment for
Registered Thesis Work
For certification purposes, Pratt
considers students taking Thesis or
Thesis in Progress to be full time.
Thesis Submission and Final Grade
required to allow a late thesis submission.
Thesis and Thesis in Progress are
graded IP. Thesis will remain IP until the
Thesis Advisor assigns a final grade upon
completed papers, outlines, or
research for submission by any person
other than the author.
2.The submission of the same, or
completion of the thesis project. A failing
essentially the same, paper or report
grade may be assigned if the student
for credit on two different occasions.
fails to remain in proper progress or
3.The supplying or receiving of
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
Graduation Procedures
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).
Commencement Ceremony
exact language of someone else without
One commencement ceremony is
satisfactory thesis.
putting the quoted material in quotation
held each year at the end of the spring
form or content of an examination
marks and giving its source. (Exceptions
semester. Students who successfully
are very well-known quotations,
complete their studies in October or
from the Bible or Shakespeare, for
February are invited to attend the
example.) In formal papers, the source is
ceremony that is held following their
acknowledged in a footnote; in informal
graduation. Students who anticipate
prior to its first being given, specifically
Academic Integrity Code
including unauthorized possession of
When a student submits any work for
exam material prior to the exam.
academic credit, he/she makes an
4.The supplying or receiving of partial
implicit claim that the work is wholly his/
or complete answers, or suggestions
her own, done without the assistance
papers, it may be put in parentheses,
a Summer/October completion
for answers, of assistance in
of any person or source not explicitly
interpretation of questions on any
or made a part of the text: “Robert
date should attend the ceremony
noted, and that the work has not
examination from any source not
Sherwood says...”
that is held the May following their
previously been submitted for academic
explicitly authorized. (This includes
credit in any area. Students are free to
copying or reading of another student’s
Students should refer to the latest
assignments unless specifically asked
sources during examinations.)
version of the Graduate Theses Library
not to by the instructor. In addition,
Guidelines, available at the Pratt Library.
students, especially international
Questions concerning organization
students, are encouraged to seek the
and formatting of materials should
editorial assistance they may need for
be discussed with the Information/
writing assignments, term papers, and
Reference department of the Pratt
theses. Our Writing and Tutorial Center
Library before final typing.
staff is always available to clarify issues
Graduation
File on or before:
of academic standards and to provide
Summer Term/October
September 15
writing and tutorial help for all Pratt
Fall Term/February
January 15
students. In the case of examinations
Spring Term/May
May 15
(tests, quizzes, etc.), the student also
implicitly claims that he/she has obtained
Students must submit their own
no prior unauthorized information about
thesis in person, unless it is submitted
the examination, and neither gives
by a representative from the
nor obtains any assistance during the
academic department.
examination. Moreover, a student shall
a Late Thesis Submittal Permission form
own, the words, the work, information,
Graduation and Degrees
unauthorized information about the
work or consultation of notes or other
thesis submittal after the deadline date,
Plagiarism means presenting, as one’s
303
communication, or fails to complete a
study and work together on homework
For the Pratt Libraries to accept a
Plagiarism*
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
This first type of plagiarism, using
graduation. Students who will graduate
without acknowledging the language
in Summer/October and cannot attend
of someone, is easy to understand and
commencement the following spring
to avoid. When a writer uses the exact
may apply for Permission to Walk in
words of another writer, or speaker, he
May Commencement in the Registrar’s
or she must put those words in quotation
Office. Their names will not appear in the
marks and give their source.
commencement program, nor will they
A second type of plagiarism is more
complex. It occurs when the writer
at commencement does not guarantee
presents, as his or her own, the sequence
graduation from the Institute.
“hoarding” of study or research
of ideas, the arrangement of material, or
materials or equipment intended for
the pattern of thought of someone else,
common use in assigned work, including
even though he or she expresses it in his
the sequestering of library materials.
or her own words. The language may be
8.Alteration of any materials or
his or hers, but he or she is presenting as
apparatus that would interfere with
his or her work, and taking credit for, the
another student’s work.
work of another. He or she is, therefore,
9.Forging a signature to certify
guilty of plagiarism if he or she fails to
completion of a course assignment or
give credit to the original author of the
a recommendation and the like.
pattern of ideas.
not prevent others from completing
their work.
receive their diplomas early. Attendance
* Reprinted with permission of Macmillan Publishing
Company from Understanding and Using English
by Newman P. Birk, 1972.
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
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 options as posted by
academic departments.
Application for Graduation
Students wishing to be considered
for graduation must file a Graduation
Application. The application is available
on the student’s online Academic Tools
available through www.pratt.edu/
mypratt. Applications must be filed on or
before the following deadlines:
Graduation
File on or before
Summer Term/October
March 25
Fall Term/February
August 25
Spring Term/May
December 15
Using the application, candidates indicate:
1. Their anticipated graduation term.
2.The exact spelling and punctuation
of their name as it is to appear on
the diploma.
3.Their hometown and state/country
as it is to appear in the
commencement program.
4.The Diploma Mailing Address to
be used to mail diplomas.
student must have completed a minimum
Information can be updated before the
of 50 percent of degree credits at Pratt.
application deadline by simply filling
These credits must be in semesters
out and submitting the graduation
evaluated with a GPA.
application again. If the candidate is not
304
305
Student Affairs
cleared for the announced graduation,
a new application must be filed for each
subsequently requested graduation.
Only after the application has been
submitted to the Office of the Registrar
will the candidate’s name be placed on a
Graduation Requirements
Final graduation requirements include
the following:
office for consideration. A course
requirement in a student’s major may
be substituted by the department
chair/advisor of the department
1. Grade Requirements
Graduate students must be in good
standing, with a cumulative GPA of at
tentative graduation list. At that time, the
least 3.0. In courses constituting the
graduation review is scheduled.
student’s major as formally specified
in which the student is enrolled;
however, another course in the same
subject area must be taken.
3.Residence Requirements
Life at Pratt can be intense. Often
Student Involvement
The Department of Student Involvement
coordinates and assists students to
students need assistance to cope with
in advance by his or her departmental
Thesis work must be registered at
Graduation Clearance
chair, the student must have received
the Institute. The minimum residence
Within the schedules mentioned earlier,
a grade of B or better in each or have
requirement at Pratt for the master’s
a cumulative index in these courses
degree is 24 credits. In most cases
of at least 3.0. Any outstanding
transferred credit does not exceed
INC, NG, or NR grades from any
25 percent of the total credits
previous semester(s) that are pending
required. The Professional Master of
make meeting these challenges a positive
resolution must be resolved by the
Architecture program permits up to 33
experience. In addition, the Office of
Assistant Director
responsible for managing their own
following deadlines:
percent of the total credits required.
Student Affairs performs many ombud-
Alex Ullman
group activities, thus gaining experience
the candidate must check for clearance
at the following offices:
Office of The Bursar:
Outstanding Balance on Tuition Account
4.Master’s Thesis/e-Portfolio
Library:
Graduation
File on or before:
Outstanding Materials or Account
Summer Term/October
September 15
A thesis or e-portfolio is required in
Fall Term/February
January 15
many of the master’s degree programs.
Spring Term/May
May 2
Each student is held responsible for
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.
meeting the precise requirements of
challenges encountered at Pratt and in
Director
plan social, cultural, educational,
the city of New York. The staff members
Emma Legge
and recreational programs. Student
activities at Pratt are planned to
of the Office of Student Affairs are able
and willing to help each student in as
Associate Director
contribute to each student’s total
many ways as necessary and possible to
Meredith Crain
education, as well as to meet social
and recreational needs. Students are
in community and social affairs and
sperson services.
The Office of Student Affairs is
located on the ground floor of Main
Office Manager
playing a role in shaping Institute policy.
Karen Smith
Students are represented on Institute
decision-making bodies such as the
Building and can be found on the
Web at www.pratt.edu/student-life/
Office
Board of Trustees, trustee committees,
student-affairs/. Student Affairs also
Tel: 718.636.3422
and the Student Judiciary.
Failure to do so will result in removal
his or her school. Thesis candidates
from the graduation list. When final
should obtain the latest edition of
has an office in Room 207A on the Pratt
studentactivities@pratt.edu
grades are reported for the last term
Regulations Concerning the Deposit
Manhattan campus. Specific hours and
www.pratt.edu/involvement
of active registration, any reported
of Master’s Thesis in the Pratt Institute
services provided are posted there and
INC or NR grade for a graduation
Library and sample pages from their
on the Student Affairs website.
candidate will automatically remove
respective departments.
• Allocation and administration
of funds collected through the
student activity fee.
the candidate from the graduation
list. Students who have been removed
Changes to This Bulletin
from consideration must complete
While every effort has been made to
a new application for graduation in
make the material presented in this
order to be considered for another
Bulletin timely and accurate, the Institute
graduation date.
reserves the right to periodically update
2.Curriculum Requirements
Each student must fulfill all
requirements for graduation. No
credits required for graduation will be
waived. All requests for an exception to
The main functions of the
Department of Student Involvement are:
• Overseeing the Student
Union complex.
• Programming of student activities.
• Promoting leadership and
professional development.
and otherwise change any material,
including faculty listings, course offerings,
policies, and procedures, without
reprinting or amending this Bulletin.
this rule must be referred to the dean’s
Vice President
Office
Helen Matusow-Ayres
Nadine Shuler
Tel: 718.636.3639 | Fax: 718.399.4239
studaff@pratt.edu
Assistant To The Vice President
Grace Kendall
www.pratt.edu/student-affairs
306
Student Affairs
New Student Orientation
Parent and Family Programs
Active Organizations
Cultural
Student Affairs
307
Professional and Academic
Greek Letter Organizations
Residential Life and Housing
•American Institute of Architecture
•Inter-Greek Council (Fraternity/Sorority
New student orientation is an exciting
The mission of Parent and Family
time at Pratt. In order to acclimate to
Programs at Pratt is to provide parents
•Bako Tribe
campus, graduate students have a one-
with the resources to support and
•Chinese Student Scholars Association
•Art and Design Educators
•Kappa Sigma Fraternity
day orientation during the week before
encourage the success of their Pratt
classes begin. Brooklyn campus students
student. Pratt Institute recognizes that
•Korean Student Association
•Association for Information Science
•Pi Sigma Chi Fraternity
Associate Director
attend orientation on that campus, while
parents are valuable members of the
•Sigma Sigma Sigma Sorority
Katherine Hale
students attending Pratt Manhattan will
Pratt community and have much to
attend orientation at 14th Street. Grad-
contribute to Pratt. We encourage parent
uate student socials will be held at both
involvement in the Pratt community. We
campuses that week.
offer programs for parents including
•Latin American Student Association
Students
and Technology
•Pratt International Students Association
•ComD Agency
•Queer Pratt
•Communications Committee
Governing Body)
Associate Director For Housing
•Diversity Initiatives Group
Religious and Spiritual
Special Interest
•Fashion Society
•Art/Faith Collective
Parent Orientation, our Annual Family
•Anime Club
•Graduate ComD
•Gospel Christian Fellowship
Weekend, and parent blog. For further
•History of Art and Design Student
pening that week, including the Broadway
information, please contact our office at
•Ceramics
•Jewish Student Union
show and baseball game. However, there
718.636.3422 or email at family@pratt.
is no requirement to attend those events.
edu.
The orientation program is staffed
by an exemplary group of student leaders
who assist new students in any and
many ways.
•Dance Club
•Drawing Club
Detailed information will be sent to new
students beginning in June.
•Comic Club
Student Organizations
•Games Club
Student Government Association (SGA)
•Envirolutions
The Student Government’s primary
•Founders Entrepreneurship Club
responsibility is to represent the student
•Music Club
body’s interests and to encourage
•Pratt Feminists
students’ involvement in
•Pratt Film Cult
the life of the Institute.
•Reef Club
The Student Government has
an Executive Committee in which
undergraduate or graduate students
are encouraged to become involved.
•Strive Student Mentors
Student Media
Association
•Industrial Design Club
Christopher Kasik
•Theta Phi Alpha Sorority
attend any and all other programs hap-
Graduate students are invited to
Director
Administration
Tuan Vu
Assistant Director North Campus
Christopher Ruggieri
•Newman Club
•Remnant Christian Fellowship
•Jewelry Club
Assistant Director South Campus
Benjamin Fabian
•Keyframe Animation Club
Community Engagement Board
•Leadership in Environmental
Also known as C-Board, these students
Assistant Director Housing
are dedicated to giving back to their
Jason LeConey
Advocacy and Policy
•Painting Club
community, both local and global.
•Photo League
•Pratt Artists League
Program Board
•Pratt Historical Preservation
The Program Board is a group of
Organization
•Pratt Institute Planning Student
students who plan many on- and offcampus events.
Association
•Pressure Printmaking
Campus Ministry
•School of Information and Library
The chapel, one of the central spaces
The SGA can be reached by calling
•The Prattler Student Newspaper
718.399.4468 or by emailing
•Prattonia Yearbook
sga@pratt.edu.
•Static Fish Comic Book
•Sculpture Club
•Ubiquitous Arts and Literary Magazine
•Special Archivists’ Association
•WPIR Pratt Radio
•Special Libraries Association
Sciences Student Association
•Type Directors Club
•User Experience/Information
Architecture
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 Korean)
services are offered on a regular basis.
Any group wishing to use the chapel
may contact the director of Student
Involvement, whose only requirement is
respect for the space and its purpose.
Lillian Jennas
Receptionist
Steven Spavento
Office
Tel: 718.399.4550
reslife@pratt.edu
www.pratt.edu/reslife
The mission of the Office of Residential
Life and Housing is to efficiently and
effectively administer a housing program
in a learning-centered environment that
challenges and supports students to:
• Enhance self-understanding
• Value community responsibility
• Learn from their experiences
Student Affairs
308
The Office of Residential Life and
Housing holds the belief that student
development and learning goes on
all can enjoy the time spent in the
residence halls at Pratt Institute.
The Office of Residential Life and
outside the classroom, as well as inside
Housing at Pratt Institute is based on a
the classroom. The policies, procedures,
specific set of values. These values guide
and programs that are established and
the expectations the department has
encouraged by the Office of Residential
for itself and the students who reside on
Life and Housing are those that enhance
campus and extend to the residence halls
student learning and involvement outside
in many direct ways. They are:
the classroom.
• Personal rights and responsibilities
• Integrity
• Respect
• Fairness and justice
• Open communication
• Involvement
The department takes very seriously
its role as guarantor of a residence hall
atmosphere conducive to work and study.
We also strive to provide an atmosphere
in which students are encouraged to
make informed decisions on their own,
take responsibility for their actions, and
learn from their experiences.
Leadership development
The educational mission of Pratt
opportunities are offered to students in
Institute is actively pursued in the
the residence halls through participation
residence halls. An expected outcome
in Residence Hall Councils, the
of the on-campus experience is to have
Residence Hall Advisory Committee
students learn to cope and deal with
(a student advisory committee to the
problems that arise. Though this is not
Office of Residential Life and Housing),
always an easy task, if a student is able to
EcoReps, Dining Services Reps, and
learn from an adverse situation, the goal
the Connections Leadership class.
has been achieved. Along with this is the
Participation in these activities exposes
ability for students to take responsibility
students to other departments at the
for their choices and behaviors. If
Institute while helping them to gain
students make inappropriate choices,
leadership skills.
they should expect to be held
The Residential Life staff wants
accountable, the hope being a different
to provide a memorable, enjoyable,
choice will be made the next time,
and successful academic year, but
more in keeping with the community
reminds students that the success
expectations set forth.
of this experience lies with all of us.
Through participation, cooperation,
understanding, and communication,
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
apartment-style 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
Student Affairs
309
having a private bedroom with shared
with a bookcase. All students assigned
Room Assignment
kitchen and bath. The building is located
to double, triple, and single spaces will
one block from campus. Each living
share kitchen and bathroom facilities
room is furnished with a sofa, club chair,
with other residents of the suite. The
coffee table, kitchen table, and chairs.
converted apartments consist of at
Utilities are included, with the exception
least one double or triple that occupies
of telephone. Internet connections
the former living room space of the
and CATV service are provided. The
apartment and at least one private single
building offers a garden courtyard,
room that occupies the former bedroom
laundry facilities, and lounge areas. This
space of the apartment. The number of
residence is for 12-month occupancy and
students residing in a given suite ranges
students will be assigned for one year.
from two to six students (depending upon
Different from other assignments, this
the size of the converted apartment—
assignment cannot be cancelled unless a
one bedroom, two bedroom, or three
student leaves Pratt Institute. The ability
bedroom). Willoughby Residence Hall
to sublet to other Pratt Institute students
remains open all year. However, residents
with approval from Residential Life
on certain floors might have to relocate
and Housing does exist in the summer
to different floors during the summer
months; details will be available during
months for the purpose of maintenance
the spring semester.
and upkeep. To accommodate additional
graduate students, select double
Upon acceptance to the Institute,
students are sent an Accepted Student
Guide, 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.
Students who have not applied by
April 15 can anticipate being assigned only
if and when space becomes available. All
correspondence should be addressed to:
Residential Life and Housing
Brooklyn, NY 11205
reslife@pratt.edu
Willoughby Hall
rooms are converted to a semi-private
Willoughby Residence Hall is a former
single space. The semi-private space
17-story apartment coop and is the
occupies the former living room space
Room rates vary according to the type
largest residence hall. It accommodates
of the apartment, is occupied by only
of accommodation. Typical costs for
over 800 undergraduate and graduate
one student, and shares kitchen and
each residence hall for a calendar year*
students. The building houses offices
bathroom facilities with other private
are as follows:
(Residential Life and Housing, Health
single rooms in the apartment. The semi-
and Counseling, and the Disability
private option is only available to graduate
Grand Avenue
Services Center) as well as a student
students and on an as-needed basis.
$14,936 (double studio)
Room Rates—Graduate Options
work room, TV lounge, convenience
$20,496 (single w/shared bath)
store, laundry facilities, and other
$23,528 (studio single)
common student lounge areas. Suites are
single sex, but floors are co-ed. Rooms
Willoughby Hall
vary in size from 9’ x 12’ to 15’ x 18’. In
$13,101 (semi-private single)
addition to the standard furniture, all
$13,701 (single w/shared bath)
suites have a kitchen table, stove, and
$14,314 (single w/private bath)
refrigerator. Each resident is provided
*Graduate students, in most cases, have a
12-month contract.
310
Student Affairs
Meal Plan
Athletics and Recreation
In an effort to ensure that students
receive options for proper daily nutritional
requirements, Pratt Institute offers its
students a number of meal plans. The meal
plans are designed on a debit card system;
the student’s meal plan points decrease as
he or she purchases items in the main dining
room, convenience store, or pizza shop. A
meal plan point equals $1.
Graduate students may opt for a
meal plan. Plans range from $250–2,033
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 2015–16 are $250, $695, and
$1,025. Purchasing a meal plan can save
the student almost 10 percent over
paying cash. With all meal plans, students
have the option to add points online at
any time during the semester in amounts
greater than $25.
Additional details pertaining to
the meal plans are provided in the
Enrollment Guide and are available from
the Office of Residential Life
and Housing.
Student Affairs
encircles the athletic court areas.
Career and Professional Development
There are full locker room facilities with
311
industry mentoring, professional
your own business. Guest speakers
development resources, workshops, and
and recruiters come to campus every
Director
saunas for men and women. The second
Director
entrepreneurial education. We combine
semester to speak on careers in
Dave B. Adebanjo
floor houses a fully equipped and newly
Rhonda Schaller
an excellent academic creative
creative industries, review portfolios,
experience with a lifetime job and career
and hold interview sessions.
renovated weight and fitness room, a
Associate Director For
Intercollegiate Athletics
Ryan McCarthy
dance studio, and administrative offices.
Recreational and intramural
activities are scheduled throughout
Associate Directors
Hera Marashian
Brynna Tucker
transition support system.
CCPD staff members stay
abreast of changing trends and employer
needs, and guide Pratt students into an
the year in conjunction with PrattFit
Associate Director for
programming and range from individual
Assistant Director
easy transition from college into the work
Wellness And Recreation
to team sports and special events. Men’s
Deborah Yanagisawa
environment. We maintain relationships
Shena Faith
intercollegiate athletics teams include
with employers and internship providers
basketball, cross-country, indoor and
Assistant Director For Experiential
nationally and internationally, and offer
Assistant Director for Athletics
outdoor track and field, tennis and
Education
many ways
Facilities and Event Management
volleyball. Women’s teams include
Laura Burrell
for employers to reach and recruit from
Keisha Lynch
basketball, cross-country, indoor and
the talented Pratt community.
outdoor track and field, tennis and
Communications Manager
volleyball. Pratt Institute is a member
Robert Carabay
Linda Rouse
of the Hudson Valley Intercollegiate
Office
Tel: 718.636.3773 | Fax: 718.636.3772
Professional staff work with students
on professional learning goals for
internship placements and career goals
Athletic Conference and fields a total of
Career Development and Customer
for their job search and small business
12 teams.
Relations Coordinator
planning. Extended support is offered
Alex Fisher
in the areas of exhibition submissions,
grants, fellowships, and residencies. We
www.pratt.edu/athletics
Office
encourage peer learning through our
The Activities Resource Center (ARC)
Tel: 718.636.3506
Pratt Success program to expand the
houses a 325 x 130-foot athletic area,
career@pratt.edu
leadership opportunities on campus.
the largest enclosed clear-span area
www.pratt.edu/ccps
The CCPD provides resources
designed to foster meaningful
in Brooklyn aside from the newly
constructed Barclays Center. The
The Center for Career and Professional
connections between emerging
complex includes five regulation-size
Development (CCPD) inspires, supports,
artists and professionals through
tennis courts, two volleyball courts, and
and educates students and alumni
the following services:
an NCAA basketball court. This same
about emerging trends, the job market,
area provides 650 bleacher seats for
and what it takes to be a professional
• Professional Development
intercollegiate basketball, volleyball,
creative in the workplace. We believe
the Colgate Women’s Games, and other
that preparing for a fulfilling, meaningful,
spectator sports events. This enclosed
and productive career is one of the
area has a seating capacity for up to 1,000
most important co-curricular activities
people for special events. The four-lane,
for Pratt students. The CCPD augments
200-meter indoor track completely
the state-of-the art curriculum with
career and internship counseling,
Programming
We welcome classroom visits to the
Center every semester and offer
presentations on résumé building,
networking, interviewing skills,
developing an online presence,
portfolio presentation, selfpromotion, freelancing, and starting
• Individual and Group Career Advising
Individual career advising is available
to Pratt students and alumni for life.
All CCPD staff have backgrounds as
working creatives in major-related
industries. Group sessions and
major-specific career workshops are
scheduled throughout the year.
• Entrepreneurship Training
The CCPD has developed resources
to help students and alumni build skills
and strategies to become successful
entrepreneurs. The Meditation
Incubator project offers the Creative
Mind, Business Mind course, which
teaches participants meditation,
visualization, and self-reflection
techniques to deepen their creative
process and use as business planning
tools. The Student Start-Up Center
provides resources that help students
and alumni pursue entrepreneurship,
intrapreneurship, and business
development goals.
• Industry Outreach and Pratt
Pro Job Board
CCPD manages the Pratt Pro job
board—thousands of new positions
are posted each year. We perform
outreach to employers around the
world to develop a pipeline to help
move Pratt students and alumni into
their job openings. We visit studios
and organize firm trips for students
312
to learn about the latest industry
trends. Pratt Institute hosts numerous
portfolio reviews and thesis exhibitions
of current and graduating student
work, including multiple end-of-year
events highlighting the best work of
the graduating class. Each year, CCPD
hosts opportunity fairs, roundtable
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
Student Affairs
Pratt Institute Internship Program
Each Pratt graduate student has
the opportunity to gain hands-on
professional experience in New York
City and beyond through an academic
internship program supervised in
collaboration with department faculty.
The CCPD supports students in gaining
hands-on professional experience
interning at companies such as Condé
Nast, Unified Field, Knoll, and many,
many more.
Graduate internships play a crucial
students every semester, including
online presence. Pratt Institute and the
summer semester. For more information
CCPD have partnered with Behance
about internships such as eligibility, the
to launch Pratt Institute Portfolios at
registration process, and deadlines,
portfolios.pratt.edu. This is an exciting
log on to www.pratt.edu/career and
opportunity for students to promote
click on “Students & Alumni,” then
their work under the Pratt brand. With
“Internship Program.” In most cases,
the Behance platform, Pratt Institute
graduate students must complete one
Portfolios reaches a wide audience of
full semester to be eligible for academic
industry professionals on the lookout
credit for an internship.
for the best creative talent.
you, contact career@pratt.edu or call
718.636.3506.
• The experience is a full semester.
• The experience can be paid or unpaid.
• Internships are available to all
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
Director
Mai McDonald Graves
mcdonald@pratt.edu
Learning Specialist/Counselor
Anna Riquier, L.M.H.C.
ariquier@pratt.edu
domestic, international, and transfer
students during their time at Pratt.
• Internship credits vary from 0 to
3 credits based on student need,
departmental policy.
available to full-time matriculated
or to find out how the CCPD can help
Some key components of a Pratt
Internship are:
professional perspectives. An internship
students develop their portfolio and
questions. To make an appointment
them well as emerging professionals.
number of hours worked, and individual
at Pratt is an academic opportunity
Disability Resource Center
relationships in the field, which will serve
role in developing skills and offering
The CCPD professional staff can help
The staff of CCPD welcomes your
professional network of contacts and build
• To obtain academic credit for an
internship, students must be
enrolled in an internship course at
the same time they are participating
in the internship.
Students are required to attend one
of the internship information sessions
offered throughout the year in the
CCPD to learn more about the internship
program, how to begin an internship
search, and how to find departmental
eligibility information.
To make an appointment or to
learn the dates of the next internship
information session, contact career@
pratt.edu or call 718.636.3506.
Student Affairs
313
Services to Students
• Consults with campus department
The DRC provides the following services
directly to students:
• Offers a full-service Center where
students can meet with professional
support staff and use computer, study,
and exam-taking areas.
• Maintains confidential records of
documentation of disability.
Learning Specialist
Maegan D’Amato, L.M.S.W.
maddisa@pratt.edu
Marie A. McLaughlin
mmclaug3@pratt.edu
Office
Tel: 718.802.3123 | Fax: 718.399.4544
• 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
drc@pratt.edu
for students such as note taking,
www.pratt.edu/disability
tutoring, time management coaching,
and counseling.
The mission of the Disability Resource
Center (DRC) is to ensure students
with disabilities can freely and actively
participate in all facets of Pratt life.
To this end, the office provides and
coordinates services and programs
that support student development,
enable students to maximize their
educational and creative potential,
and assist students in developing their
independence to the fullest extent
possible. The DRC aims to increase the
level of awareness among all members
of the Pratt community so that students
with disabilities are able to perform at
a level limited only by their abilities, not
their disabilities.
• For deaf and hard-of-hearing students,
available services include FM units, sign
language interpreters, and remote and
in-class Computer Assisted Realtime
Translation (CART) services.
• Arranges auxiliary aids for students,
such as assistive learning software, FM
units, and books in alternative formats.
• Consults with faculty regarding the
instructional needs of students.
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
needs of students with medical or
psychological conditions.
• Consults with community, local, and
regional services, such as rehabilitation
agencies on behalf of students.
• Serves as an advocate for students with
faculty and staff.
• Provides DRC program information to
the campus community.
• Assists students in monitoring
the effectiveness of services and
accommodations.
• Develops and administers appropriate
assessment tools to determine efficacy
of accommodations and services.
Students with disabilities may
utilize the DRC to receive various
support services, including attending
time-management and self-advocacy
workshops and scheduling weekly oneon-one sessions with staff. Students may
work on writing and reading assignments
on computers containing assistive
learning technologies, and may also
arrange to take quizzes and exams in our
distraction-free study and exam room.
Student Affairs
314
To receive classroom
Health and Counseling Services
accommodations and/or support
services through the DRC we encourage
Director
students to schedule an appointment
Martha Cedarholm, A.R.N.P.-B.C., F.N.P.
to meet with DRC staff to discuss their
mcedarho@pratt.edu
Student Affairs
315
Case Manager and Staff Counselor
Health and Counseling Services operates
Hali Brindel, L.C.S.W.
both by appointment and as a walk-in clinic.
psychologists, clinical social workers, and
in a health and accident insurance
hbrindel@pratt.edu
All care provided is strictly confidential and
a consulting psychiatrist who are available
plan. They may waive this insurance fee,
remains separate from a student’s academic
by appointment to meet with students.
which will be deducted from their bill,
The counseling staff includes clinical
Students are automatically enrolled
Student Health Insurance Specialist
and social conduct record. The office is
Students may receive counseling on a
by providing insurance information in
needs. Students may also be referred
Josefina Soto
open on weekdays 9 PM to 5 pm, with the
short-term basis for personal, emotional,
the online student insurance system,
for formal evaluation that is conducted
Associate Director For Counseling
jsoto4@pratt.edu
last appointments made at 4 PM. Check the
family, interpersonal, and situational
Aetna Student Health, prior to the
by appropriate professionals to receive
Vincent Kiefner, Ph.D.
website for updated hours and services.
problems. Consultation is available
waiver deadline, which is always the last
documentation of recommended
vkiefner@pratt.edu
on campus, and referrals for specialty
day to drop or add courses for the fall
services are made.
semester. All students who were born
academic support.
For more information about
Nurse Practitioner/Associate Director
the Disability Resource Center visit
for Health
our website at www.pratt.edu/
Debbie Scott, A.R.N.P.-B.C., F.N.P.
disabilityresourcecenter. You may also
dscott2@pratt.edu
Nurses
The medical staff includes the director,
Christine Susca, RN
who is a family nurse practitioner, two nurse
csusca@pratt.edu
practitioners, a physician attending the clinic
Since the Health and Counseling
after January 1, 1957, must provide proof
once a week during the academic year, and
Services Center is not designed to
of immunity against measles, mumps,
Sheriezah Shiwprashad, LPN
two registered nurses. Services provided
meet the total health care needs of
and rubella. New York State law requires
sshiwpra@pratt.edu
include treatment of illnesses; first aid for
students, referrals are sometimes made
written documentation of two measles-
injuries; physicals, including sports and
to outside clinics and agencies. The staff
mumps-rubella vaccines or written
contact the DRC at 718.802.3123 to
schedule an appointment to discuss
Nurse Practitioner
Administrative Aides
women’s health examinations; health educa-
is committed to helping students find
documentation of immunity to these
classroom accommodations and services
Alison Altschuler, A.R.N.P.-B.C., F.N.P.
Giovanni Glaize
tion; and medical testing.
the best source of health care at the
diseases proved by a blood test. Written
you may need.
aaltsc34@pratt.edu
gglaize@pratt.edu
lowest cost. Hospital and medical care
documentation is absolutely required in
the office for free; however, other tests
beyond that provided by the Health
order to attend classes.
Pregnancy testing is performed in
Consulting Physician
Sandra Davis
are sent to a laboratory service, which
and Counseling Services is the financial
Kristen Harvey, M.D.
sdavis@pratt.edu
will bill the student or the student’s
responsibility of the student and his
meningitis is strongly recommended for
insurance provider. Some commonly
or her family. For this purpose, Pratt
students planning to live in on-campus
housing.† A complete medical history and
a comprehensive physical examination
Staff Counselors
Consulting Psychiatrist
used medications (over-the-counter
Institute requires all students to carry
Sarika Seth Ph.D.
Jane Zirin, M.D.
and prescription) are dispensed free
health and accident insurance.
sseth@pratt.edu
or for a nominal fee. Students must
Psychiatric Nurse Practitioner
purchase all other medication at a
Victoria Chun Kwon Ph.D.
Lori Neushotz, DNP
pharmacy. Referrals are made to local
vchun20@pratt.edu
lneushot@pratt.edu
medical resources for care not provided
Assistant Director for Counseling and
Office
Staff Counselor
Tel: 718.399.4542 | Fax: 718.399.4544
Lonette Belizaire, Ph.D.
health@pratt.edu
lbelizai@pratt.edu
www.pratt.edu/counseling
on campus.*
Clinical AOD Services Coordinator
Jernee Montoya, L.C.S.W.
jmontoya@pratt.edu
*Numerous and varied resources are available
at the Health and Counseling page of the Pratt
website at www.pratt.edu/health.
†New York State does not require this vaccine
but does require a signed acknowledgment of
receipt and review of vaccine information.
Immunization against meningococcal
are also required for all new students.
316
Student Affairs
317
Libraries
International Affairs
The Office of International Affairs (OIA)
welcomes about 500 new international
Director
students each year. There are about
L. Jane Bush
1,329 international students from 77
countries. In addition to providing
Associate Director
services to international students, the
Saundra Hampton
OIA takes care of J1 Exchange Visitors
including inbound exchange students,
Assistant Director
professors, and scholars. The OIA is
Mia Schleifer
the office in charge of keeping Pratt
in compliance with the Department of
Sevis Coordinator
Homeland Security and the Department
Silvana Grima
of State.
The well-traveled and experienced
Receptionist
staff members are here to help students
Zoila Dennigan
make a successful transition to the Pratt
community and help address some of
Office
the challenges students might encounter
Tel: 718.636.3674
during their academic program. They
oia@pratt.edu
create a friendly environment, providing
www.pratt.edu/oia
direct support with immigration issues,
employment authorization, financial
issues, personal issues, and crosscultural events.
The OIA advises the Pratt
International Student Association (PISA),
which is open for all to join.
The Libraries are dedicated to an active
titles are accessible. The Brooklyn
Management, AOS/AAS Program, Design
partnership in the academic process. The
Campus Library houses microfilm,
Management, and Continuing and
Libraries’ primary mission is to support
multimedia, rare books, and the
Professional Studies.
the Institute’s academic programs by
college archives. Visual and Multimedia
providing materials and information
Resources has a collection of DVDs, VHS
instructional programs to help patrons
services to students, faculty, staff,
tapes, and 16mm films. The department
use information resources more
alumni, and visiting scholars. A state-
also circulates cameras, projectors, light
effectively. Other services offered
of-the-art integrated library system
kits, audio recorders, and a half dozen
throughout the year include orientation;
interfaces with an up-to-date website
laptops. The Visual Resources Center
individualized instruction; information
providing broad access to electronic
holds a collection of 35mm slides and
literacy instruction; and research
materials as well as information about
provides access to over 1.3 million images
assistance and referrals to other libraries
the Libraries. Connect to the Libraries’
through ARTstor. Comfortable reading
in the metropolitan area.
website and catalog at library.pratt.edu.
and study spaces are available in this
The collection at the Brooklyn
Campus Library provides broad-based
coverage of the history, theory, criticism,
Librarians at both facilities offer
All of the Library units are dedicated
New York City landmark building on the
not only to providing access to
Brooklyn campus.
information, but to assisting information
The Pratt Manhattan Library
seekers in developing successful
and practice of architecture, fine arts,
holds more than 17,024 monographs,
strategies to locate, evaluate, and employ
and design, while also supporting the
subscribes to over 170 current
information to meet a full range of needs.
liberal arts and sciences. The collection
periodicals and maintains a small
encompasses over 176,674 monographs
fiction collection. The book and
and bound periodicals and also maintains
periodical collection provides support
776 current periodical descriptions. The
for the following programs: Graduate
Libraries also provide students access
Communications Design, Information and
to 38 online resources and electronic
Library Science, Creative Arts Therapy,
periodical indexes. Through these
Facilities/Construction Management,
resources over 11,474 full-text periodical
Historic Preservation, Arts and Cultural
Director
Library Services Coordinator,
Visual Resources Curator
Russell S. Abell
Manhattan Campus
Johanna Bauman
Jean Hines
Library Audiovisual Coordinator
Head of Public Services
TBA
Evening and Weekend Library Manager
Kate McDermott
Head of Technical Services
John A. Maier
Visual and Multimedia Resources
Director
Chris Arabadjis
Mike Nemire
318
319
Library Faculty
Steven J. Cohen
Maggie Portis
Associate Professor/Cataloger and Librarian
B.A., Cornell University; M.S.L.S., Columbia
University; professional organization memberships
include: American Library Association, Art
Libraries Society of North America, Association
of College and Research Libraries, Association for
Library Collections and Technical Services New
York Library Club.
Assistant Professor/Art and
Architecture Librarian
B.A., The University of Texas at Austin; M.S.
LIS, The Palmer School, Long Island University;
professional organization memberships include
ARLIS/NA and ARLIS/VRA.
Cheryl M. Costello
Assistant Professor/Art and
Architecture Librarian
B.A., M.S., Library and Information Science,
University of Illinois at Urbana-Champaign;
curator of exhibit, La Gazette du Bon Ton: Art
Deco Fashion Plates from 1913-1922 at the Pratt
Library; published in ARLIS/NA Reviews; peer
reviewer for Art Documentation; professional
organization memberships include: American
Association of Museums, Art Libraries Society of
New York, Art Libraries Society of North America;
awarded the Celine Palatsky Travel Award for the
Art Libraries Society of North America Annual
Conference 2008.
Bill McMillin
Assistant Professor/Emerging
Technologies Librarian
B.F.A., Photography, Maryland Institute College
of Art and Design; M.L.S. with Digital Libraries
Specialization, Indiana University at Bloomington;
publications include “One Size Does Not Fit All: a
multi-layered assessment approach to identifying
skill and competency levels” and “Library
Technology and Applications for the Classroom”;
professional organization memberships include
ALA, ACRL, and ASIS&T.
Paul Schlotthauer
Associate Professor/Librarian and Archivist
B.S., Gettysburg College; M.M., Indiana University;
M.L.S., St. John’s University; publications include
“Pratt Institute: A Historical Snapshot of Campus
and Area” in Digitization in the Real World: Lessons
Learned from Small and Medium-Sized Digitization
Projects; professional organization memberships
include: Association of American Archivists, MidAtlantic Regional Archives Conference, Archivists
Round Table of Metropolitan New York, New York
Library Club (board member), American Library
Association, Association of College and Research
Libraries, American Association of Museums.
Holly Wilson
Associate Professor/Research and
Instruction Librarian
B.A., Baldwin-Wallace; M.L.I.S., University of
Pittsburgh; publications include “Touch, see,
find: serving multiple literacies in the art and
design library” in The Handbook of Art and
Design Librarianship; professional organization
memberships include: American Library
Association, Association of College and Research
Libraries; Reference and User Services Association,
Art Libraries Society of North America.
320
321
Board of Trustees
Bruce J. Gitlin
Gary S. Hattem
Adam D. Tihany
Chair of the Board
President and CEO, Milgo Industrial Inc.
President, Deutsche Bank Americas Foundation
and Managing Director, Deutsche Bank Community
Development Finance Group
Principal, Tihany Design
Mike Pratt
Vice Chair of the Board
President and Executive Director,
The Scherman Foundation
Robert H. Siegel
Vice Chair of the Board
Founding Partner, Gwathmey Siegel & Associates
Architects, LLC
Thomas F. Schutte
June Kelly
June Kelly Gallery
Roelfien Kuijpers
Global Head of AWM Relationship Management,
Institutional Head of WM Relationship
Management, Americas, Deautsche Bank
David S. Mack
Senior Partner, The Mack Company
President, Pratt Institute
Dr. Joshua L. Smith
Secretary
Professor Emeritus, New York University
Howard S. Stein
Treasurer
Retired, Managing Director, Operational Risk
Global Corporate and Investment Bank, Citigroup
Kurt Andersen
Trustee, The Halycon Foundation, Trustee
Emerita, The American Museum in Britain,
Member of the Board, The American Associates of
the National Theatre in London
Katharine L. McKenna
Kelsey Miller
Recent Graduate Trustee
Diane Hang Nguyen
Chief Marketing Officer, Lutron Electronics, and
Chief Creative Officer, Ivalo Lighting Incorporated
Faculty Trustee
Michael S. Zetlin
Attorney, Zetlin & De Chiara LLP
Trustees Emeriti:
Richard W. Eiger
Young Ho Kim
Not-for-Profit Consultant
Ralph Pucci
Malcolm MacKay
President, Ralph Pucci International
Leon Moed
Stan Richards
Bruce M. Newman
Principal, The Richards Group
Kate Selden
Graduate Student Trustee
Arts Activisit
Susan Hakkarainen
Susan Young
David O. Pratt
Undergraduate Student Trustee
Anne N. Edwards
Ellery Washington
Charles J. Hamm
Attorney
David Cutler
Founding Partner, Two Trees
Management Co., LLC
Recent Graduate Trustee
Founder and Principal, Art Agency, Partners
Kathryn C. Chenault
David C. Walentas
Artist, Designer, and Owner, KLM Studios
Artist, Interior Designer, and Owner, Buck House
Amy Cappellazzo
Former Director, Architecture, Planning and
Design Program and Capital Projects, NYSCA and
Adjunct Assistant Professor, Graduate School
of Architecture, Planning and Preservation,
Columbia University
Faculty Trustee
Carolyn Bransford MacDonald
Writer
Deborah J. Buck
Anne H. Van Ingen
Mark D. Stumer
Principal, Mojo-Stumer Associates, P.C.
Juliana C. Terian
Chairman of the Rallye Group
Heidi Nitze
Marc A. Rosen
322
323
Administration
Dr. Thomas F. Schutte
Russell Abell
Anthony Gelber
President
Director of Libraries
Director of Administrative Sustainability
Kirk E. Pillow
Sylvia Acuesta
Glenn Gordon
Provost
Comptroller
Executive Director of Planning, Design,
Construction, and Physical Plant
Marianthi Zikopoulos
TBA
Associate Provost
Director of Athletics and Recreation
Judith Aaron
Sinclaire Alkire
Vice President for Enrollment
Director of Enrollment Marketing and Research
Helen Matusow-Ayres
Nedzad Goga
Vice President for Student Affairs
Director of Financial Aid
Joseph M. Hemway
Christopher Arabadjis
Vice President for Information
Technology and CIO
Director of Multi-Media Services
Mai McDonald-Graves
Director of Disability Services
Thomas Greene
Director of Human Resources
Imani Griszell
Director of Events
Nancy Walker
Director of Graduate Admissions
Nicholas Battis
Director of Exhibitions
Interim Vice President for
Institutional Advancement
Vladimir Briller
Cathleen Kenny
Executive Director of Strategic Planning
and Institutional Research
Vice President for Finance
and Administration
L. Jane Bush
Thomas Hanrahan
Dean, School of Architecture
Gerald Snyder
Dean, School of Art
Anita Cooney
Director of International Affairs
Dustin Liebenow
Director of Marketing Communications and
Enrollment Management
Debera Johnson
Academic Director of Sustainability
Martha Cedarholm
Director of Health and Counseling Services
Berti Jones
Director of Enterprise Systems
Randy Donowitz
Director of the Writing and Tutorial Center
Christopher Kasik
Director of Residential Life and Housing
Grace Kendall
Andrew Barnes
Director of Special Projects/Assistant to the
Vice President for Student Affairs
Dean, School of Liberal Arts and Sciences
Dean, School of Information and
Library Science
Lisle Henderson
Registrar
Dean, School of Design
Tula Giannini
Young Hah
Adam Friedman
Director of Pratt Center for
Community Development
Emma Legge
Director of Student Involvement and Parent
and Family Programs
324
Administration
325
Academic Calendar
Ludovic Leroy
Rhonda Schaller
Director of Corporate Relations
Director of the Center for Career and
Professional Development
Yvette Mack
Bursar
William J. Schmitz
Director of Safety and Security
John Maier
Last day for 100% tuition refund
First day of classes
Director of Alumni Relations
and Annual Giving
Last day to add or drop without a
Emily Mack Marshall
Nancy Seidler
Last day to withdraw (WD) from a
Director of Intensive English
course
Lorraine Smith
Curator, Visual Resource Center
Director of Academic Computing
Patti McCall
Head of Public Services
Mara McGinnis
Executive Director of Communications
Emily Moqtaderi
Executive Director, Campaign
and Major Gifts
Director of Processing and Technology
Director of Research
January 19
May 16
August 24
January 19
May 16
September 7
February 1
May 23
November 13
April 8
June 27
Dates that classes do
September 7 (Labor Day)
January 18
May 30
not meet
October 12–13 (Midterm Break)
(Martin Luther King Day)
(Memorial Day)
November 25–29 (Thanksgiving)
March 14–20
July 4 (Independence
(Spring Break)
Day)
Director of Budget
William Swan
Studio Days
December 8–11
May 3–6
Director of Undergraduate Admissions
Final exams
December 12–18
May 7–13
Vicki Weiner
Last day of classes
December 18
May 13
Warren White
Director of HEOP
Dmitriy Paskhaver
August 24
WD grade
Richard Soto
Director of Planning
Christopher Paisley
Summer 2016
(See schedule of classes)
Michael Sclafani
Ellery Matthews
Spring 2016
upon withdrawal (WD)
Head of Technical Services
Director of Foundation Relations
Fall 2015
Bryan Wizemann
Director of the Web Group
July 22
(See schedule of classes)
Grades due online
December 22
May 17
July 26
Please note: This calendar must be considered
as informational and not binding on the Institute.
The dates listed here are provided as a guideline
for use by students and offices participating in
academic and registration related activities.
This calendar is not to be used for nonacademic
business purposes. Pratt Institute reserves the
right to make changes to the information printed
in this Bulletin without prior notice.
Important Telephone Numbers
Academic Advisors Admissions (toll-free): 800.331.0834
International Affairs Office: 718.636.3674
Architecture: 718.399.4333
Admissions: 718.636.3514
Library (Circulation Desk): 718.636.3420
Art and Design: 718.636.3611
Bursar: 718.636.3539
Registrar: 718.636.3663
Information and Library Science:
Career Services: 718.636.3506
Residential Life: 718.399.4550
212.647.7682
Financial Aid: 718.636.3599
Security: 718.636.3540
Intensive English Program: 718.636.3450
Health and Counseling Services:
Student Activities and Orientation:
Writing Programs: 718.399.4497
718.399.4542
718.636.3422
326
Academic Calendar
Academic Calendar
327
Late Payment Fees
Fall 2015
Registration
Academic
Tuesday, December 22
Refund Schedule
Monday, February 2
Tuesday, August 18–Sunday, August 23
Monday, August 17
Last day to change grades from previous
Course Withdrawal Refund Schedule
Fall 2015
New student orientation held; loan
Office.
entrance interviews.
classes begin.
Prior to and including August 24
Wednesday, August 19
All final grades due online by 3 PM.
August 25–August 31
85% refund
Monday, February 2
charged for any unpaid balance after
Full refund
Brooklyn SU/FA schedule due to
Payment/Financial
Design Management classes begin.
Thursday, December 24–
September 1–September 7
70% refund
Wednesday, July 1
Monday, August 24
Sunday, January 3
September 8–September 14
55% refund
Monday, March 2
Student loan application deadline.
Classes begin.
Winter vacation. No classes.
After September 14
Fall schedule goes live on the Web.
Saturday, August 1
Monday, September 7.
Monday, March 9
Continuing students’ tuition payment
Labor Day. No classes.
Academic advisement begins.
deadline.
Monday, April 6
Saturday, August 1
Last day to add a class.
Online registration begins for continuing
New students’ tuition payment deadline.
Last day to drop a class without a WD
students.
Sunday, August 2
grade recorded.
Friday, May 15
Late payment fee of $80 in effect for all
Monday, October 12–Tuesday,
Last day of preregistration for continuing
students.
October 13
students.
Monday, August 24
Midterm Break. No classes.
Monday, June 15–Friday, June 19
Last day for 100 percent tuition refund
Friday, November 13
Tentative date for new student online
upon withdrawal.
Last day for course withdrawal.
registration.
Monday, September 7
Housing
Monday, September 7
Wednesday, November 25– Sunday,
November 29
Tuesday, August 18
Thanksgiving. No classes.
Entering freshman, transfer, and graduate
Offices open on 11/25 only.
grade recorded.
students check in to residence halls,
No new registrations accepted after
9 AM to 5 PM.
this date.
Friday, August 21–Saturday, August 22
Friday, November 13
Continuing students check in to
residence halls, 9 AM to 5 PM.
Saturday, December 19
Noon checkout deadline for graduating
students and those who cancelled spring
residence hall license.
Note: Students residing on campus spring
2016 do not check out of their fall rooms.
Tuesday, December 8– Friday
December 11
Studio Days
Saturday, December 12– Friday,
December 18
Final exams week. Fall semester ends.
Last day for students to submit
graduation applications to the Registrar’s
Office for May graduation. Review for
graduation begins January 4.
Institute offices closed.
International Students
Friday, August 14; Monday, August 17;
Tuesday, August 18
Mandatory compliance and check-in
workshops with OIA (choose one day on
MyPratt).
Thursday, August 13; Friday, August 14;
Saturday August 15
Mandatory English Proficiency exams
given for international students (choose
one day on MyPratt).
Saturday, August 15
New international students check in to
residence halls, 9 AM to 5 PM.
Sunday, August 16
Welcome dinner for all new international
students and their families
Tuesday, August 18–Sunday August 23
New student orientation.
• A late payment fee of $80 will be
PMC SU/FA schedule due to Registrar’s
spring/summer semesters.
No refund
the initial disbursement of financial aid
has been applied for each semester.
•
A late fee of $55 will be charged after
the first 15 days of each semester/
session for students who did not
The refunds above are calculated using
complete their registration during their
the date you dropped your course online
designated registration period.
or submitted your completed drop/
add form to the Office of the Registrar
(Myrtle Hall 6th Floor). No penalty is
assessed for undergraduate withdrawals
when a full-time credit load (12–18
credits) is carried before and after the
drop/add date.
Housing Cancellation Refund
Schedule Fall 2015
Please refer to the housing license
to determine the cancellation
penalty/refund.
Meal Plan Cancellation Refund Schedule
Please refer to the cancellation penalty
schedule on the back of your meal plan
contract to determine the cancellation
penalty/refund.
328
Academic Calendar
Academic Calendar
329
Spring 2016
Registration
Payment/Financial
Housing
Academic
Tuesday, May 17
Housing Cancellation Refund Schedule
Wednesday, August 19
Sunday, November 1
Thursday, January 14
Saturday, January 9
Last day to change grades from previous
Spring 2016
PMC spring schedule due to Registrar’s
Recommended date to file spring
New international students’ residence
Graduate Design Management and Arts
fall semesters.
Office.
financial aid and student loan
hall check-in, 9 AM to 5 PM.
and Cultural Management classes begin.
Tuesday, May 17
Tuesday, September 8
applications for students who did not file
All final grades due online by 3 PM.
penalty/refund.
Brooklyn spring schedule due to
for fall term.
Entering freshman, transfer, and graduate
English proficiency exam for international
TBA
Friday, December 18
students’ check in to residence hall, 9 AM
students.
Graduation Awards Convocation.
Monday, September 21
Continuing students’ tuition payment
to 5 PM.
Monday, January 18
TBA
Spring schedule goes live on Web
deadline for spring.
Saturday, May 14
Martin Luther King Day.
Commencement.
Monday, October 19
Monday, January 4
Noon check out deadline for non-
No classes.
Academic advisement begins.
All continuing students should begin to
graduating students and those students
Tuesday, January 19
Refund Schedule
Weekday classes begin.
penalty/refund.
file financial aid forms for financial aid
without a Summer Session residence
award packages.
hall license.
Friday, January 15
Day after Commencement, TBA
Last day to add a class or drop without
New students’ tuition payment deadline.
Noon checkout deadline for graduating
Prior to and including January 19
a WD grade recorded.
85% refund
students the day after commencement.
January 20–January 26
Tuesday, January 19
Monday, February 15
January 27–February 2
70% refund
Last day for 100 percent tuition refund
Presidents’ Day. Classes meet.
February 3–February 9
55% refund
grade recorded.
upon withdrawal.
Offices closed.
After February 9
No new registrations accepted after
Monday, February 1
this date.
Recommended filing deadline for
Friday, April 8
financial aid applications for the next
academic year.
Monday, November 2
Continuing students’ online registration
for spring begins.
Monday, February 1
Note: Students residing on campus
Summer 2016 session do not check out
of their spring room until notified by
their SU that summer room is ready.
Monday, February 1
Monday, March 14–Sunday, March 20
Spring break.
Friday, March 25
Last day to submit a graduation
Tuesday, April 5
application for summer and fall
Recommended filing deadline for 2016/17
graduation.
Thursday, January 14–Friday January 15
student loan applications.
Late Payment Fees
Spring 2016
Full refund
No refund
The refunds above are calculated using
the date you completed your transaction
online or submitted your completed
drop/add form to the Office of the
Registrar (Myrtle Hall, sixth floor). No
penalty is assessed for undergraduate
Saturday, March 26–Sunday, March 27
withdrawals when a full-time credit load
New international student orientation held.
Spring Holiday. No classes.
(12–18 credits) is carried before and after
Friday, January 15
Institute closed.
the drop/add date.
New student orientation held.
Friday, April 8
Tuesday, May 3–Friday May 6
Studio Days
Saturday, May 7–Friday, May 13
Final exams week. Classes end.
• A late fee of $55 will be charged after
330
Academic Calendar
Academic Calendar
Summer 2016
Registration*
Housing
Academic
Refund Schedule
Monday, April 4
Students check in to their residence
Saturday, May 7
Registration for summer classes begins.
hall room the Sunday prior to the start
Graduate Design Management and Arts
Summer 2016
of their classes, 9 AM to 5 PM. (Consult
and Cultural Management classes begin.
course schedule to determine the weeks
Prior to and including May 16
Full refund
Monday, May 16
desired for on-campus housing.)
May 17 through May 23
55% refund
Summer classes begin.
After May 23
No refund
Monday, May 23
Monday, May 23
Last day to drop summer classes without
a WD grade recorded.
No new Summer Session registrations
accepted after this date.
Students check out of their residence
hall room on the Saturday following the
conclusion of their classes by noon.
(Consult course schedule to determine
Monday, June 27
the weeks desired for on-campus
Last day for withdrawal from a
housing.)
summer class.
*The last day to add a class, drop a class, or
withdraw from a class with a grade of WD is
dependent on the start date and length of
the class
Payment/Financial
Friday, April 8
Summer Session tuition payment
deadline for continuing students;
Note: Students residing on campus for
Monday, May 23
Last day to drop without a WD grade
recorded.
No new Summer Session registrations
accepted after this date.
Monday, May 30
Memorial Day. No classes.
the last week of the Summer Session
Monday, June 27
and residing on campus for the fall 2016
Last day for course withdrawal from
semester do not check out of their
Summer Session.
summer room until they are notified their
Monday, July 4
fall room is ready.
Independence Day. No classes.
Friday, July 22
Housing Cancellation Refund Schedule
penalty/refund.
penalty/refund.
Summer classes end.
thereafter, an $80 late payment fee
Tuesday, July 26
charged to continuing students for
Summer grades due online by 3 PM.
Summer Session.
The above refunds are calculated using the date
you dropped classes online or submitted your
completed drop/add form to the Office of the
Registrar (Myrtle Hall, sixth floor).
Late Payment Fees
• A late fee of $55 will be charged after
331
332
333
B54
B54
How to Get to Pratt
Brooklyn Campus
By Car
From Newark-Liberty Airport
From BQE, Heading West/South
Brooklyn, NY 11205
Exit 31, Wythe Avenue/Kent Avenue. Stay straight
to go onto Williamsburg Street W., which becomes
Williamsburg Place, then Park Avenue. Turn left
onto Hall Street. Proceed two blocks to Willoughby
Avenue. Make a left on Willoughby. Campus is
on right.
After the exit, continue toward US-1/US-9/
Newark-Elizabeth (US-22.) Continue on US-1 and
9 North toward Port Newark. US-1 and 9 North
become 12th Street. Continue on Boyle Plaza,
which becomes the Holland Tunnel. Take the
tunnel toward Brooklyn/Downtown and continue
on Beach Street to Walker Street. Continue on
Canal Street to the Manhattan Bridge. Cross the
bridge to Flatbush Avenue Extension. Turn left
onto Myrtle Avenue. Proceed 15 blocks. Make a
right turn onto Hall Street. Go one block. Make a
left turn onto Willoughby. Campus is on right.
B54
B54
B54
By Subway
From Grand Central Station
Take the downtown 4 or 5 train to the Fulton
Street station. Take the Brooklyn-bound A or C
train to the Hoyt-Schermerhorn station. Cross
platform and take the G train (front car) to the
Clinton-Washington station. Use Washington
Avenue exit. On Washington, walk one block north
to DeKalb Avenue. Turn right onto DeKalb and
proceed one block to Hall Street/Saint James
Place to the corner gate of the Pratt campus.
From Penn Station and
Port Authority Bus Terminals
Take the Brooklyn-bound A or C train to the
Hoyt-Schermerhorn station. Cross platform and
take G train (front car) to the Clinton-Washington
station. Use Washington Avenue exit and follow
directions above to campus.
From BQE, Heading East/North
Exit 30, Flushing Avenue. Bear left onto Classon
Avenue, then turn left onto Flushing Avenue. Turn
left onto Washington Avenue. Proceed two blocks
to Willoughby Avenue. Make a left on Willoughby.
Campus is on right. Myrtle Hall is across the street
from the main gate (first left parking lot).
From West Side of Manhattan
Via Manhattan Bridge
Travel east on Canal Street to Manhattan Bridge.
Exit bridge to Flatbush Avenue. Turn left onto
Myrtle Avenue. Proceed 15 blocks. Make a right
turn onto Hall Street. Go one block. Make a left
turn onto Willoughby. Campus is on right.
From East Side of Manhattan
By Bus
From Downtown Manhattan
Take the B51 bus from City Hall to Fulton and
Smith streets in downtown Brooklyn. Change to
B38 bus and take it up Lafayette Avenue to the
corner of Saint James Place, which turns into Hall
Street. Entrance to the campus is one block north
on Hall Street.
B
1. ISC Building
2. Library
3. DeKalb Hall
4. Higgins Hall
5. North Hall
6. Memorial Hall
7. Student Union
8. Main Building
9. East Building
10. South Hall
11. Jones Hall
12. Thrift Hall
13. Pantas Hall
14. Willoughby Hall
15A. Willoughby Security Booth
15B. Pantas Security Booth
15C. Hall Security Booth
16. Chemistry Building
17. Machinery Building
18. Engineering Building
19A. Pratt Studios
19B. Juliana Curran Terian Design Center
19C. Steuben Hall
20. Film/Video Building
21. Pratt Townhouses
22. ARC building
23. Stabile Hall
24. Cannoneer Court
25. Myrtle Hall
26. 100 Grand
27. 248 Flushing
28. Newman Mall and Clock
Via Brooklyn Bridge
Travel south on the FDR Drive (also called East
River Drive) to Brooklyn Bridge exit. Exit bridge
to Tillary Street. Turn left on Tillary to Flatbush
Avenue. Turn left onto Myrtle Avenue. Proceed 15
blocks. Make a right turn onto Hall Street. Go one
block. Make a left turn onto Willoughby. Campus
is on right.
From LaGuardia Airport
Follow signs toward Airport Exit/Rental Cars.
Take ramp (right) onto Grand Central Parkway
toward Parkway West/Manhattan. At exit 4, take
ramp (right) onto BQE/ I-278 W. toward the
Verrazano Narrows Bridge. Take BQE to exit 31,
Wythe Avenue/Kent Avenue. Stay straight to go
onto Williamsburg Street W., which becomes
Williamsburg Place, then Park Avenue. Turn
left onto Hall Street. Proceed two blocks to
Willoughby Avenue. Make a left on Willoughby.
Campus is on right.
From Kennedy Airport
Take the Airport Exit on I-678 South and continue
towards Terminals 8 and 9. Go toward Terminal
9 Departures. Bear right towards the Van Wyck
Expressway/Airport Exit. Continue on the Van
Wyck/I-678 North. Take the 1B-2/Belt Parkway
exit towards the Verrazano Bridge. Take exit 1B
to North Conduit Avenue, which becomes North
Conduit Boulevard. Take Belt Parkway West
towards the Verrazano Bridge. Take the North
Conduit Avenue exit 17W. Continue on Nassau
Expressway/North Conduit Avenue. Bear left on
Atlantic Avenue. Proceed five miles. Turn right
onto Washington Avenue and go seven blocks.
Turn right onto Willoughby Avenue. Campus is
on right. Myrtle Hall is across the street from the
main gate (first left into parking lot).
334
335
Index
Manhattan Campus
By Subway
Going from Pratt Brooklyn
144 West 14th Street
Take the A, C, or E train to 14th Street/Eighth
Avenue, the F or M train to 14th Street/Sixth
Avenue, the 1, 2, or 3 train to 14th Street/Seventh
Avenue, or the 4, 5, 6, N, R, or Q train to 14th
Street/Union Square. Take crosstown buses or
the L train to travel east or west on 14th Street.
Pratt is located between Sixth and Seventh
Avenues on the south side of the block, closest
to Seventh Avenue.
to Pratt Manhattan
New York, NY 10011
By Car
From Queens
Via 59th Street Bridge
Go south on the FDR Drive. Take 23rd Street exit.
Make a right turn onto 23rd Street. Make a left
turn on Second Avenue. Take Second Avenue to
14th Street. Make a right turn. Pratt is located
between Sixth and Seventh Avenues on the south
side of the block, closest to Seventh Avenue.
From Brooklyn
Via Brooklyn Bridge, north on FDR Drive
Drive to Houston Street exit. Take left on Houston
to Third Avenue. Make a right. Take Third Avenue
to 14th Street, and make a left turn. Pratt is
located between Sixth and Seventh Avenues
on the south side of the block, closest to
Seventh Avenue.
From New Jersey
Take the Holland Tunnel to Manhattan. Take
Exit 3 toward Brooklyn, merge onto Beach St./W.
Broadway and continue to follow W. Broadway.
Make a slight left onto Sixth Avenue/Avenue of
the Americas. Turn left onto 14th Street. Pratt
is located between Sixth and Seventh Avenues
Seventh Avenue.
From Westchester
Take the West Side Highway South. Make a left
turn onto 14th Street. Pratt is located between
Sixth and Seventh Avenues on the south side of
the block, closest to Seventh Avenue.
Parking in Manhattan
Limited street parking is available on weekdays
and weekends. Parking is available for a fee in
nearby garages.
By Bus
If uptown, take the M20 to 14th Street/Eighth
Avenue. Or take the M6 to 14th Street/Avenue of
the Americas. If downtown, take the M20 to 14th
Street/Seventh Avenue.
Or take the M6 to 14th Street/Union Square. Take
crosstown buses or the L train to travel east or
west on 14th Street. Pratt is located between Sixth
and Seventh Avenues on the south side of the
block, closest to Seventh Avenue.
By PATH Train
From New Jersey
Take the PATH train to 14th Street in Manhattan.
Exit at Sixth Avenue and 14th Street. Pratt is
located between Sixth and Seventh Avenues
Seventh Avenue.
By Subway
Take the G train from the Clinton-Washington
station. Go two stops to Hoyt-Schermerhorn.
Change for the A or C train, and take it to 14th
Street/Eighth Avenue. Walk east, or take the
crosstown buses or L train for eastbound travel.
Pratt is located between Sixth and Seventh
Avenues on the south side of the block, closest to
Seventh Avenue.
By Bus and Subway
Take the M38 bus to Flatbush Avenue. Exit at
DeKalb Avenue station. Take the N, R, Q or W train
to 14th Street/Union Square. Walk west, or take
crosstown buses, or the L train for westbound
travel. Pratt is located between Sixth and Seventh
Avenues on the south side of the block, closest to
Seventh Avenue.
A
Academic calendar, 325–331
Academic integrity code, 302–303
Academic policies. see Registration and
academic policies
Academic standing, 300
Academic Year format, Creative Arts Therapy
program, 80, 81
Accreditation. see also Teacher certification
Accreditation Statement, 21
School of Architecture, 21, 29
School of Art, 72, 80
School of Design, 21
School of Information and Library Science,
21, 136
School of Liberal Arts and Sciences, 21
Activities Resource Center (ARC), 13, 310
Administration, 323–324
Admission requirements, 251–261
applications, 251–253, 259–260
obtaining information about, 4
readmission, 260–261
School of Architecture, 29, 47, 63, 253–255
School of Art, 72, 77, 81, 84, 88, 97, 255–257
School of Design, 111, 115, 128, 257–258
142, 145, 147, 148, 258
School of Liberal Arts and Sciences, 159,
162, 166, 259
transfer credits, 261, 291–292
transfer students, 261
Advanced Certificates
Archives, 147
Art and Design Education, 72, 97
Library and Information Studies, 148
Library Media Specialist Program, 142, 147–148
Museum Libraries, 147
Museum Studies, 154
American Art Therapy Association, Inc., 21, 80
American Dance Therapy Association, 21, 80
American Library Association, 21, 136
Applications
credentials needed for, 252–253, 259
deadlines for, 251–252
international applicants, 252, 259, 260
international applicants, from China, 253
notification and deposit, 260
Architecture, School of, 27–65
accreditation of, 21, 29
admission requirements, 29, 47, 63, 253–255
Architecture (department), 33–40
City and Regional Planning, 51–53
curriculum descriptions, 174–176
degrees offered, 27, 29, 31, 33, 34, 49, 55, 173
Facilities Management, 62–65
faculty, 190–200
general information, 27–29
(GAUD), 31–32
Historic Preservation, 58–61
professional standards, 29
Development, 46–49
scholarships, 268–270, 277–279
Study Abroad programs, 16–17
Sustainable Environmental Systems, 54–57
Urban Design, 41–45
Art, School of, 66–103
accreditation, 21, 72, 80
admission requirements, 72, 77, 81, 84, 88,
97, 255–257
Art and Design Education, 70–73
Arts and Cultural Management (ACM), 74–77
Creative Arts Therapy, 78–81
Dance/Movement Therapy, 79-81
degrees offered, 68, 71, 72, 76, 79, 80, 81,
84, 87, 95, 96, 97, 173
Design Management (DM), 82–85
Digital Arts, 86–93
faculty, 200–226
Fine Arts, 94–103
general information, 67
refundable deposits (Fine Arts Studio), 283
(see also Tuition and fees)
Study Abroad programs, 16-19
Advanced Certificate, 72, 97
faculty, 200–201
Arts and Cultural Management (ACM), 74–77, 202
Art Therapy and Creativity Development, 79, 80
Art Therapy with Special Needs Children, 80
Assistantships, 264
Auditing courses, 283
B
Banking facilities, 284
Billing, 285
Board of Trustees, 321
Brooklyn campus
cultural partnerships, 16
description, 1–5
directions to, 333
libraries, 317, 319
map, 332
Schools and departments (list), 22–23
tours, 4, 251
Brooklyn Law School, 49, 144
Bulletin, changes to, 304
C
Calendar, academic, 325–331
Campuses. see Brooklyn campus; Manhattan
campus
Campus Ministry, 307
Career support, 8
Center for Career and Professional Development
(CCPD), 311–312
Center for Sustainable Design Studies (CSDS), 7, 21
Certificate programs
Advanced Certificate in Archives, 147
Information Studies, 148
Advanced Certificate in Library Media
Specialist Program, 142, 147–148
Advanced Certificate in Museum Libraries, 147
Advanced Certificate in Museum Studies, 154
Certificate in Art and Design Education
(M.F.A./Post-Baccalaureate), 96
Intensive English Program (IEP), 151, 170, 171
Certification. see Teacher certification
Children and Young Adult Librarianship, 142
China, applicants from, 253
City and Regional Planning, 51–53, 196–197
College.net, 252
Combined degrees and certificates
City and Regional Planning (M.S./J.D.), 49
Digital Arts and Information (M.S.L.I.S./M.F.A.),
145
Fine Arts/History of Art (M.S./M.F.A.), 96
History of Art, Design, and Architecture
(M.S.L.I.S./M.S.), 145
History of Art and Design (M.S./M.F.A.), 154
History of Art/Art and Design Education
(M.S./M.F.A.), 95, 96
Library and Information Science and Law
(M.S.L.I.S./J.D.), 144, 145
overview of all degrees, 173
Commission on Higher Education of the Middle
States Association of Colleges and Schools, 21
Communications Design, 108–117, 217–219
336
Computer facilities, 171
Copenhagen, Study Abroad programs, 17
Council for Interior Design Accreditation, 21
Course offerings, organization of, 297
Creative Arts Therapy, 78–81, 202–204
Credits
portfolio/work experience credit, 292
semester hour credits, 297–298
transfer credits, 261
Curricula
School of Architecture, 174–176
School of Art, 176–181
School of Design, 182–183
School of Information and Library
Science, 184–187
School of Liberal Arts and Sciences, 187–189
D
Dance/Movement Therapy, 79-81
Dance Therapy Association, 80
Deadlines, for applications, 251–252
Deferral, 261
Degrees. see also Advanced Certificates;
Certificate programs; Combined degrees and
certificates; Curricula; Teacher
certification; individual names of
Master degrees
admission requirements, by degree, 253–259
degree audits, 301
graduation and degrees, 303–304
overview, 173
Denmark, Study Abroad programs, 17
Department of Student Involvement, 305
Deposit, for enrollment, 260
Design, School of, 105–133
accreditation, 21
admission requirements, 111, 115, 128, 257–258
Communications Design, 108–117
degrees offered, 109–115, 119, 122, 127, 128, 173
Industrial Design, 118–125
Interior Design, 126–133
Study Abroad program, 122
Study Abroad programs, 16-17
Design Management (DM) (School of Art),
82–85, 204–205
Digital Animation and Motion Arts
(School of Art), 88
Digital Arts (School of Art), 86–93, 205–207
Digital Humanities (School of Information
and Library Science), 142
Digital Imaging (School of Art), 88
Directions
Brooklyn campus, 333
Manhattan campus, 334
map (Brooklyn campus), 332
Disability Resource Center, 261, 313–314
Discrimination, 261
337
E
Email accounts, 290
Employment program, for students, 264
England, Study Abroad programs, 16, 149
English language proficiency
international applicants, 252–253, 260
Enrollment verification letters, 293
Exhibitions, 8
F
Facilities Management, 62–65, 199
Faculty
Architecture, 190–194
Art and Design Education, 200–201
Arts and Cultural Management, 202
City and Regional Planning, 196–197
Creative Arts Therapy, 202–204
Design Management, 204–205
Digital Arts, 205–207
Facilities Management, 199
Fine Arts, 208–216
Historic Preservation, 200
History of Art and Design, 229–233
Industrial Design, 219–221
Interior Design, 222–226
Liberal Arts, 236–250
libraries, 319
Library and Information Science, 227–229
Media Studies, 233
Performance and Performance Studies, 234
Sustainable Environmental Systems, 198
Urban Design, 194–196
Writing and Tutorial Center, 250
Writing (School of Liberal Arts and
Sciences department), 235–236
Federal College Work-Study (FCWS), 264
Fees. see Tuition and fees
Fellowships, 264
Financial aid, 263–280
academic progress and pursuit, 266
assistantships/fellowships, 264
FAFSA, 263, 264, 265, 280
federal programs, 264–266
grant and scholarship programs, 263–264
instructions and schedule, 280
loan funds, 285, 286
out-of-state programs (scholarships), 267
restricted grants and scholarships, 268
scholarships, all Schools, 277–279
scholarships, by individual Schools, 268–277
scholarships, international students, 279–280
state education agencies, 267–268
student employment program, 264
United States Bureau of Indian Affairs Aid
to Native Americans Higher Education
Assistance Program, 267
Veterans Administration (VA) educational
benefits, 267
Global Innovation Design (GID), 122
Grade point average (GPA), 300
Grading system, 298–299
(GAUD), 31
Graduate Assistantships
Digital Arts, 88
Graduate Record Examination (GRE), 259
Grant programs, 263–264, 268. see also
Financial aid
peerTransfer for international students, 286
scholarships for, 279–280
TOEFL and IELTS scores, 252–253, 260
Internships
Arts and Cultural Management, 76
City and Regional Planning, 51
Communication Design, 109, 112
Creative Arts Therapy, 80, 81
Digital Arts, 87
Industrial Design, 119, 122
overview, 8
Pratt Institute internship program, 312
Development, 48
136, 149
zero-credit internships, 284
Italy, Study Abroad programs, 16–19, 149, 154
H
J
Fine Arts, 94–103, 208–216, 283
Florence, Study Abroad programs, 16, 149
France, Study Abroad programs, 17
Free Application for Federal Student Aid
(FAFSA), 263, 264, 265, 280
G
Health and Counseling Services Center, 314–315
Health Information (School of Information
and Library Science), 145
Health requirements, for enrollment, 260
Historic Preservation, 58–61, 200
History of Art and Design (School of Liberal
Arts and Sciences), 152–155, 170, 229–233
(M.S./M.F.A.), 95, 96
Housing, 81, 307–310
I
Identification cards and services, 287, 290
IELTS, 252–253, 260
I-20 forms, 259
Industrial Design, 118–125, 219–221
Information and Library Science, School of
(SILS), 134–149
accreditation, 21, 136
admission requirements, 142, 145, 147, 148, 258
certificate programs, 147–148
degrees offered, overview, 173
dual-degree programs, 145–147
faculty, 227–229
history of, 136
M.S.L.I.S. with Library Media Specialty (LMS)
program, 142, 147–148
program focus areas, 142–145
scholarships, 276–279
Study Abroad programs, 149
Information Policy and Society (IPS), 141
Interactive Arts (School of Art), 88
Interior Design, 126–133, 222–226
Internal Revenue Service (IRS), 285
International students
from China, 253
forms required for enrollment by, 259
Office of International Affairs, 316
Japan, Study Abroad programs, 17, 122
Juris Doctor (J.D.) combined degrees
Library and Information Science and
Law (M.S.L.I.S./J.D.), 144, 145
Master of Science in City and Regional
Planning and Law (M.S./J.D.), 49
K
Knowledge Organization and Cultural
Heritage, 144
L
Laboratories, 171
Late payment, 285, 286
Law Librarianship, 144
Leave of absence, 295
Liberal Arts and Sciences, School of, 151–171
accreditation, 21
admission requirements, 159, 162, 166, 259
degrees offered, 154, 157–159, 161, 165–166,
169–170, 173
faculty, 229–250
History of Art and Design, 152–155
Media Studies, 156–159
Performance and Performance Studies,
160–163
resources, 170–171
scholarships, 277–279
Study Abroad programs, 154
Writing, 164–167
Libraries, 8, 317, 319
Literacy, Education, and Outreach (LEO), 141
Loans. see also Financial aid
receiving loan funds, 285, 286
Stafford loans, 265
London, Study Abroad programs, 16, 149
Low Residency format, Creative Arts Therapy
program, 80, 81
M
Manhattan campus
cultural partnerships, 16
description and tours of, 4
directions to, 334
libraries, 317, 319
Map (Brooklyn campus), 332
Master in Industrial Design (M.I.D.), 119, 122
Master of Architecture (M. Arch.), 29, 33
Master of Arts in Media Studies, 157–159, 169
Master of Fine Arts (M.F.A.)
Digital Arts, 87-93
Digital Arts and Information (M.S.L.I.S./
M.F.A.), 145
Fine Arts, 95, 96
History of Art and Design (M.S./M.F.A.), 154, 170
(M.S./M.F.A.), 95, 96
Interior Design, 127, 128
Performance and Performance Studies, 161-162,
170
Writing, 165–166, 169
Master of Professional Studies (M.P.S.)
Arts and Cultural Management, 75-78
Art Therapy and Creativity Development, 79, 80
Art Therapy with Special Needs Children, 80
Design Management, 83-85
Master of Science in Library and Information
Science (M.S.L.I.S.)
Digital Arts and Information (M.S.L.I.S./
M.F.A.), 145
(M.S.L.I.S./M.S.), 145
Library and Information Science and Law
(M.S.L.I.S./J.D.), 144, 145
M.S.L.I.S. program, 140–141
M.S.L.I.S. with Library Media Specialty (LMS)
program, 142, 147–148
Master of Science (M.S.)
Architecture (First-Professional), 27, 29, 33, 37
Architecture (Post-Professional), 27, 29, 34
Art and Design Education, 71, 72
City and Regional Planning (combined
M.S./J.D.), 49
Dance/Movement Therapy, 79, 81
(M.S.L.I.S./M.S.), 145
History of Art, Design (M.S./M.F.A.), 154, 170
(M.S./M.F.A.), 95, 96
Package Design, 109, 112
Development, 47
Meal plan, 310
Media Studies, 156–159, 169, 233
Merit-based scholarships, 251
My.Pratt access, 287, 290, 296
N
National Architectural Accrediting Board
(NAAB), 21, 29
National Association of Schools of Art and
Design (NASAD), 21
Network for Emerging Architectural
Research (NEAR), 31
New Hampshire, Creative Arts Therapy
program in, 81
New York City. see also Brooklyn
campus; Manhattan campus cultural
partnerships, 16
New York City Environmental Justice
Alliance (NYC-EJA), 49
New York State. see also Teacher certification
Department of Education accreditation, 21
New York State Education Department
certification, Library Media Specialty (LMS)
program, 142, 147–148
Nonmatriculated students, 261
O
Office of Residential Life and Housing, 13,
306–308, 307–310
Office of Student Affairs, 305. see also
Student affairs
Orientation, for new students, 306
P
Package Design, 109, 112–117
Parent module (My.Pratt), 296
Paris, Study Abroad programs, 17
Payments, 285
PeerTransfer, 286
Performance and Performance Studies, 160–163,
170, 234
Personal data, changes to, 295
Plagiarism, 303
Portfolio/work experience credit, 292
Pratt Center for Community Development,
7, 28, 48, 51
Pratt Institute. see also individual names of
centers; individual names of departments;
individual names of offices; individual names
of Schools
academic calendar, 325–331
alumni of, 15
Bulletin, 304
email accounts, 287, 290
history of, 1, 4, 11
internship program, 312
libraries, 317, 319
My.Pratt access, 287, 290, 296
rankings of, 3
students of, 13
338
Pratt Prepaid Discover Debit card, 286
Pratt Student Employment Program, 264
Preservation/Conservation (School of
Information and Library Science), 144
Professional certification, in Art and Design
Education (M.S.), 72
Development (PSPD), 17, 46–50, 55, 59, 64
Project for Public Spaces (PPS), 49
R
RATE, 21
Readmission, 260–261, 295
Refund policies, 283, 284
Registration and academic policies, 289–304
academic calendar, 325–331
academic initiatives, 7
academic integrity code, 302–303
academic standing, 300
changes and withdrawals, 293–295
degree audits, 301
email accounts, 290
enrollment verification letters, 293
grade point average, 300
grading system, 298–299
graduation and degrees, 303–304
identification cards and services, 290
My.Pratt access, 290
organization of course offerings, 297
parent module, 296
personal data changes, 295
portfolio/work experience credit, 292
preferred name of students, 295
repeated courses, 299
residency requirement, 291
semester hour credits, 297–298
student registration, 290
student status, 293
thesis enrollment, 301–302, 304
transcripts, 296–297
tuition and fee payment, 286
Veterans Administration, 291
Repeated courses, 299
Research and Assessment, 144
Residency requirement, 291
Returned checks, 285
Rome, Study Abroad programs, 16–17
S
Scholarships. see also Financial aid
for all Schools, 277–279
for individual Schools, 148, 268–277
for international students, 279–280
merit-based, 251
out-of-state programs, 267
School of Architecture. see Architecture,
School of
School of Art. see Art, School of
School of Design. see Design, School of
School of Information and Library 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, 297–298
Spatial Analysis and Visualization Initative (SAVI), 49
Special students, 261
Stafford loans, 265, 285
Student affairs, 305–316
athletics and recreation, 310
Campus Ministry, 307
career and professional development, 311–312
Department of Student Involvement, 305
Disability Resource Center, 261, 313–314
Health and Counseling Services Center, 314–315
new student orientation, 306
Office of Student Affairs, 305
parent and family programs, 306
Pratt Institute internship program, 312
Residential Life and Housing, 307–310
student organizations, 306–307
Study Abroad programs, 16–19, 149, 154
Summer (SCP), Intensive English Program
(IEP), 151, 170, 171
Sustainable Environmental Systems, 54–57, 198
T
Teacher certification
Advanced Certificate in Art and Design
Education, 72, 97
Library Media Specialty (LMS) program,
142, 147–148
M.F.A. in Communications Design, 112
Technology, 8
Test of English as a Foreign Language
(TOEFL), 252–253, 260
Thesis enrollment, 301–302, 304
Title IX statement, 261
Tokyo, Study Abroad programs, 17, 122
Transcripts, 296–297
Transfer students
residency requirement, 291
Trustees, board of, 321
Tuition and fees, 281–287
adjustments, 285
application notification and deposit, 260
auditing courses, 283
banking facilities, 284
billing and payment, 285, 286
course withdrawal fees, 284
graduate fees, 282–283
identification cards and services, 287
IRS filing, 285
loan funds, 285, 286
meal plan, 310
peerTransfer for international students, 286
Pratt email accounts and My.Pratt access, 287
Pratt Prepaid Discover Debit card, 286
refundable deposits (Fine Arts Studio), 283
refund policies, 283, 284
registration, 286, 287
returned checks, 285
room rates, 309
zero-credit internships, 284
Turkey, Study Abroad programs, 16, 17
U
Undergraduate preparation, deficiencies in, 259
United States Bureau of Indian Affairs Aid to
Native Americans Higher Education
Assistance Program, 267
Urban Design, 41–45, 194–196
User Experience (UX), 144
V
Venice, Study Abroad programs, 19, 154
Vericant, 253
Veterans Administration (VA)
educational benefits, 267
registration and academic policies, 291
W
Withdrawals, 261, 293–295
Work experience credit, 292
Writing
Writing and Tutorial Center, 151, 171, 250
Writing (School of Liberal Arts and Sciences
department), 164–167, 169, 235–236
Z
Zero-credit internships, 284