20 17 PRATT INSTITUTE Undergraduate Bulletin 2016-2017

Transcription

PRATT INSTITUTE
PRATT INSTITUTE
Undergraduate Bulletin
2016-2017
Cover concept and imagery: The abstract
image of a painting by Carlos Cittadini
(B.F.A. ’16) was created in camera using an
analog-inspired approach. The original image
of Cittadini’s artwork, which appears on Page
95, was re-photographed with a macro lens
through a layer of transparent material, a
process that aptly reflects the interdisciplinary
approaches that can be explored at Pratt
Institute. The splatters of gold foil stamping
are shapes and outlines extracted from the
artwork. Photographic variations of Cittadini’s
artwork also appear on the quote pages
of the bulletin. Photos by Daniel Terna in
collaboration with Rory King
PRATT INSTITUTE
2016-2017
Visit Pratt
All prospective students
are encouraged to visit Pratt.
Here’s how:
Guided Campus Tours
Guided campus tours are scheduled
Mondays and Fridays at 10 AM,
12 PM, and 2 PM, and Tuesdays and
Thursdays at 10 AM and 2 PM.
Campus tours can be scheduled online
at www.pratt.edu/visit.
Call our Visit Coordinator at
718.636.3779 or 800.331.0834
Contents
Office of Admissions
13
About Pratt Institute
The Office of Admissions is open
151 School of Liberal Arts
and Sciences
weekdays from 9 AM to 5 PM from
41
School of Architecture
155 Critical and Visual Studies
September through May and from
47
Architecture
159 History of Art and Design
9 AM to 4 PM during June, July,
55
Construction Management
163 The Writing Program
59
School of Art
and August.
165 Classes in the Liberal Arts
Pratt Institute
63Foundation
171 Academic Degrees Overview
Office of Admissions
69 Art and Design Education
172 Curricula
200 Willoughby Avenue
73
Associate Degree Programs
196 Undergraduate Minors
Myrtle Hall, 2nd Floor
81
Digital Arts
200 Faculty
Brooklyn, NY 11205
87
Film
263 Undergraduate Admissions
93
Fine Arts
277 Financial Aid
tel: 718.636.3514 or 800.331.0834
101 Photography
fax: 718.636.3670
to arrange a portfolio review or email
us at visit@pratt.edu.
Web
Visit Pratt through our home page on
the Web. Our address is www.pratt.edu.
301 Tuition and Fees
309 Registration and Academic 111 School of Design
Policies
115 Foundation
329 Student Affairs
119 Communications Design
343 Libraries
127 Fashion Design
345 Libraries Faculty
135 Industrial Design
347 Board of Trustees
143 Interior Design
349 Administration
351 Academic Calendar
359 Directions
361 Index
Produced by the Pratt Institute Office
of Communications and Marketing
Unless otherwise indicated, all images of art,
design, and architecture are of work created by
students while studying at Pratt.
© 2016 Pratt Institute
Campus photography: © William Abranowicz;
additional photography by Josh Gerritsen,
Amanda Jasnowski, Paul Mpagi Sepuya,
Alexander Severin, Peter Tannenbaum,
Daniel Terna, or provided by the departments
and individual artists.
This publication has been edited for accuracy
at the time of publication. Information contained
herein is subject to change.
Printed by Conceptual Litho Reproductions
Opening Page: Students sketch in the
Sculpture Park
Previous Spread: Pratt’s Brooklyn campus
We’re standing at the
convergence of five paths
at the grassy west end of
the Brooklyn campus. Every
morning between 8 AM and
10 AM, there’s a parade of
people hurrying to class with
six-foot canvases, architectural
models, and bulging black
portfolio cases. Some have
worked through the night to
make a morning deadline.
Left: Students walking to class on
Brooklyn campus
The variety and ingenuity
of work in this gallery with
moving walls is extraordinary.
One student hauls a chair
with tusk-like arms covered
with protective plastic.
An upside-down self-portrait
goes by, clutched by its rightside-up creator. A large glazed
ceramic piece streaked with
glinting metal inches toward
its destination, carried by two
breathless students. A small
skyscraper rolls by on a dolly
pushed by a student whose
nose is buried in Tolstoy’s
shorter works. We’re tempted
to pause and enjoy the show,
but we’re late for Interior
Design class.
Left: Student walking to class on
Brooklyn campus
The class is a “pin-up”
critique, and when you walk
into the high-ceilinged,
light-flooded studio, you
immediately discover where
the term came from.
Every square inch of the
white homasote walls appears
to be punctuated with tiny
pinholes—that is, every square
inch that is not currently
covered by student plans,
designs, carpet samples, and
paint chips push-pinned to the
walls, awaiting scrutiny. Many
rooms on campus are like this:
pocked with reminders of the
hundreds of critiques where
students put up their best
work, and other students and
teachers try to find in the
work as many flaws as the wall
has holes.
No one notices as we take
a seat at the back of the class.
The first pin-up has been
under way for five minutes,
and all eyes are riveted on the
work. “That door,” says one
student in the class, leaning
out of his seat to point more
precisely at the design, “it
looks like it’s on the second
floor, but what you just said
would put it on the first.”
“Look at the detail,”
responds the door’s creator.
“It’s actually on a mezzanine.”
The professor chimes
in, “Isn’t a mezzanine going
to cause a problem with
traffic flow?”
“What’s the peak flow
through that door?” calls out
another student.
“I’m not sure—maybe 40
to 50 people per minute,” says
the original designer.
Opposite: Students in class
Pages 6-7: Brooklyn campus
“That’s not just a trafficflow problem; that’s a bottle
neck!” says the original
questioner.
“That’s not just a bottle
neck,” says the professor;
“that’s a death trap!”
Everyone laughs. But soon
the door detail is pulled off
the wall by its creator with a
self-deprecating, “Hey, don’t
worry; it’s biodegradable.” She
replaces it with a sketch for
a new, more accommodating
doorway, improvised on the
spot with a little help from
her friends.
Later, strolling down the
High Line in Chelsea, the city’s
downtown gallery district, we
note the works of three Pratt
faculty members on exhibit.
“I’m down here all the time
to see what my professors are
up to,” says a Pratt sophomore
who accompanies us. “This
is where I want to be. When
I graduate, this is the world I
want to work and live in. If you
want to feast, New York City is
the ultimate buffet.”
We stop at an outdoor
café. “Now look at this scene
developing across the street.”
On the sidewalk between a
gallery of tribal art and one of
modern art, an artist is laying
out his own six-square-foot
abstractions. “I just take it
all in, and when I get inspired
again, I retreat to my beautiful
and peaceful oasis in Brooklyn
and paint.”
The sidewalk artist erects
a small sign: “This is art, direct
to the public. No middleman.”
“This is art,” says our
companion. “This is New
York City.”
Opposite: Film/Video building
Why do so many prestigious
artists, designers, and writers
choose to teach at Pratt?
For some, it’s the passion
for teaching itself. For others,
it’s the ability to use Pratt as a
laboratory to test their latest
theories. And for others, it’s
to water the soil that helped
them grow into leaders in their
fields. After all, many are Pratt
graduates themselves.
The first art teacher at
Pratt was a pupil of Cézanne’s;
the second was a student
of Matisse’s. More than 100
years later, the legacy of
masters working with students
not only persists at Pratt, but
also grows stronger.
In addition to teaching
at Pratt, many of the current
faculty members are working
professionals—leaders in
their fields who design the
automobiles we drive, the
clothing we wear, and the
buildings in which we live—
and who pass on knowledge
and expertise to the
generation that will shape the
world of tomorrow.
Left: Brooklyn campus
13
Brooklyn, New York—home to more
A wide variety of majors and
artists than any other city in the
concentrations—from traditional arts to
world, and home to one of the best
the most contemporary digital arts and
art, architecture, and design schools
design—enables students to explore all
in the world.
their interests with electives in different
departments. As a result, their work
Founded in 1887, Pratt Institute
becomes richer, more complex, and
prepares its 3,196 undergraduate and
more interesting. Pratt’s programs are
1,364 graduate students for rewarding
consistently ranked among the best in
and successful careers in art, design,
the country. Pratt’s faculty and alumni
architecture, information and library
include the most renowned artists,
science, and liberal arts and sciences.
designers, and scholars in their fields.
With a campus in Brooklyn, a
Its programs encourage collaboration
borough of New York City in the midst
and the development of creative
of a renaissance, and a campus in
strategies for design thinking.
Manhattan, the art and literary capital of
As one of the world’s multicultural
the world, Pratt offers students access
epicenters for arts, culture, design,
to the resources of both—museums,
technological innovation, and business,
galleries, restaurants, vintage shops,
New York City provides Pratt students
and more. Its state-of-the-art facilities
with an exceptional learning environ
ensure that students have the best
ment that extends beyond the Pratt
possible equipment, materials, software,
campuses. Providing access to design
and space for their work.
firms and art galleries where students
The Institute’s landscaped campus
may intern, and to museums and
in the historic Clinton Hill neighborhood
concert halls where they enjoy all of the
of Brooklyn is home to all of the
city’s cultural offerings, Pratt’s New York
four- and five-year programs except
City location is unparalleled.
Construction Management, which is
located on the Manhattan campus,
where all of the Associate Degree
programs are also located.
Opposite: Students in front of
the School of Architecture
Students may also work towards a
your career, so that you can lead a
Pratt bachelor of fine arts at PrattMWP,
fulfilling and productive life earning a
the Institute’s extension campus at
living doing something you love.
Munson-Williams-Proctor Arts Institute
in Utica, New York. After two years there,
How Does Pratt Do That?
students may transfer to the Brooklyn
• A choice of more than 25 under
campus to complete their four-year
graduate majors and concentrations
degree. PrattMWP offers art and design
in four schools: Architecture, Art,
education (teaching art), fine art,
communications design, photography,
and an “undecided” option.
As a young artist, designer, or
writer, you are looking for a school that
Design, and Liberal Arts and Sciences.
• A world-class faculty of successful
working professionals who connect
students with internships and jobs.
• A beautifully landscaped 25-acre
recognizes your talent and potential
Brooklyn campus just minutes
and challenges you to grow as a
from Manhattan with historic
creative individual. You are seeking an
buildings, tree-lined green spaces,
environment that is both challenging
a contemporary sculpture park, and
and inspiring, where education is tied
outstanding facilities.
to real-world experience—access to
all the culture that New York City has
to offer, internships in award-winning
firms and cutting-edge galleries, and the
opportunity to study abroad. You want
• A Manhattan campus in the heart of
Chelsea’s art district.
• An upstate New York extension
campus, PrattMWP.
• Campus housing, where 94 percent
to know that, upon graduation, you will
of freshmen and 51 percent of
benefit from an extensive network that
upperclassmen choose to live.
will connect you with jobs throughout
Opposite:
Opposite: Students relaxing on
Brooklyn campus
15
17
Why Is Pratt the First Choice of
So Many Students?
#1Fine Art and Studio Programs
(Ranked first nationally by
USA Today, 2015)
#2Interior Design
(Ranked second nationally and second
regionally by DesignIntelligence, 2015)
#2Industrial Design
(Ranked second regionally by
DesignIntelligence, 2016)
#2Animation
(Ranked second regionally, seventh
among private schools and colleges,
and eighth nationally by Animation
Career Review, 2015)
#3Fashion Design
(Ranked third by Fashionista)
#5Art and Design
(Ranked fifth in the world for art and
design out of 50 colleges by QS World
University Rankings by Subject, 2015)
#7Graphic Design
(Ranked seventh by Animation Career
Review, 2015)
#9Architecture
(Ranked ninth nationally by
DesignIntelligence, 2015. The School of
Architecture was ranked among the top
such schools in the world by Archifund.)
Film
(Ranked one of the country’s 10 best
colleges for film by USA Today, 2014)
Consistently High Rankings
Ryerson Walk draws a path through green
Ranked among the top design schools
lawns and mature trees surrounded by
by Bloomberg Businessweek, Pratt
125 years of architectural history.
offers undergraduate and graduate
Many of the Institute’s 19th-
programs that are consistently ranked
century buildings have been designated
among the top 10 or 20 in the country
national landmarks, including the 1897
and the world.
Renaissance Revival-style Caroline Ladd
Payscale ranked Pratt first among
Pratt House, which serves as the official
the best art and design schools for the
house of the Pratt president and several
midcareer salaries of graduates.
students. The Pratt Library, which was
For 2014, Pratt was ranked #1 in
built in 1896 in a similar style, boasts an
the country by Global Language Monitor
interior designed by the Tiffany Glass &
in the Art, Design, and Music School
Decorating Co.
category.
Pratt was also recognized as
Beyond this rich heritage, Pratt
also has several distinctly modern
one of the country’s most environ
buildings that have been constructed
mentally responsible colleges in The
in the past decade. The 26,000-square-
Princeton Review’s 2013 Guide to 322
foot Higgins Hall Center Section, de
Green Colleges.
signed by Steven Holl Architects and
Rogers Marvel Architects for the School
Where creative minds
are inspired.
Brooklyn Campus
of Architecture, opened in 2006. The
following year marked the opening of
the 160,000-square-foot Juliana Curran
Terian Design Center—designed by
Hanrahan Meyers Architects, the firm
Located just 25 minutes from midtown
led by Thomas Hanrahan, dean of the
Manhattan, Pratt’s main Brooklyn
School of Architecture.
location is the only New York City art and
Myrtle Hall, a LEED Gold-certified
design school with a traditional campus.
building designed by the firm WASA/
A 25-acre landscaped oasis, Pratt
Studio A, was completed in 2010 and
provides a visual respite in a busy city.
is home to the digital arts programs.
Why Pratt?
18
The 120,000-square-foot building is
Clinton Hill is one of New York’s
Ways to Get to Know Pratt
a testament to Pratt’s commitment
premier Victorian-era neighborhoods
Request information at www.pratt.edu/
to sustainability.
and is listed on the National Register
request, and we’ll send you information
The entire 25-acre campus
of Historic Places. In part because
about events, deadlines, and programs
also comprises the celebrated Pratt
of Pratt, it boasts an extraordinary
based on your interests.
Sculpture Park, the largest in New York
number of creative artists, architects,
City, with sculptures by artists including
designers, illustrators, and sculptors
Visit: www.pratt.edu/visit
internationally renowned Richard
among its residents.
Email: admissions@pratt.edu
to Public Art Review, it is one of the
Manhattan Campus
Twitter: @prattinstitute
10 best campus art collections in the
Pratt’s Manhattan campus is located at
Facebook: Pratt Institute Admissions
United States.
144 West 14th Street, walking distance
Call: 718.636.3514 or 800.331.0834
Serra and Mark di Suvero. According
Pratt’s tree-lined neighborhood,
to Union Square, Chelsea’s art district,
Visit us, ask questions, show us your
Clinton Hill, has a history that is
and many other leading educational
work, and find out why Pratt is the first
intimately interwined with that of the
and cultural institutions. The seven-
choice for so many students. Schedule
Institute. A century ago, it was home
story, 80,000-square-foot property
your appointment online at www.pratt.
to the elite of Brooklyn. The expansive
offers state-of-the-art facilities within
edu/visit.
mansions lining Clinton Avenue belonged
a distinctive, turn-of-the-century
to the shipping magnates and mercantile
Romanesque Revival building. Pratt’s
Pratt Institute
princes of the Gilded Age. Charles
Manhattan-based programs benefit
Office of Admissions
Pratt, whose fortune derived from his
from the new campus’s cutting-edge
partnership with John D. Rockefeller
technology and its prime location.
in Standard Oil, started his Institute on
The Manhattan campus
family land just a few blocks from the
houses the School of Information;
family mansion.
the School of Continuing and
Professional Studies; the Associate
Degree programs; the graduate
programs in Design Management,
Arts and Cultural Management, and
Communications Design; and the
School of Architecture’s undergraduate
Construction Management program
and graduate programs in Facilities
Management and Real Estate Practice.
The library, exhibition space, and stateof-the-art computer labs support the
academic programs.
Page 16: Students in drawing class
Opposite: Brooklyn campus
Brooklyn, NY 11205
20
Why Pratt?
Where faculty and students
are at the center of creative
exploration and innovation.
Academic Initiatives
Tools for Tomorrow
Students and faculty move effortlessly
Internship and Career Support
Professional Faculty
Pratt’s over 1,000 faculty members
are award-winning scholars who
mentor their talented students to
achieve comparable success. They
are also working professionals in the
city’s creative sector, who bring to the
classroom their experience designing
buildings, creating ad campaigns, and
building furniture. The faculty represents
leaders in the art, design, architectural,
technology, and business communities.
These faculty members impart
to students the same high standards
upheld in their professional work.
With different views, methods, and
perspectives, they all share a common
desire to develop each student’s
potential and creativity to the fullest—
to turn out competent and creative
professionals who will shape the world
to come. Faculty serve as critical
connections when students are ready
for employment or internships.
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. Offering everything from state-ofthe-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:
At the Center for Sustainable
Design Strategies (CSDS), green design
principles are integrated into the
curricula. The Design Incubator for
Sustainable Innovation, a project of
CSDS, supports several graduating
students each year as they develop
design ideas into marketable products.
In Corporate-Sponsored Studios
and Projects, faculty members explore
new approaches to a design or business
problem while students gain real-world
experience. Partners have included
Barnes & Noble, Colgate-Palmolive,
General Mills, and West Elm.
At the Pratt Center for Community
Development, faculty, staff, and fellows
work for a more just, equitable, and
sustainable city for all New Yorkers by
empowering communities to plan for
and realize their futures.
Opposite: Student at work in the metal shop
The Center for Career and Professional
Development inspires, supports, and
educates students and alumni. The
Center offers career and internship
counseling, résumé and portfolio
assistance, industry mentoring,
professional development, workshops,
entrepreneurial support, and a lifelong
job search support system.
Pratt’s New York City location
provides a distinct advantage for students
looking for internships or job experience.
Qualified students are offered challen
ging on-the-job experiences in top art
galleries, publishers, and architecture
and design firms in both Manhattan and
Brooklyn, giving them firsthand work
experience as well as credit toward their
professional degree.
Six months after graduation,
92 percent of Pratt’s graduates are
employed and 84 percent of those are
employed in their field. Preparing for
a fulfilling, meaningful, and productive
career and understanding emerging
trends and the global job market are
essential activities for Pratt students.
Why Pratt?
State-of-the-Art Technology
Libraries
Pratt’s computer labs and digital
The Pratt Library on the Brooklyn
output centers have the most current
campus is located in an 1896 landmark
equipment available. Computer labs
building with interiors by the Tiffany
offer computer workstations, color
Glass & Decorating Co. Collections
scanners, color and black-and-white
and services are focused on the visual
printers and plotters, digital and analog
arts, architecture, design, creative
output centers, digital photography,
writing, and allied fields. Additional
video and sound bays, multimedia
materials support the general education
video projection, and multiple servers.
curriculum. The library houses more
With access to everything from film
than 200,000 volumes of print
editing and digital animation to two-
materials, including more than 600
and three-dimensional rendering, all
periodicals, rare books, and the college
workstations feature the latest software
archives. The library also includes a
for the departments using them. Those
multimedia center housing nearly 3,000
working in the three-dimensional realm
film and video titles, as well as the Visual
have access to 3-D printers, laser
Resources Center, a collection of more
cutters, and CNC milling machines. Pratt
than 120,000 circulating architecture,
continually upgrades lab equipment as
art, and design digital images.
industry standards change.
The Pratt Manhattan Center Library
supports visiting researchers as well as
Exhibitions
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
the Pratt community. 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.
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
23
25
The History of Pratt
On October 17, 1887, 12 young people
The Institute’s success is based
climbed the stairs of the new “Main”
largely on Charles Pratt’s philosophy
building and began to fulfill the dream
of education, which revolutionized
of Charles Pratt as the first students
teaching by challenging the traditional
at Pratt Institute.
concept of academia as a purely
intellectual exercise. He created a
Charles Pratt, one of 11 children,
school where applied knowledge was
was born the son of a Massachusetts
emphasized and specific skills were
carpenter in 1830. In Boston, he joined
taught to meet the needs of a growing
a company specializing in paints and
industrial economy. Pratt Institute has
whale oil products. When he came to
been a pioneer in education since its
New York, he founded a petroleum
inception. Today, Pratt offers students
business that would become Charles
more than 25 undergraduate majors
Pratt and Company. The company
and concentrations—more than most
eventually merged with Standard
other art and design schools in the
Oil, the company that made John
country—and more than 25 master’s
D. Rockefeller his millions.
degree programs.
Pratt’s fortunes increased
The energy, foresight, and spirit
and he became a leading figure in
Charles Pratt gave to his dream remain
Brooklyn, serving his community
even today. Inscribed on the seal of the
and his profession. A philanthropist
Institute is his motto: Be True to Your
and visionary, he supported many of
Work, and Your Work Will Be True to You.
Brooklyn’s major institutions. He always
regretted, however, his own limited
education and dreamed of founding
an institution where pupils could
learn trades through the skillful use of
their hands. This dream was realized
when Pratt Institute opened its doors
more than 125 years ago. To this day,
members of the Pratt family are leading
supporters of the Institute.
Opposite: Charles Pratt, founder of the Institute
27
Pratt Students
Although Pratt students come from
Student Retention
Athletics and Recreation
all over the world, they share several
One of the best measures of student
Pratt’s athletic programs are based
characteristics. First, most have known
satisfaction is the percentage of
in the Activities Resource Center,
since childhood that they enjoy creating
freshmen who return the following fall.
which has a 200-meter indoor track,
things. Second, most enjoy inventive
Pratt’s retention rate is 87 percent,
five indoor tennis courts, basketball
problem solving both in and out of the
among the highest in the country among
and volleyball courts, a weight room,
classroom. Finally, most share a deep
private art schools. A recent survey of
dance/exercise rooms, and saunas.
desire to change the world and leave
Pratt students indicated that they were
Pratt is a member of the Hudson Valley
their imprint.
extremely satisfied with the quality of
Intercollegiate Athletic Conference.
their education.
Men’s and women’s varsity sports at
Pratt receives more than 6,800
applications for its freshman class of
Pratt include outdoor and indoor track,
620, enabling the admissions committee
Student Life
cross-country, basketball, volleyball,
to select an international student
Pratt students can choose from
and tennis. A complete intramural
body whose members have a wide
more than 60 student activities,
activities program includes dodgeball,
variety of backgrounds. Twenty-eight
including honor societies, clubs, sports,
flag football, floor hockey, soccer,
percent of the freshman class comes
the student-run school newspaper,
and table tennis.
from other countries, including China,
publications, or radio station. Students
Canada, Singapore, Thailand, Turkey,
regularly attend films, plays, lectures,
Living on Campus
and Korea. Seventy-seven percent of
art openings, and concerts—both on
Pratt is one of the few colleges in New
the undergraduate enrollment comes
campus and around New York City.
York City that offer on-campus housing.
from states other than New York, giving
These cultural outings play an essential
Ninety-four percent of our freshmen and
Pratt a truly national and international
role in the Pratt experience.
more than half of all students live on our
student body.
In addition to the residence halls
main Brooklyn campus in one of our resi
and cafeteria and cafés where students
dence halls. Students can choose to live
Pratt part-time, 100 percent of the
meet for meals, campus life is also cen
in a single room, a four-person suite, or
freshman class chooses to study
tered around the Student Union, the
a full apartment with one, two, or three
full-time, reflecting a high degree of
Library, the Schafler Gallery, and the
bedrooms. Seniors can apply to live in
commitment. The student body is
Activities Resource Center, where most
one of the campus’s recently renovated
composed of 4,560 undergraduate
sports and wellness activities take place.
historic townhouses. Various meal plans
and graduate students—33 percent
In warm weather, students often meet
are available for residential students.
men and 67 percent women.
and sit on the lawns amid the contem
Although it is possible to attend
porary sculptures that dot the campus.
Opposite: Students relaxing
on Brooklyn campus
29
Notable Alumni
What do the Chrysler Building and
William Boyer, designer of the classic
Sylvia Plachy, photographer
Scrabble have in common? Both were
Thunderbird
Charles Pollock, furniture designer
designed by Pratt alumni. Pratt has
Shawn Christensen, Academy Award
Paul Rand, graphic designer,
approximately 26,000 active alumni,
winner
created IBM logo
whose achievements are a testament
Tomie dePaola, children’s book author
Robert Redford, actor and director
to the soundness of the Institute’s
and illustrator
Robert Sabuda, illustrator
educational philosophy. Pratt alumni
Jules Feiffer, cartoonist and playwright
Stefan Sagmeister, graphic designer
have designed well-known and award-
Harvey Fierstein, playwright and actor,
David Sarnoff, president,
winning furniture, clothing, buildings,
Torch Song Trilogy
RCA Corporation
and commercials, as well as artworks
Steve Frankfurt, advertising innovator
Jeremy Scott, fashion designer
that are regularly exhibited in major
Bob Giraldi, film director
Tony Schwartz, creator,
museums and galleries.
Felix Gonzalez-Torres, installation artist
Alka-Seltzer commercial
Michael Gross, executive producer,
Annabelle Selldorf, gallery and
Ghostbusters
museum architect
Bruce Hannah, furniture designer
Robert Siegel, architect,
for Knoll, named Designer of the
Gwathmey Siegel Kaufman
Decade in 1990
Pat Steir, contemporary painter
Eva Hesse, sculptor and painter
and printmaker
Betsey Johnson, fashion designer
William Van Alen, architect,
Ellsworth Kelly, minimalist painter
Chrysler Building
Edward Koren, cartoonist,
Tucker Viemeister, product designer,
The New Yorker
Oxo Good Grips
Naomi Leff, interior designer
Max Weber, modernist painter
George Lois, advertising designer
Robert Wilson, avant-garde stage
Robert Mapplethorpe, photographer
director and playwright
Peter Max, pop artist
Carlos Zapata, residential and
Norman Norell, fashion designer
commercial architect
Roxy Paine, conceptual artist
Peter Zumthor, Pritzker Prize-winning
Beverly Pepper, sculptor
architect
Opposite: Chrysler Building
by William Van Alen
30
Cultural Partnerships in New York City
performance art and independent films
in fine arts, photography, art and design
The Institute has created partnerships
to stylized Shakespearean productions.
education, or communications design,
with a number of major cultural
Pratt students can attend BAM events at
institutions so students may take
discounted rates.
advantage of the vast opportunities
In Manhattan, Pratt students also
31
Minors and Combined Degrees
Study Abroad Programs
Architecture Summer Design
As Pratt is one of the largest art and
Pratt’s study abroad programs combine
Workshop in Berlin
so that in the junior year at Pratt they
design schools in the United States,
the Institute’s academic excellence
may specialize further with a major in
students interested in taking electives
with firsthand exposure to some of the
one of these areas.
in departments outside their majors
most vibrant international centers of
have a wealth of options. Additionally,
art, design, and architecture.
in Brooklyn and Manhattan. Students
enjoy visiting these institutions where
participate in collaborative work as part
admission fees are waived: Cooper
for the junior year with no application
Pratt offers minors in architectural
of their curriculum or simply have class
Hewitt, Smithsonian Design Museum;
process for a virtually seamless
theory and technology, art and design
visits. On their own, Pratt students may
The Frick Collection; the Museum
transition, or they may apply to transfer
education, art history, construction
visit free of charge.
of Arts and Design; The Museum of
elsewhere. Financial aid is awarded on
management, and interior design,
Modern Art; and the Whitney Museum
the basis of both financial need and
among others. Freshman and transfer
of American Art.
merit. For more information, go to
applicants may apply to the combined
www.mwpai.edu or contact the Office
undergraduate/graduate degree (B.F.A./
Close to Pratt’s Brooklyn campus,
the Brooklyn Museum has an
impressive permanent collection.
Students have the option to relocate
The Egyptian art collection is one
Affiliated Programs
of Admissions at 315.797.0000 ext. 2248
M.S.) in Art and Design Education. See
of the world’s finest. The museum’s
PrattMWP
or 800.755.8920 ext. 2248, or email
www.pratt.edu/academics for a full list
admissions@mwpai.edu.
of minors.
Delaware College of Art and Design
PreCollege Summer Program
Asian art collection, though modest
in size, is one of the more diverse
and comprehensive in the New York
metropolitan area. The museum puts
on several contemporary—and often
local—art exhibitions each year. The
“First Saturday” of each month is a day
of special events when the museum is
free to the community.
Open year-round, the adjacent
Brooklyn Botanic Garden features
one of the most impressive Japanese
gardens outside of 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 varie
ties of roses.
The Brooklyn Academy of Music,
popularly known as BAM, is at the
vanguard of theater offerings. You
can see productions ranging from
Pratt’s upstate extension campus in
Utica, New York, is the result of an
affiliation with the renowned MunsonWilliams-Proctor Arts Institute.
The Delaware College of Art and Design
Students take the first two years of
(DCAD) in Wilmington, Delaware, was
Pratt’s bachelor of fine arts in Fine Art,
established as a creative partnership of
Photography, Art and Design Education,
Pratt Institute and the Corcoran College
or Communications Design on Munson’s
of Art and Design, and is now an inde
beautiful central New York State campus
pendent two-year school of art and
and finish the last two years at Pratt
design. Established in 1998 through the
in Brooklyn. With state-of-the-art
generosity of the Wilmington business
facilities, a world-class museum, and
community, DCAD’s two-year Associate
spacious new student apartments in a
of Fine Arts (A.F.A.) program thoroughly
historic Victorian-era neighborhood,
prepares students for the option of
PrattMWP is a wonderful opportunity
applying for transfer into bachelor of fine
for students looking for a first-rate art
arts degree programs at Pratt as juniors.
education in a small-town setting at a
significantly lower cost.
First-year students take a set of
core courses, based on the first-year
curriculum at Pratt’s main campus, along
with required liberal arts courses. In the
second year, they begin to specialize
For more information, go to
www.dcad.edu or contact the Office
of Admissions at 302.622.8000.
Each summer, Pratt offers a collegelevel program for talented high school
students. Students are awarded college
credit and have an opportunity to build
their skills in intensive classes taught
by Pratt faculty. These programs provide
students with an ideal opportunity
to develop their portfolios in prepara
tion for application to college. Full
and partial scholarships are available.
See www.pratt.edu/precollege for
more information.
Architecture in Rome Semester Abroad
The program, open to fourth-year
architecture students, is split between
Brooklyn and Berlin, in partnership
with the Aedes Network Campus at its
studios in Berlin. It offers eight credits.
This program consists of a design studio
This program gives fourth-year under
and seminar, which frames the studio
graduate architecture students
problem. The design studio investigates
the opportunity to live and study
21st-century placemaking and scales of
in Rome during the spring semester.
intervention that differ radically from
The 18-credit curricular structure
the institution-driven urban design of
consists of seven core credits in
the past.
Architectural Design and Urban Studies.
The studios focus on the city’s ancient
and contemporary levels, public
spatial itineraries, and the larger issues
of contextual integration. Emphasis
is placed on drawing as a critical
tool for analytical consideration of an
urban area.
Architecture Summer Design
Workshop in Beijing
This program, open to fourth-year
architecture students, is split between
Brooklyn and Beijing, in partnership
with the Central Academy of Fine
Art in China. It provides a unique
opportunity for students to engage
with the complex challenges of mass
globalization. The five-credit design
studio is intended to expand the
awareness of students in balancing a
historic environment with new, emerging
technologies, and the three-credit
seminar is to support the research.
Pratt Summer in Paris
The Pratt Summer in Paris program
gives students the opportunity to earn
six elective credits studying literature
and writing. The program is housed
at the Cité International Universitaire
de Paris. Courses include The American
Writer in Paris as well as Surroundings,
a writing seminar focused on encounters
with provocative settings.
32
Fashion in Europe Summer Program
33
Design and Liberal Arts in Copenhagen
Exchange Programs
Semester Abroad
Pratt maintains school exchange
teams up with prominent art and design
Undergraduate third-year students
programs with some of the best schools
universities for a two-week program
in the Departments of Interior Design
of art, design, and architecture in
in fashion, product, textiles and/
and Critical and Visual Studies have
the world. Pratt currently exchanges
or accessories. Open to all students,
an opportunity to spend the spring
with 14 partner schools in 10
this program takes students on a
semester in Copenhagen studying at
countries. The Institute’s emphasis
collaborative learning journey with peer
the Danish Institute for Study Abroad.
on diversity and the global exchange
Every summer, the Fashion Department
of knowledge is reflected in the
institutions from around the globe.
It enriches students’ understanding
of the fashion world by exposing them
to fellow students and faculty abroad
and to the fashion industry outside
New York.
Architecture and Design in Copenhagen
Summer Program
Pratt in Venice Summer Program
In Venice, students may register for six
to eight credits, selecting from courses
in Printmaking/Drawing, Painting,
Art History of Venice, and Materials and
Techniques of Venetian Art. The program
takes place in June and July. It is
open to graduate and undergraduate
The Architecture and Design in
students. Pratt’s program is conducted
Copenhagen program gives architect
in collaboration with the Università
ure, communications design, fine arts,
Internazionale dell’Arte at the Villa Heriott
industrial design, and interior design
and the Scuola Internazionale di Grafica.
undergraduate and graduate students
Art history classes are held at various
the opportunity to earn seven credits
sites and alternate with lectures that
studying cutting-edge Scandinavian
provide a historical context for the visits.
design. The program lasts seven weeks,
In the graduate course in Materials and
running between mid-June and early
Techniques, students visit conservation
August. Teachers include masters in the
laboratories to learn from local experts
fields of architecture, furniture design,
and research specific aspects of materials
graphic design, interior architecture,
and process.
and urban design. Students also travel
to Sweden, Finland, Norway, and western
Contact Information
Denmark for field trips.
For more information on individual
programs, contact Maria Soares, director
of study abroad and international
partnerships, at msoares@pratt.edu,
or go to www.pratt.edu/academics/
academic-resources/study-abroad.
Opposite: Students take advantage of the
Institute’s many study abroad programs,
including Architecture in Rome.
selection of distinguished schools in the
Netherlands, Germany, England, Israel,
Italy, Australia, Japan, Korea, Scotland,
and Sweden. They include Central Saint
Martins, University of the Arts Berlin,
Gerrit Rietveld Academy, Bauhaus
University, and Musashino Art University.
Pratt students spend a semester at the
partner institution taking a program
of classes in fine arts and design or
architecture uniquely tied to the history
and traditions of the country. These
exchanges are arranged on a semester
basis for qualified students. For more
information, go to www.pratt.edu/oia.
If you are a Pratt student and
you are interested in an exchange
program, contact Maria Soares, director
of study abroad and international
partnerships, at msoares@pratt.edu.
34
Commitment to Sustainability
Regardless of discipline, our
Higher education has a unique role in
graduates must be able to integrate
America. No other institution in society
best sustainable practices into their
has the influence, the critical mass,
professional lives. Within each
and the diversity of skills needed to
program, Pratt students are offered an
successfully reverse global warming.
opportunity to learn to think in new ways
Pratt Institute is taking a leadership
about the relationship of designer to
role in sustainability for schools of art,
product, architect to built environment,
design, and architecture nationwide.
and artist to creative expression.
At this critical moment, when our
The Institute is continuously working to
environment and ways of life are at
reduce our carbon footprint, “greening”
risk, we have a responsibility to ensure
our dorms, facilities, and classrooms,
that each of our graduates has a deep
and creating an ongoing, living laboratory
awareness of ecology, environmental
from which our students can observe,
issues, and social justice.
participate, and experiment.
In The Princeton Review’s 2013
The Institute’s Center for Sustainable
Guide to 322 Green Colleges, Pratt was
Design Strategies (CSDS) is an active and
recognized as one of the country’s most
collaborative resource for sustainable
environmentally responsible colleges.
design at Pratt’s Brooklyn campus.
As an active participant in the American
Under the umbrella of CSDS, the Pratt
College and University Presidents’ Climate
Design Incubator for Sustainable
Commitment (ACUPCC), Pratt seeks to
Innovation provides ambitious students
be a carbon-neutral campus. In 2010,
and Pratt alumni with a stimulating
Myrtle Hall, a LEED Gold-certified building
place to launch sustainability-minded
designed by the firm WASA/Studio A,
businesses, providing office space,
was completed. The 120,000-square-
planning support, and access to shop
foot building is a testament to Pratt’s
facilities. For more information, go to
commitment to sustainability.
csds.pratt.edu.
35
Accreditation Statement
Pratt Institute is a coeducational undergrad
uate 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 Middle States Commission
on Higher Education, 3624 Market Street,
Philadelphia, PA 19104, 267.284.5000. The
Middle States Commission on Higher Education
is an institutional accrediting agency recognized
by the U.S. Secretary of Education and the
Council for Higher Education Accreditation.
Programs in art and design are accredited by
the National Association of Schools of Art and
Design (NASAD). Pratt is a charter member
of and accredited by the National Association
of Schools of Art and Design.
The School of Architecture’s Bachelor of
Architecture program is accredited by the
National Architectural Accrediting Board (NAAB).
(For more information on NAAB accreditation,
refer to the School of Architecture section,
page 41.)
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 pro
gram 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 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 Gold-certified administrative and
academic building
36
How a Pratt Education Works
37
Department
Programs and Emphasis
Internships
Study Abroad
Senior Project/Thesis
Architecture
Five-year (B.Arch.)
Available at firms throughout New York
rchitecture and Design in Copenhagen,
A
Architecture in Rome, Summer Design Workshop
in Beijing, Summer Design Workshop in Berlin,
Senior Project required
Thesis optional
Art and Design Education
Major (B.F.A.)
Combined B.F.A./M.S.
Minor (without certificate)
Post-baccalaureate certificate (pending
approval)
vailable in teaching, arts administration,
A
educational media and design, museums, special
education, and Pratt’s Saturday Art School
Thesis required
(combined degree only)
Communications
Design
Communications Design (B.F.A.)
Graphic Design
Illustration
Advertising Art Direction
vailable at advertising agencies and
A
design firms throughout New York
rchitecture and Design in Copenhagen, Pratt
A
Summer in Paris
Construction Management*
Four-year (B.P.S.)
Four-year (B.S.)
Two-year (A.A.S.)
Minor
vailable at construction firms throughout New
A
York/the tristate area
Critical and Visual Studies
Four-year (B.A.)
Available in a wide variety of cultural agencies
Design and Liberal Arts in Copenhagen, Pratt
Summer in Paris
Digital Arts
igital Arts (B.F.A.)
D
3-D Animation and Motion Arts
Interactive Arts
2-D Animation
vailable at design firms and production
A
companies throughout the tristate area;
summer internships available out of state
Fashion
Fashion Design (B.F.A.)
Required at a fashion design firm
Fashion in Europe, Pratt Summer in Paris
Film/Video
Film (B.F.A.)
vailable at commercial photo studios,
A
production companies, and other
major networks throughout New York
and other major cities
Thesis optional
Fine Arts
Fine Arts (B.F.A.)
Painting
Sculpture
Jewelry
Ceramics
Drawing
Printmaking
Available in a variety of areas
Pratt in Venice, Architecture and Design in
Copenhagen, Pratt Summer in Paris
History of Art
and Design
Major (B.A. and B.F.A.)
Minor
vailable at museums and galleries
A
throughout New York
Pratt in Venice, Pratt Summer in Paris
Thesis required
Industrial Design
Major (B.I.D.)
vailable at industrial design firms
A
throughout New York
A
Summer in Paris
Interior Design
Major (B.F.A.)
Minor
Available at interior design firms
throughout New York
A
Summer in Paris
Photography
Photography (B.F.A.)
vailable at commercial photo studios,
A
production companies, and major networks
throughout New York and other major cities
The Writing Program
Four-year (B.F.A.)
vailable at publishing houses, TV studios,
A
newspapers, magazines, off-Broadway theaters,
agents’ offices, advertising agencies, and other
arts and cultural institutions
Two-Year A.O.S.*
Graphic Design
Illustration
Digital Design and Interactive Media
Available at design firms in New York
Two-Year A.A.S.*
Graphic Design/Illustration
Painting/Drawing
Available in a variety of areas
*Located at the Manhattan campus.
38
New Student Orientation
Liberal Arts
A series of orientation activities is held
At least 25 percent of the credit
the week prior to the beginning of
requirements for all baccalaureate
classes for new freshmen and transfer
degrees are in the liberal arts
students. During this week, new
and sciences.
students become acquainted with Pratt,
the surrounding community and city, and
English
fellow students.
6 credits
Foundation
Cultural History
All freshmen take a first-year program
6 credits
that is intended to be an introduction
and a time to explore their interests.
Social Sciences
Architecture, Fashion Design, Critical
or Philosophy
and Visual Studies, Construction
6 credits
Management, and Writing all have their
own first-year programs. All other Art
Science
and Design freshmen take the same
6 credits
general Foundation program. See each
major for a description of the first-
Elective
year curriculum. Students in Associate
10 credits*
Degree programs take some Foundation
courses, as well.
*Or more, depending on the major
Opposite: Students in drawing class
41
Architecture
Dean
Thomas Hanrahan
Assistant to the Dean
Kurt Everhart
Pamela Gill
Director of Production Technologies
Mark Parsons
Office
Higgins Hall North, 1st Floor
Tel: 718.399.4304 Fax: 718.399.4315
Arch-dean@pratt.edu
www.pratt.edu/architecture
As you look out over your hometown
The School of Architecture is dedi
skyline, it would probably be easier
cated to maintaining the connection
to make a list of buildings that haven’t
between design theory and practice
involved Pratt graduates than a list of
and to contributing to the knowledge
those that have. No matter where you
necessary to fully understand the
live, you’ve probably gazed upon or
built environment.
been in a structure designed by a
Pratt alumnus.
The range of programs within
the school and the accessibility of
other programs within the Institute
Winston Churchill said, “We shape our
enable students to pursue a wide
buildings; thereafter they shape us.”
variety of interests within the field.
With this in mind, architecture becomes
Architecture students may take elec
the medium through which we account
tives in fine arts, illustration, com
for ourselves as a society and, at the
puter graphics, industrial design,
same time, attempt to leave an imprint
furniture design, interior design,
on civilization.
and photography, as well as electives
This brings up fundamental
questions regarding the role of the
architect in contemporary life. Should
in advanced architectural theory,
design, technology, and management.
The opportunity to learn from
architects be poets or pragmatists?
peers also is an invaluable part of the
At Pratt, the short answer is “both.”
educational experience. The student
The architect is given the ability to
body includes many foreign students,
design structures that materially contain
each of whom brings a different per
and protect us while they address our
spective to the study of architecture.
intellectual, aesthetic, and human needs.
The school encourages transfer stu
The balance between theory
dents to apply and will evaluate credits
and practice is critical and is gained
from other colleges, universities, or
only through rigorous exposure to
community colleges.
these diverse elements. The beauty
of Pratt is that it has, in the words of
one graduate, “reached critical, cul
tural mass,” where the diversity and
liveliness of discussions about the
how, what, and why of the profession
are always vigorous and interesting.
42
The Pratt student graduates from
Is there another city where mere
the program knowing architecture as
blocks separate “works in progress”
a discipline that gathers from the arts,
from a 17th-century Dutch church
sciences, and liberal arts to produce
house, or the most contemporary of
works of value that are sensitive to the
modern architecture from some of the
realities of life in cultures around the
finest historic buildings in America? The
world. The Pratt graduate is imbued
School of Architecture demonstrates
with strong ethical values and an
daily that learning does not occur solely
understanding of the architect’s ability
in the classroom. This is reflected in
to improve the quality of life. As a result,
the annual undergraduate and graduate
Pratt students know how to build, what
lecture series that bring some of the
to build, for whom, and how to enhance
most influential architects in the world
the surrounding environment, in the city
to campus; the Center for Experimental
or country, in a public works project or
Structures; exhibitions by students and
a private home.
faculty that fill three galleries on a regular
The Pratt faculty includes
basis; and the study abroad programs
theoreticians, scholars, and practicing
in Asia, South America, Europe, and our
professionals who bring to the class
semester in Rome. The school publi
room professional expertise, a strong
cation InProcess documents the work of
theoretical base, and the high standards
students throughout the year.
to which they adhere in their client
Pratt’s Center for Community
work. Students are further exposed to
Development, formerly PICCED,
the professional world through optional
one of the oldest community advocacy
internship programs that place them
and technical assistance organizations
in outstanding New York architectural
in the United States, gives students
firms, public agencies, and nonprofit
additional opportunities to work on
design institutions, giving them firsthand
real‑life projects.
work experience as well as credit toward
their professional degrees. The pro
Admission Requirements
gram makes rich use of the extended
Please refer to the section on
resources of the metropolitan New
Admissions, starting on page 261.
York community.
For its faculty, the school draws
Student Work
upon the world’s largest pool of prac
The School of Architecture reserves
ticing architects, critics, and historians.
the right to temporarily retain during
For its “laboratory,” students have the
the academic year, for exhibition
city itself.
and classroom purposes, represent
ative work of any student enrolled in
its programs.
Page 40: Work by Juan Sala (B.Arch. ’15) and
Walter Sueldo (B.Arch. ’15)
Opposite: Work bySophia Cosenza (B.Arch. ’15)
and Schuyler Klein (B.Arch. ’15)
43
At Pratt, we were taught not
only to look at the problem
to be solved, but to consider
the bigger picture in the world
around us.
Jeff Kinzler (B.Arch. ’78),
architect, attorney, and founder
of Lawbuilder Consultants
47
Architecture
Chair
Erika Hinrichs
Undergraduate architecture is a
recognizes two types of degrees:
five-year accredited Bachelor of
the Bachelor of Architecture and the
Assistant Chair
Jason Lee
Architecture program that prepares
Master of Architecture. A program may
students with an early interest in
be granted a five‑year, three-year,
Assistant to the Chair
Adam Kacperski
architecture to become leading
or two‑year term of accreditation,
professional practitioners. Students
depending on its degree of conformance
Assistant Directors of
Student Advisement
Juliet Medel
Terilyn Stewart
at Pratt learn that architecture is a
with established educational standards.
meaningful cultural contribution,
Master’s degree programs may
requiring both imagination and
consist of a preprofessional under
Administrative Clerk
Latoya Johnson
material realization within a larger
graduate degree and a postprofessional
social and ethical context. The five-
graduate degree, which, when earned
Technician
Rodrigo Guajardo
year design sequence offers a
sequentially, constitute an accredited
thorough foundation in architecture,
professional education.
Office
Tel: 718.399.4305 Fax: 718.399.4332
arch-ug@pratt.edu
www.pratt.edu/ug-dept-architecture
integrating critical thinking, design,
The preprofessional degree is
technology, building, representation,
not, by itself, recognized as an ac
and social responsibility.
credited degree, however. The NAAB
grants candidacy status to new
Students strive for creative and
programs that have developed viable
intellectual independence and
plans for achieving initial accreditation.
inspired architectural research. Firmly
Candidacy status indicates that a
committed to contemporary material
program should be accredited within
practices, the program is currently
six years of achieving candidacy, if its
developing initiatives to integrate new
plan is properly implemented.
technologies into the curriculum.
In the United States, most state
The Bachelor of Architecture
program is a fully accredited five‑year
registration boards require a degree
professional program, and has
from an accredited professional degree
been ranked among the top fifteen
program as a prerequisite for licensure.
programs in the United States by
The National Architectural Accrediting
DesignIntelligence every year since
Board (NAAB), which is the sole agency
2000. The program received a six-year
authorized to accredit U.S. professional
reaccreditation in fall 2010.
degree programs in architecture,
48
Architecture
The Program’s Structure
School of Architecture’s undergraduate
Bachelor of Architecture
and graduate programs, and 12 all-
The Bachelor of Architecture program
is a professional program accredited by
the National Architectural Accrediting
Board (NAAB) requiring a minimum of five
years of study. Most states require that
individuals intending to become architects
hold an accredited degree. These pro
fessional degrees are structured to
educate those who aspire to registration
and licensure to practice as architects.
The 170 credits required for the
Bachelor of Architecture degree are
organized in three main categories:
a core of required courses in arch
itectural study, liberal arts courses,
and electives. The core of 95 credits
is primarily taken in the first three
years and is designed to give basic
professional preparation in architect
ural design, construction technology,
graphic communication, and the
humanistic aspects of design.
The liberal arts areas require 48
credits, of which 12 are taken within
the School of Architecture (ARCH 151,
152, 251, and 252), six credits in English,
six in cultural history, six in science,
and six in social science. The remaining
12 credits are taken as electives
selected from the liberal arts courses
offered by the School of Liberal Arts and
Institute electives, selected from
courses offered by any school in the
Institute. By purposefully selecting
courses within all elective areas during
their last four semesters, students can
develop their own unique architectural
education based on their own needs
and goals. This personalized fourthyear curriculum is directed toward
culmination in the fifth-year degree
project. Individual curricula may
be developed to place more emphasis
on such subject areas as design,
preservation, building technology,
history and theory, planning, construc
tion management, and urban design
in the final two years of study.
The degree-project year
completes the student’s academic
architectural experience with an
in‑depth design study, preceded and
accompanied by research. The degree
project is executed with guidance
from critics chosen by the student.
Undergraduate architecture
students may also be interested in a
Concentration in Morphology or a Minor
in Construction Management as well
as options combining the undergraduate
degrees with various master’s degrees
in planning and facilities management.
Sciences. The elective courses consist
of 15 credits of professional electives
selected from courses offered by the
Page 46: Work by Hayden Minick (B.Arch. ’16)
Opposite: Work by Juan Sala (B.Arch. ’15) and
Walter Sueldo (B.Arch. ’15)
Architecture
49
Above from top: Work by Michele Runco
(B.Arch. ’19); Work by Yotem Benhur (B.Arch. ’18)
Opposite from top: Work by Dina Elfaham
(B.Arch. ’19); Work by Molly Mason (B.Arch. ’15)
and Zherui Wang (B.Arch. ’15)
Above from top: Work by Sergey Pigach
(B.Arch. ’18); Work by Danielle Kemble (B.Arch. ’17)
and Tommy Kim (B.Arch. ’17)
Opposite from top: Work by Julian Anderson
(B.Arch. ’16) and Robinson Strong (B.Arch. ’16);
Work by Valeria Mazzilli (B.Arch. ’16) and Shaked
Uzrad (B.Arch. ’16)
55
NEED HIGH-RES IMAGE
Chair
Regina Ford Cahill, M.S.
rcahill8@pratt.edu
Philip Ramus
cm@pratt.edu
Office
Tel: 212.647.7524 Fax: 212.367.2497
www.pratt.edu/construction-management
Construction management is the
Pratt’s School of Architecture has
planning, bidding, and coordination of
the distinction of being one of the first,
a project from construction drawings
and one of the few, schools in the
to completion.
nation to offer this essential degree program. The faculty consists of leading
The construction manager’s raw materials
professionals, including the project
are often a vacant piece of land,
manager and the director of safety and
a client proposal, a set of construction
site safety management of the World
drawings in digital or hard copy, and a
Financial Center; former assistant
project manual the width of an I-beam.
commissioner and director of design for
The construction manager is charged
NYC public works; chief, Division of
with the tasks of assembling a team for
Material Assurance, Safety and Landfill
construction; contending with numerous
Remediation, NYC Department of
local, state, and federal regulations; and
Environmental Protection; a member of
coordinating skilled craftspeople, unions,
the Industry Advisory Committee, NYC
contractors, subcontractors, architects,
Department of Buildings; the vice
engineers, planners, consultants,
president and project executive for a
and the owner/developer. The day-
leading construction management firm
to-day challenges of construction
managing major national and inter
management make for some of the most
national multimillion-dollar projects;
demanding assignments in the world,
and a principal of the largest specifica-
whether a manager is overseeing the
tions consulting firm in the Northeast.
construction of a towering skyscraper
or a low‑rise condo.
Construction management is a
collaborative effort. The primary
relationships among stakeholders can
be represented by a triangle, with the
owner at one point, the architect/
engineer at another, and the construction manager at the third. Given the
growing complexity of design and
construction, whether urban, suburban,
or rural, there are no major projects
built without this crucial team in place.
56
Students may take classes during
apply to the Minor in Construction
program provides a professional
the day or in the evening. Students
Management program through their
education emphasizing critical thinking
may vary the program through their
adviser at any point during their
that connects management with
choice of electives that emphasize
academic career, beginning in the first
technology and a liberal arts education
architectural, real estate, or other
semester of their second year.
suitable for a career in building
construction-related roles.
The completion of the minor will be
The Construction Management
noted on the student’s transcript but
construction.
Graduates of the Construction
Bachelor of Professional Studies in
Management program should:
Construction Management (B.P.S.):
• Understand the roles and
Students who graduate from this
responsibilities of the participants in
a construction project;
• Be able to plan and organize the work
of a construction project;
• Be able to apply knowledge from
English, mathematics, science,
management, and communication
courses to construction-related
activities;
• Be capable of collaborating with
members of a team;
• Understand the importance of
ethical practice;
program are equipped to immediately
Minor in Architectural Theory
and Technology
enter the workforce in construc
The Undergraduate Architecture
tion and/or project management
Department offers a 15-credit non-
with success.
studio-based minor to qualified
construction management students
Bachelor of Science in Construction
pursuing a Bachelor of Professional
Management (B.S.):
Studies degree. Students may apply to
This program was developed for transfer
students and students pursuing a second
bachelor’s degree. Those entering
with acceptable transfer credits may
complete the program in less than
• Possess a passion for lifelong learning
four years.
Students can apply for matriculation
Associate of Applied Science in
(acceptance into the degree-granting
Building and Construction (A.A.S.):
program) upon admission, or they
Offered for students seeking a foundation
can be admitted with special, nonmatri
in building science and for students who
culating status.
may not desire to complete the bachelor’s
program. The Building and Construction
program requires the completion of
The Construction Management
68 credits.
bachelor’s degree program requires
the completion of 132 credits.
will not be shown on the diploma.
the Minor in Architectural Theory and
Technology through their adviser at
any point during their academic career,
beginning in the first semester of
their second year. The completion of
the minor will be noted on the student’s
transcript but will not be shown on
the diploma.
Admission Interviews
Admitted students may wish to
talk with the chair of Construction
Management before registration for
courses. An appointment should be
made in advance.
Contact: cm@pratt.edu
Construction Management Minor
The Department of Construction
Management offers an 18-credit minor
to undergraduate architecture and
interior design students. Students may
Page 54: Pratt Manhattan
Above: Students in Construction
Surveying course
57
59
School of Art
School of Art
Associate Degrees
Digital Arts
2-D Animation, Digital (3-D) Animation
and Motion Arts, Interactive Arts
Film/Video
Fine Arts
Ceramics, Drawing, Jewelry,
Painting, Printmaking, Sculpture
Photography
The mission of the School of Art is to
Two parallel objectives guide every
educate those who will make and shape
department in the School of Art. One is
our built and mediated environment,
the emphasis on students acquiring
our aesthetic surroundings, and our
a high level of skills, techniques, meth
collective future.
odologies, and vocabulary required
for success as creative professionals.
Pratt’s School of Art is a destination for
The second objective—intertwined with
talented students with a strong desire
the first—is to balance that professional
Dean
Gerry Snyder
to explore the boundaries of art. Young
proficiency with a highly developed
artists from around the world come to
critical judgment based on historical
Katherine Morris
study at Pratt’s campus located in the
perspective that allows them to become
heart of historic and contemporary
effective and creative problem solvers
Assistant Dean
Dianne Bellino
Brooklyn. Students join a community
for the world they will graduate into.
Director of
Academic Advisement
Michael Farnham
outstanding faculty that encourages
collection of disciplines is dedicated
growth and experimentation.
to the primacy of studio practice
Director of Finance
and Administration
Daisy Rivera
Office
Main Building, Fourth Floor
Tel: 718.636.3619 Fax: 718.636.3410
art-dean@pratt.edu
www.pratt.edu/soa
of working artists who make up Pratt’s
The School of Art offers a diverse
The School of Art’s diverse
and the transformative power of
range of programs in Digital Arts, Film,
creativity. We educate leaders in
Fine Arts, Photography and Art and
the creative professions to identify,
Design Education. These programs
understand, shape, and benefit from
are supported by studies in the liberal
the challenges of a rapidly changing
arts and sciences, creating a dynamic
world. Our programs are designed to
context for stimulating intellectual and
develop critical thinking skills, deepen
creative inquiry. The School of Art
understanding, enable practice, and
programs are also enriched by Pratt’s
empower visionary action. The School
distinguished professional programs
of Art is dedicated to developing
in the School of Design and the School
creative leadership in a world that
of Architecture—all within the cultural
requires it.
campus of New York City.
Page 58: Work by Cynthia Horrigan (B.F.A. ’13)
Left: Work by Brennan Hinton (B.F.A. ’14)
63
Foundation
Acting Chair
Kim Sloane
The Foundation Program at Pratt
teacher—often a parent or friend
Institute is an intensive exploration
during high school—issues relatively
Assistant Chair
Natalie Moore
and study of the fundamentals of art
uncritical encouragement, allowing the
and design. Students develop skills
student to discover the sheer pleasure
Sabrina Lovell
and concepts in drawing, light, color,
and excitement of working as an
design, three-dimensional design,
artist. The second teacher, sometimes
Administrative Assistant
Julia Shinay
and time and movements that results
encountered in high school, but more
in the ability to order information in
often in a first-year college foundation
both time and space, and prepares
program, begins eliciting the student’s
them to enter their sophomore year
talents and abilities in a more formal,
with the necessary skills to begin their
rigorous way, introducing him or her
specialized disciplines. Foundation
to professional standards of work.
prepares students for all majors in
The third teacher guides the student
the School of Art and the School of
through the specific ethics, disciplines,
Design, with exception of Fashion,
and requirements of the chosen art or
which has its own first year program.
design field, helping build bridges that
Technician
Sung Ha No
4-D Lab Manager
Madeline Youngberg
Office
Tel: 718.636.3617 Fax: 718.399.4589
fdc@pratt.edu
www.pratt.edu/foundation
enable the student to cross successfully
In the early years of an artist’s career,
it is important to master the basics
into the professional world.
While there are often more than
in an environment of positive, critical
three teachers involved in an artist’s
feedback, and encouragement. But it
education, individuals who can fulfill
wasn’t always that way. Pratt introduced
the second role are an essential part
the practice to the United States in the
of the Foundation experience at Pratt.
1940s, creating an American tradition in
Day-to-day work involves mastery of
many ways distinct from its European
materials and techniques, with the
Bauhaus antecedents. Yet the premise
explicit purpose of producing thinking
remains: In the early years of an artist’s
artists and designers—people who
career, it is important to master the
can integrate the physical and sensory
basics in an environment of positive,
aspects of art and design with its fuller
critical feedback and encouragement.
emotional and intellectual aspects.
Research shows that a foundation
(For another view of how Foundation
course of study often provides the
fits into your life as an artist or designer,
second of three key “teachers” in the
see “How a Pratt Education Works,”
lives of successful artists. The first
page 36.)
Foundation
64
The first-year course of study consists
of Foundation Studio Core, Survey of Art
I and II (HA 115 and HA 116), and English
(HMS 101 and HMS 103). The Fashion
Department is an exception and has its
own first-year program.
The Foundation Studio Core helps
students evaluate their previous art
experience in the light of new ideas and
techniques. This grounding in underlying
concepts and principles of the visual
arts puts students’ professional goals
in a context of personal growth and
self-reflection. Before specialization in
the sophomore year, the core curriculum
encourages flexibility, adaptability, and
the experience of design and art as wideranging enterprises. Transfer students will
be evaluated for advanced standing, with
proper documentation (transcript and
portfolio), by the Office of Admissions.
Students expand their thinking
by participating in a series of studio
experiences that deal with the analysis
of problems in perception, conception,
and imagination. The studio work
encompasses both 2- and 3-D forms
in their optical, technical, and symbolic
natures. In addition, students receive
an introduction to 4-D time arts
through the use of computers and
other media. At one point, students
may deal with specifically designed
structural problems and at another
point may examine these problems
from expressive, social, and historical
perspectives. Through this process,
individual imagination, skill, ambition,
and preferences are examined.
Page 62: Work by Light, Color, Design
students (freshmen)
Above: Work by Drawing students (freshmen)
Opposite from top: Work by Light, Color, Design
student; Work by Drawing Student
Foundation
65
My freshman year foundation
courses were extraordinary,
especially in the way they
enhanced my ability to see
and feel things differently.
Katharine Jungah Kim, B.F.A.
Film/Video ’86, CEO, CJ Entertainment,
South Korea
69
Chair
Heather Lewis
hlewis@pratt.edu
718.636.3637
Mirland Terlonge
mterlong@pratt.edu
718.636.3681
Art and Design Education Office
Tel: 718.636.3637 Fax: 718.230.6817
adeinfo@pratt.edu
www.pratt.edu/art-design-education
Director, Center for Art, Design,
and Community Engagement K-12
Aileen Wilson
awilson2@pratt.edu
718.687.5602
Deputy Director K-12
Tara Kopp
tkopp@pratt.edu
718.636.3654
Youth Programs Office
Tel: 718.636.3654 Fax: 718.230.6876
www.pratt.edu/youth
In their junior year, students in the Art
on Cubism using Play-Doh and plastic
and Design Education Department teach
dinosaurs. They were people who stayed
their own classes in art and design in the
up late preparing lesson plans, handouts,
Saturday Art School. For over a century,
materials, and even scripts for their
this laboratory school has provided New
morning’s classes.
York City children and adolescents with
a quality arts program.
“In the years since I graduated from
Pratt, I have drawn upon many of the
lessons learned and experiences gained
A few years ago, an alumnus of our
in the Saturday Art School, first as a
undergraduate program, Gary Bilezikian,
teacher in the New York City public
wrote about his experience in the
schools, then as an illustrator and designer
Saturday Art School. “First, there were
of children’s books and videos, a designer
the kids—wonderful, creative kids from
of children’s furniture, and, finally, back to
all five boroughs of New York City, brave
teaching again.”
enough to drag their parents out of
“Woven through this haphazard
bed each Saturday morning so that they
career path has been the thread of kids,
could visit this funky college in Brook-
art, and education—the foundation of
lyn to take art lessons with people who
which was shaped, molded, and launched
were, in some instances, not much older
in the Art and Design Education Depart-
than themselves.
ment at Pratt.”
“Second, there were our faculty
Bilezikian’s experience as an
supervisors, who performed the delicate
undergraduate in our program highlights
task of dealing with the feelings, ideas,
the emphasis we place on connecting
and fears of a bunch of young artists
educational theory with practice in our
trying to move gracefully from the role
fieldwork and student teaching courses.
of student to teacher.
At the same time, the concentration
“Finally, there were the student
on studio work results in our producing
teachers—people who may have had some
creative and innovative artist-educators.
prior teaching experience in summer
Overall, students get opportunities to
camps, at local YMCAs, or as babysitters to
work collaboratively with their peers,
nieces and nephews. They were people
community members, and professionals
who had the vision and drive to get into
in the field, while they learn to develop
and stick with a demanding program in a
lessons and construct environments
respected art school. They were people
that promote critical inquiry and
brave enough to stand in front of 20 or
creative practice.
more eight-year-olds and teach a lesson
70
This program can be completed in five
leave Pratt certified to teach in New York
B.F.A. or B.F.A./M.S. in Art and Design
years. Students need to remain in good
State and eligible to apply for a teach
Education (with New York State Initial
academic standing to continue in the
ing certificate through interstate
Certification, Visual Arts Pre-K-12)
five-year program. When they arrive at
Students majoring in education
reciprocity. They are prepared to work
effectively in diverse cultural contexts
and apply interdisciplinary perspectives
in a variety of educational settings.
Like Bilezikian, they can fashion their
own itinerary in a host of alternative
careers such as arts administration,
museum education, educational media
and design, and special education. No
matter what their ultimate career path
may be, these opportunities provide
future artists, designers, and educators
with greater empathy, skill, and breadth
of vision. They become part of a
community of engaged and passionate
practitioners in a department that
is progressive and dynamic and aims
to provide a stimulating, challenging,
and supportive environment for our
students, faculty, and staff.
In the Art and Design Education
Department, teaching is a creative
process modeled upon and nourished
by intensive artistic preparation.
Students engage in a variety of fieldwork
and student teaching experiences in
which personal connections between
studio, education theory, and classroom
practice are made. By learning how
to articulate and communicate visual
and aesthetic ideas to others, students
gain insight into their own work as
making art and teaching art become
complementary activities. Students
graduate with two areas of expertise
and greater opportunities for employ
ment as they combine the study of
education with studio coursework in
art and design.
Both Programs I and II lead to
New York State Initial Certification in
the graduate level, students will need
to meet the requirements for graduate
students, including academic standing
requirements. Financial aid packages,
as well as bursar and other payment
situations, also convert to graduate
student levels.
Certification Requirements
In order to be recommended for NYSED
Initial/Professional Certification in Visual
Arts, Pre-K–12, candidates must have
completed the following:
Workshops
• Child Abuse Identification Workshop
• School Violence Prevention and
Intervention Workshop
• Training in Harassment, Bullying,
Cyberbullying, and Discrimination in
Schools: Prevention and Intervention
Teaching Visual Arts, Grades Pre-K–12.
These workshops must be taken with
Program I: A major in Art and Design
a provider approved by NYSED.
Education (B.F.A.), 134 credits.
Passing Scores on the Following Tests
Program II: Combined degree in Art
and Assessments:
and Design Education (B.F.A./M.S.),
• Educating All Students (EAS)
• Academic Literacy Skills Test (ALST)
• Content Specialty Test (CST)
• Education Teacher Performance
159 credits.
By completing both undergraduate
and graduate degrees in Art and Design
Assessment (EdTPA)
Education at Pratt, students can
reduce time and cost requirements.
Page 68: Kalisha Montoya Drawing, Painting and
Printmaking: Ages 9-10. Photo by: Sam Stuart
Above: Arriana Partland Adventures in Art:
Ages 7-8. Photo by: Sam Stuart
71
73
Chair
Susan G. Young
Pratt’s Associate Degree programs
professional experience and to in
(A.O.S. and A.A.S.) are concise, com
spire the confidence students need to
Chandra Singh
prehensive, and intensive two-year
continue their education or to pursue
undergraduate art and design degree
their chosen careers. Classes are kept
3-D Technician
Zach Whitehurst
programs that integrate the best of new
small, and faculty members work closely
media and technologies with a strong
with each student, helping to refine
Office
Tel: 212.647.7375 Fax: 212.367.2480
aos@pratt.edu
www.pratt.edu/associate-degree
commitment to a traditional art and
his or her skills to a professional and
design curriculum. These programs offer
competitive level, in keeping with the
an exciting educational opportunity to
goals of the program.
traditional and nontraditional students.
In all majors, there is a strong
emphasis on teaching traditional
These programs allow students to
skills and a commitment to providing
immerse themselves in an intensive
students with access to the most
two-year, career-track Associate of
advanced technology. The curriculum
Occupational Studies (A.O.S.) or
is sequential; it begins with rigorous
transfer-track Associate of Applied
foundation courses for all majors,
Science (A.A.S.) education. Located
followed by major-specific upper-
in Manhattan, the center of the art
level courses, and culminates in a
and design community, the programs
professional portfolio development
give students immediate access to
course and internship opportunities.
the world’s leading design studios and
museums, providing excellent oppor
tunities for field trips, guest speakers,
The Associate Degree offerings are
and internship placement. All of New
concise, comprehensive, and demand
York City is our campus, and the diver
ing, giving students the choice of an
sity of the student body—with students
intensive two-year career (A.O.S.)
of varied ages from across the country
or transfer-track (A.A.S.) education.
and around the world—reflects the
These programs integrate the best of
sophisticated location.
the new technologies into a strong,
The faculty members, including
some of New York’s leading artists and
designers, bring to the classroom a
unique combination of expertise and
dedication to teaching. They work
diligently to provide students with
traditional art and design curriculum.
74
Associate of Occupational
The program offers a strong foundation,
Transfer Applicants
Studies (A.O.S.)
advanced-level art and design courses,
Graphic Design, Illustration, and Digital
and a liberal studies component,
Design and Interactive Media
all combined to create a comprehensive
• Basic application form.
• Application fee, $50 ($90 for
The A.O.S. program is a professional
degree designed for high school
graduates and adults with or without
previous college experience. This is
an intensive, two-year, all art-anddesign-based curriculum, offering
a strong foundation in design along
with capstone courses, internship
opportunities, and a professional
portfolio upon graduation. The
program attracts highly motivated
students who, upon completing
their studies, move quickly into the
fields of advertising, illustration,
Web design, digital video, package
design, and publishing.
Associate of Applied Science
(A.A.S.)
Graphic Design/Illustration
and Painting/Drawing
The A.A.S. program is a preprofes
sional degree program providing the
student with the first two years of a
four-year bachelor of fine arts course
of study. Upon completion, students
transfer degree.
The faculty for both the A.O.S. and
A.A.S. degree programs comprises New
York’s leading professionals, who bring
to the classroom practical professional
experience and expertise reflecting
the highest standards in their fields.
The emphasis on the personal attention
given each student is a key difference
between this and other programs.
Students may attend classes on a
full- or part-time basis. Financial aid is
(optional).
• Transcripts from all previous
colleges attended.
• Portfolio, which should be uploaded
to pratt.slideroom.com.
• Transfer students who have
completed fewer than 48 college
credits must also submit their
high school transcripts.
TK
Pratt Associate Degree programs have a
rolling admission policy for all applicants,
which means that there is no specific
deadline for applying to the program.
However, all applicants are encouraged
to file admissions documentation as
early as possible.
Application Requirements
Freshman Applicants
• Submission of the electronic
application (www.pratt.edu/apply)
with $50 application fee paid by check
profession or applying for transfer into
or credit card. International student
another school of their choice.
international students).
Filing Dates
have the option of entering an arts
75
• Essay/statement of purpose.
• One letter of recommendation
available to qualified students.
graduate with an A.A.S. degree and
a four-year B.F.A. program at Pratt or
application fee is $90.
• Essay/statement of purpose.
• One letter of recommendation
(optional).
• High school transcript.
• Portfolio, which should be uploaded
to pratt.slideroom.com.
Page 72: Work by Tingyu “Poppy”
Li (A.A.S. Painting/Drawing ’16)
Above: Work by Victoria Lee
(A.O.S. Illustration ’15)
Page 76: Work by Reilly Sauer
(A.O.S. Graphic Design ’15)
All Applicants
Complete the following drawings in
black and white only. You may use any
media except oils. Draw while looking
at the object. Submit these in slide form
or as prints of digital images.
1. A pair of shoes or sneakers.
77
If you would like to receive feedback
“need” is determined through specific
on your work, you may schedule
application requirements; therefore,
a portfolio review by visiting
it is important to accurately complete
www.pratt.edu/admissions, by calling
all required financial aid forms. Students
718.636.3779, or by calling the
should submit the Free Application
Associate Degree Office at 212.647.7375
for Federal Student Aid (FAFSA)
to schedule an appointment.
electronically at www.pratt.edu/
financial-aid by February 1.
2.A self-portrait. (Do not copy
a photograph.)
3.A landscape.
If You Do Not Have a Portfolio
If you do not have a portfolio, you must
submit, at pratt.slideroom.com, one of
the following home exams:
Illustration Applicants
Solve the following problem in color.
No oils.
1. Illustrate a quotation. Send along
the words of the quotation with your
painting.
2.Draw a single figure in an
environment. Draw all from life and
Acceptance Procedures
Candidates are notified by mail as to
their acceptance or rejection. Decisions
The rolling admission policy is also
will be mailed about six weeks after all
in effect for international student
materials are received. Deposit forms
applicants. All students whose first
will be sent with the decision letter.
language is not English are required to
Deposit forms should be completed and
submit a Test of English as a Foreign
returned with a $300 nonrefundable
Language (TOEFL) score for admission.
admissions deposit and an optional
In addition, all students upon arrival
$300 housing deposit. Please note that
at Pratt must take the Pratt English
the $300 admissions deposit will be
Proficiency Exam. If it is determined
applied to the first semester’s tuition.
that a student is not proficient in
Pratt reserves the right to restrict
English, he or she will be required
registration of new students when
to take Intensive English courses at
the program’s maximum number of
Pratt Institute. International students
students is attained.
must submit the I-20 Request
Forms found at www.pratt.edu/oia
imagination. You may use photos or
printed materials as reference only.
Financial Aid
Pratt tries to ensure that no student
Design and Digital Design Applicants
is prevented from completing his or
Solve the following problem in color.
her education due to a lack of funds.
No oils.
Pratt offers a large number of grants,
1. Design a calendar page, one month
only. You may include anything you
think appropriate (photos, drawings)
in addition to type and numbers.
2.Design a page built around a
quotation. Include all words of the
quotation as a design element.
International Students
scholarships, loans, and work awards.
Many awards are based on academic
achievement; others are based on
financial need. All financial aid packages
are awarded based on both academic
achievement and need. A student’s
or in the enrollment guide in order
to obtain a visa.
78
Part-Time Enrollment
A part-time student is any student
who takes fewer than 12 credits
per semester. Part-time students
may be eligible for some financial aid
and may participate fully in all Pratt
programs and activities.
Housing
Students wishing to live on or near
Pratt’s Brooklyn campus must submit
the $300 deposit form by May 1 for
fall entrance and December 1 for spring
entrance. Contact the Office of
Residential Life and Housing for more
information at 718.399.4551.
School Visits
Visits by interested students are always
encouraged. We would love to meet
with you to discuss how our department
may help you reach your career goals.
Please call us to schedule a personal
tour at 212.647.7375.
Above: Work by Carlo Cittadini
(A.A.S. Painting/Drawing ´14)
79
81
Digital Arts
Chair
Peter Patchen
What is a Digital Artist?
A Visual Thinker. A Researcher.
B.F.A. in Digital Arts
Assistant Chair
Carla Gannis
A Programmer. An Inventor.
Deidre Carney
A Visionary.
Lab Managers
Phillip Allen
Igor Molochevski
One of the most exciting aspects of
Office
Tel: 718.636.3411 Fax: 718.399.4494
dda@pratt.edu
www.pratt.edu/digital-arts
A Builder. A Storyteller.
being an artist in the 21st century is the
ability to digitally alter any medium to
express an idea.
Pratt’s Digital Arts program offers
three distinct areas of emphasis:
3-D animation and motion arts, 2-D
animation, and interactive arts.
In Interactive Arts students find their
creative voices in the exploration of
digitally mediated installations, apps,
and sculpture. 3-D Animation involves
bringing the inanimate to life in a virtual
world, while 2-D Animation explores
the immediacy and joy of tactile media.
In each area, students have access to a
wide variety of high-quality technology
in an environment that can only be
described as invigorating and innovative.
The Digital Arts program is popu
lated with a faculty of talented, leading
professionals in the field. Many write
for trade and professional journals,
and several have authored trend
setting books. Their works are widely
published and exhibited both nationally
and internationally.
This program helps students to master
the new technologies that are reshaping
the way people interact, communicate,
and create new forms of expression.
The curriculum prepares students for
professional positions in the arts and
creative industries that currently employ
this technology: interactive media,
digital animation, and experimental fine
arts. Living and studying in New York City
affords students access to galleries and
production facilities that few cities can
rival. Our students routinely continue
to expand their skills and make careerchanging contacts working as interns in
leading studios and galleries.
The four years culminate in a senior
project that is exhibited/screened in
senior shows. Students create traditional
portfolios, demo reels, and websites
that are used as a part of graduate
school applications, gallery and festival
entries, and job applications.
This 134-credit program may be
completed in four calendar years.
82
Digital Arts
Areas of Emphasis
Digital (3-D) Animation
Students are able to select one of
Digital Arts
and Motion Arts
three tracks: Interactive Arts, Digital
Students focus on self-expression
(3-D) Animation and Motion Arts,
using form and motion, time-based
or 2-D Animation.
narrative, live action, and digital ani
mation techniques. Courses include
Interactive Arts
Students use computer-human inter
action to convey meaning in the form of
physical installations, interactive objects,
and online artworks. This includes the
combination of video, animation, text,
audio, and imagery in an interactive
environment. Courses include Graphics
Programming, Interface Design,
Interactive Installation, Robotics and
Physical Computing, Actionscript,
and more. Recommended electives
include courses in sculpture, history of
new media, video editing, programming,
3-D modeling, 3-D animation, character
design, rigging, character animation,
storyboarding and storytelling, motion
dynamics, lighting and rendering, video
editing, and audio editing. Recom
mended electives include contem
porary issues in film and video, history
of animation, 2-D animation, character
design and rigging, scripting, audio and
video, compositing and special effects,
3-D printing, and advanced digital
animation techniques.
2-D Animation
video installation, online media,
Animation courses are constructed
electronic music, and audio editing.
to afford a wide exposure to all aspects
of animation production and to allow
students to focus on the areas of
greatest interest. Courses in animation
history, character development, story
boarding, and storytelling enhance
the animation production courses.
The junior workshops are advanced
studies in animation production using
traditional and digital tools.
Page 80: Work by Ian Faris (B.F.A. ’15)
Above: Work by Eun Choi (B.F.A. ’15)
83
Above from top: Work by Dakota Pailes-Friedman
(B.F.A. ’15); Work by Angela Checco (B.F.A. ’15);
Opposite from top: Work by Sam Delfanti
(B.F.A. ’15); Work by Spencer Noble (B.F.A. ’15)
87
Film/Video
Chair
Jorge Oliver
You can’t escape the moving image:
the culminating Senior Project, in which
Whether in theaters, television, and
each student makes a short film as his/
Assistant Chair
Kara Hearn
art galleries or on smartphones,
her senior thesis.
Eric Trenkamp
movies are everywhere. The magic of
create, write, direct, and edit as “total
cinema, which shocked audiences at
Lab Manager
Matthew Hysell
filmmakers,” rather than focusing on one
its inception, is now fully integrated
area. We provide a core curriculum
Assistant Lab Manager
Gina Carducci
into our daily lives. How can you, as
of rigorous required courses, while
a young artist, make the most of this
simultaneously encouraging students to
moment? How can you explore all the
follow their own interests as they choose
Technicians
John Crowe
Gorav Kalyan
Office
Tel: 718.636.3633
Fax: 718.636.3478
filmvideo@pratt.edu
www.pratt.edu/film-video
YouTube, building façades, and cabs,
exciting new possibilities of film and
video, while still becoming skilled in
the relevant traditions?
The Pratt Film program is designed to
grow the next generation of innovators in
moving image and sound. We offer a solid
foundation in the culture, techniques,
and processes of filmmaking, with training
in both traditional and nontraditional
forms. At Pratt, there are no limits.
Fiction or nonfiction? Commercial or
Throughout the program, students
electives, which include dynamic film/
video topics as well as interdisciplinary
collaborations with students in
other majors.
For example, consider an elective in
Dreams, Memories, and Hallucinations,
a nontraditional animation and After
Effects class, or collaborate with fashion
design students in Film + Fashion, and
explore the rich interaction of costume
and the moving image. Challenge yourself
art world? These may be boundaries you
to learn from your peers and your envi-
choose to move beyond. Your classes
ronment, as well as your professors.
will take you through all modes of film
Access is key. In the Film program,
and video (narrative, documentary,
starting freshman year, students shoot
experimental, and hybrid), encouraging
with digital cinema cameras, quality
intellectual cross-fertilization and
microphones, and digital audio record
allowing you to shape your own artistic
ers. Students edit in our digital editing
vision. While our program provides
facilities, manipulating images and
students with professional training in
audio with the latest postproduction
all current technologies, our priority is
software. The members of the Film/
creative expression.
Video Department (administrators,
In our curriculum, award-winning
faculty, and technical support staff)
film/video artists and industry
are all active, accomplished filmmakers,
professionals teach an exciting range
enthusiastic to share their experience
of courses, from the foundational
with you, which is critical to your
first-year Digital Cinema sequence to
development.
Film/Video
88
As a film major, you will have
access that extends beyond Pratt
In the freshman year, film majors take
into New York City itself. Your options
two rigorous and comprehensive
for identifying new directions in the
Digital Cinema courses, which provide
field are not limited to your Ways of
foundational training. In the sophomore
Seeing Cinema class. You can visit
and junior years, the curriculum opens
cutting-edge galleries and micro-
to more electives, more collaborations
cinemas, world-class museums and
with students across majors, and
film festivals—it’s happening all over
the city. Opportunities for preprofes
sional experiences abound. You can
join a film crew shooting on the streets
of Brooklyn—or intern at places like
the Museum of Modern Art, Saturday
Night Live, or one of the countless
independent companies that shape
New York City’s thriving creative scene.
The future for the moving image
is unpredictable and wide-open. At
Pratt, we’re excited by the possibilities.
Our mission is to provide you with the
tools and techniques, an understanding
of history, and a complex yet flexible
interdisciplinary arts education, allowing
you to guide us into that future.
Our recent graduates are already
leading the way with their infectious
pioneering spirit. They are directing
Film/Video
deeper study in the student’s chosen
mode. The culmination of the program
is a guided but self-defined senior
project, publicly screened in New
York City (in recent years, at Brooklyn
Academy of Music).
Students learn in an intimate
workshop setting through screenings,
readings, technical demonstrations,
class critiques, and visiting artists
and professionals, as well as through
internship programs in the many film,
video, and postproduction studios
throughout the city.
Upon graduation, students will
have produced their senior project
as well as compiled a sample reel
of personal work, which can be part
of a graduate school application,
films that have premiered at Cannes,
be submitted to galleries and festivals,
Toronto International Film Festival,
or serve as a demonstration of
Tribeca Film Festival, Miami’s Art Basel,
students’ skills for entry into the
and numerous other festivals. Some
professional landscape.
alumni work as video editors and
producers at prestigious media
outlets including MTV, USA Networks,
Entertainment Weekly, The New Yorker,
People, and Time, while others are
directors for established commercial
production companies or form their
own successful media businesses.
We celebrate their accomplishments
and look forward to yours.
Page 86: Students in Cinematography and
Lighting Design collaborate on set.
Above: Emily Erhart (B.F.A. ´15), Days of Dust, thesis production still
89
Above, from top: Savannah Magruder (B.F.A. ’16),
thesis production still; students provide feedback
during postproduction.
Opposite, from top: Savannah Magruder
(B.F.A. ’16), Spectrum, junior project; green
screen exercise in Cinematography and Lighting
Design; Spencer Rothman (B.F.A. ’15), final
video for the course Dreams, Memories, and
Hallucinations
93
Fine Arts
Fine Arts
Ceramics
Drawing
Jewelry
Painting
Printmaking
Sculpture
Chair
Deborah Bright
“My first lesson was to see objectively,
with professional networking through
to erase all ‘meaning’ of the thing seen.
internships, meetings, and lectures with
Then only, could the real meaning of it
visiting artists and critics, gallery walks,
be understood and felt.”
and curated exhibitions of students’ work
—Ellsworth Kelly (Cert. ’44),
that are open to the public. Every Pratt
Pratt alumnus
student and graduate has access to the
institution’s career development and
Assistant Chairs
Dina Weiss
Nat Meade
The six areas of emphasis in Pratt’s fine
counseling resources, including databases
arts major offer a deep and sustained
of jobs and paid internships in New York,
dialogue between imagining and making.
the creative capital of the United States.
Lisa Banke-Humann
Embedded in a curriculum of required
Technicians
Adam Apostolos
Alexia Cohen
Yasu Izaki
Caitlin Riordan
Jason Segall
Christopher Verstegen
Office
Tel: 718.636.3634 Fax: 718.399.4517
www.pratt.edu/fine-arts
The fundamental component of
and elective courses in art history
studio education is the critique, where
and the liberal arts and sciences, fine
fellow students, faculty, and invited
arts studio courses impart the modes
critics address each student’s work in a
of creative problem solving, technical
context of open, constructive dialogue.
skills, and risk-taking that transform
All of Pratt’s faculty members are com
students into accomplished artists
mitted teachers and working artists with
who have confidence in their ideas
international reputations. They bring
and know how to continue taking their
a wide range of critical perspectives and
work to the next level. Perhaps that’s
expressive approaches to their teach
why Pratt was ranked the number one
ing so that students are exposed to
art and design school for fine art and
the diversity of ideas and processes that
studio programs in USA Today in 2015.
characterize art-making today.
Graduates of Pratt’s esteemed
B.F.A. program in Fine Arts have pursued
diverse creative and professional
careers as studio artists, community
artists and educators, teachers of artists
in prominent institutions, gallerists,
art entrepreneurs, museum curators,
arts administrators, art critics, and art
historians. Pratt’s central location
in Brooklyn’s thriving art community
offers students many opportunities
for integrating their Pratt education
Page 92: Work by Milica Jovicevic (B.F.A. ’16)
Opposite from top: Work by Eden Daniell
(B.F.A. ´14); Work by Zachary Wampler (B.F.A. ’16)
Above: Work by Carlos Cittadini (B.F.A. ’16)
Above: Work by Parish Harvey (B.F.A. ´16)
Opposite from top: Work by Linda Frank
(B.F.A. ’16); Work by Nichole Hess (B.F.A. ’16)
Fine Arts
Pratt’s excellent facilities and dedi
99
In addition to their required
cated technical staff generously support
courses, majors have 16 to 22 open
students’ ambitions as they hone their
credits to pursue internships, additional
ideas and give them form. Sources of
courses and minors in liberal arts/
inspiration and nourishment are close
art history, in other fine arts areas, or
at hand—all Pratt students have free
in other departments at Pratt such
access with their ID to the Brooklyn
as Photography, Film/Video, Art and
Museum of Art as well as to the Museum
Design Education, Digital Arts, and
of Modern Art, the Whitney Museum of
Communications Design. The senior
American Art, the Museum of Arts and
year is focused on developing a body
Design, and the Frick Collection.
of work for exhibition in the spring
semester, and departmental electives
in professional practice help students
B.F.A. in Fine Arts
prepare their portfolios and make a
First-year students take the Foundation
Studio core curriculum, along with core
art history and liberal arts courses, and
begin the major curriculum in the fall of
the second year. While continuing with
their required art history and general
education coursework, second-year
students pursue more focused courses
in drawing and life study, as well as in
their chosen area of emphasis, whether
painting, drawing, sculpture, printmaking,
ceramics, or jewelry. Third-year majors
take more specialized and technical
courses in their area of emphasis as well
as upper-level electives. Throughout the
three years of the major, students take
required fine arts seminars that address
social, historical, and critical issues in
contemporary art.
Opposite: Work by Sarah Kim (B.F.A. ’16)
realistic plan for managing their careers
and approaching funders, galleries,
residency opportunities, and employers.
101
Photography
The key to our program is access.
Chair
Stephen Hilger
“I am proud of the fact that I attended
Pratt. There is a purity of intent that I
With working photographers as teach-
Assistant Chair
Tori Purcell
learned about art-making and a way of
ers, students have access to some of
trusting my eye first.”
the best photographers in New York
Kate Therrian
—Philip Gefter (B.F.A. Photography
City. Our photography faculty includes
Photography Labs Manager
Andrew Todd
and Painting ’73)
Guggenheim Fellows and Emmy winners,
fine art book publishers, high-end
New York City is the center of the
commercial photographers, and artists
Technicians
Fortunato Castro
Martin Lennon
John O’Toole
Sandy Rosenberg
photography world. Our program
whose work can be found in the collect
provides students opportunities to
ions of The Metropolitan Museum of
develop photography techniques
Art, MoMA, and the Whitney Museum of
and concepts—in other words, the
American Art.
Office
Tel: 718.687.5639 photo@pratt.edu
www.pratt.edu/photography
freedom to create powerful, meaningful
Accessibility to facilities and
images. Our methods work. Just ask
equipment is extremely important.
our alumni, who have gone on to work
Photography facilities include lighting
for publications, such as The New York
studios, black-and-white darkrooms,
Times, Harper’s Bazaar, and National
fully equipped state-of-the-art digital
Geographic. Graduates of the program
computer labs, and large-format
have gone on to pursue careers as
digital printing studios. Film and digital
photo editors, editorial photographers,
cameras, lighting gear, tablets, and
gallerists, and professors of the medium,
more are available for checkout from
to name a few. Our graduates are
our equipment room. A brand-new
in demand precisely because they are
photography gallery hosts exhibitions
trained as professionals.
by world-renowned artists and photo
New York City has an abundance
of internship opportunities for photo
students. Past students have interned
with well-known fine art and commercial photographers, such as Gregory
Crewdson, Annie Leibovitz, and David
LaChappelle, and for museums, such as
the Metropolitan Museum of Art and the
Whitney Museum of American Art.
graphy students alike.
Page 100: Work by Nika De Carlo (B.F.A. ´15)
Opposite: Work by Sharon Holck (B.F.A. ´15)
Above: Work by Ian Lewandowski (B.F.A. ´14)
Pages 104–105: Work by Russell Barsanti (B.F.A. ´14)
106
Photography
Bachelor of Fine Arts in Photography
The Department of Photography is
committed to the education of artists
and professionals who have acquired
a comprehensive understanding of
the artistic and professional options
inherent in the field. The curriculum
provides a comprehensive photo
graphic education through a core
of classes that promote students’
technical and conceptual development.
Photography majors move from
a highly structured program in their
freshman and sophomore years to
a self‑determined program in their
junior and senior years. This approach
is intended to facilitate the transition
from student to independent artist
and professional. Completion of the
curriculum culminates in an exhibition
in the on-campus Photography
Undergraduates establish strong
photographic practices and discourses
through the study of analog and digital
processes, the history and theory
of photography, and the development
of critical thinking and writing skills
through required and elective courses in
photography, other creative disciplines,
and the liberal arts. Participating in
this experience prepares students
to actively contribute to culture and
society as leaders in the photographic
arts and applied industries, as well as
to pursue graduate studies in related
fields. Graduates are expected to
demonstrate excellence in artistic
vision, professional skills, innovation,
and a contextual understanding of their
work in contemporary culture.
Gallery, as well as a group show in New
York City. Small class sizes help to
promote a strong sense of community
in the intimate setting of Pratt’s
Brooklyn campus. Students are given
opportunities to meet artists and
critics through the Pratt Photography
Lectures, visiting critiques, and
studio and museum visits. This access
can help students build contacts
and relationships with influential
professionals in the field. Like a small
town within a big city, we look to give
students their own voice, so they
can employ it in whichever direction
they choose.
Opposite: Work by Mary Catando (B.F.A. ’13)
It was because of Pratt that
I became a photographer.
Through Pratt I not only learned
and found my source of
nourishment and creative field,
but I also learned about life.
Sylvia Plachy (B.F.A. Graphic Arts
and Illustration ’65), Internationally
renowned photographer
111
School of Design
School of Design
Foundation
Communications Design
Advertising Art Direction
Graphic Design
Illustration
Fashion Design
Industrial Design
Interior Design
Dean
Anita Cooney
Donna Gorsline
Acting Assistant Dean
Shannon Price
Director of Finance
Jerry Risner
Office
Juliana Curran Terian Design Center
Steuben 304
Tel: 718.687.5744 Fax: 718.687.5722
sod@pratt.edu
www.pratt.edu/sod
Pratt provides one of the most com
Two parallel objectives guide
prehensive design educations available,
every program at Pratt. The first is an
supported by a distinguished faculty
emphasis on professional skills devel
and exceptional resources, and located
opment. Students gain the techniques,
in the borough of Brooklyn, the city’s
skills, methodologies, and vocabulary
design and cultural epicenter.
they require to succeed as productive
artists, designers, and scholars. The
Gifted students from across the
second objective recognizes that this
United States and around the world
technical experience only takes root
collaborate and learn at Pratt, weaving
within a complex cultural context.
creative energy and opportunity into an
Therefore, students in the School of
unmatched educational experience.
Design also develop the critical judg
The faculty consists of professional
ment and historical perspective they
designers, artists, and practitioners,
need to become creative problem
including numerous recipients of
solvers in the international arena.
prestigious awards, such as Tiffany,
Fulbright, and Guggenheim fellow
ships. The faculty’s works, projects,
and publications are recognized and
respected around the world.
The School of Design offers
degrees in communications design,
fashion design, industrial design,
and interior design. The intensive,
studio-based programs of study are
paired with studies in the liberal arts
and sciences, creating a dynamic
context for stimulating intellectual
and creative inquiry.
The School of Design programs
are also enriched by Pratt’s distinguished
programs in the School of Art and the
School of Architecture—all within the
broader cultural campus of New York City.
School of Design
112
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 110: Work by Liza Stout (B.F.A.
Communications Design ’16)
Opposite: Work by Florence Wang (B.I.D ’17)
Above: Work by Esther Jang (B.F.A. Interior
Design ’16)
113
115
Foundation
Acting Chair
Kim Sloane
The Foundation Program at Pratt
in high school, but more often in a first-
Institute is an intensive exploration
year college foundation program, begins
Assistant Chair
Natalie Moore
and study of the fundamentals of art
eliciting the student’s talents and abilities
and design. Students develop skills
in a more formal, rigorous way, introdu
Sabrina Lovell
and concepts in drawing, light, color,
cing him or her to professional standards
design, three-dimensional design,
of work. The third teacher guides the
Julia Shinay
and time and movements that results
student through the specific ethics,
disciplines, and requirements of the
Technician
Sung Ha No
in the ability to order information in
both time and space, and prepares
chosen art or design field, helping build
them to enter their sophomore year
bridges that enable the student to cross
with the necessary skills to begin their
successfully into the professional world.
4-D Lab Manager
Madeline Youngberg
Office
Tel: 718.636.3617 Fax: 718.399.4589
fdc@pratt.edu
www.pratt.edu/foundation
specialized disciplines. Foundation
While there are often more than
prepares students for all majors in the
three teachers involved in an artist’s
School of Art and the School of Design,
education, individuals who can fulfill the
with exception of Fashion, which has
second role are an essential part of the
its own first year program.
Foundation experience at Pratt. Day-today work involves mastery of materials and
In the early years of an artist’s career,
techniques, with the explicit purpose of
it is important to master the basics
producing thinking artists and designers—
in an environment of positive, critical
people who can integrate the physical and
feedback and encouragement. But it
sensory aspects of art and design with its
wasn’t always that way. Pratt introduced
fuller emotional and intellectual aspects.
the practice to the United States in the
(For another view of how Foundation fits
1940s, creating an American tradition in
into your life as an artist or designer, see
many ways distinct from its European
“How a Pratt Education Works,” page 36.)
Bauhaus antecedents. Yet the premise
remains: In the early years of an artist’s
career, it is important to master the
The first-year course of study consists
basics in an environment of positive,
of Foundation Studio Core, Survey of Art
critical feedback and encouragement.
I and II (HA 115 and HA 116), and English
Research shows that a foundation
(HMS 101 and HMS 103). The Fashion
course of study often provides the
Department is an exception and has its
second of three key “teachers” in the
own first-year program.
lives of successful artists. The first
The Foundation Studio Core helps
teacher—often a parent or friend during
students evaluate their previous art expe-
high school—issues relatively uncritical
rience in the light of new ideas and tech-
encouragement, allowing the student
niques. This grounding in underlying con-
to discover the sheer pleasure and
cepts and principles of the visual arts puts
excitement of working as an artist. The
students’ professional goals in a context
second teacher, sometimes encountered
of personal growth and self-reflection.
116
Foundation
Foundation
117
Before specialization in the sophomore
year, the core curriculum encourages
flexibility, adaptability, and the experience
of design and art as wide-ranging enterprises. Transfer students will be evaluated for advanced standing, with proper
documentation (transcript and portfolio),
by the Office of Admissions.
Students expand their thinking
by participating in a series of studio
experiences that deal with the analysis
of problems in perception, conception,
and imagination. The studio work
encompasses both 2- and 3-D forms in
their optical, technical, and symbolic
natures. In addition, students receive
an introduction to 4-D time arts
through the use of computers and
other media. At one point, students
may deal with specifically designed
structural problems and at another
point may examine these problems
from expressive, social, and historical
perspectives. Through this process,
individual imagination, skill, ambition,
and preferences are examined.
Page 114: Work by Light, Color, Design
students (freshmen)
Opposite: Work by Light, Color, Design
students (freshmen)
Above: Work by Drawing students (freshmen)
119
Alumni of the Communications Design
to communicate both visually and
major at Pratt thrive at the center
verbally, and to design effective and
Assistant Chairs
M. Cecilia Almeida
Philip Graziano
Michael Kelly
of the increasingly complex and
edifying solutions for a wide range of
converging disciplines of illustration,
contemporary issues. Choosing from
advertising, and graphic design.
over 40 electives focused on creating
Alicia Pearce
Recognizing the commonalities in these
content, entrepreneurial projects, the
concentrations for more than 40 years,
partnership of business and design,
Imaging Facility Managers
Puja Choda
Mike Finkelstein
the department has a long, successful
social media, design thinking, and audio
history of building both singular visual
branding, to name a few, our students
communications and entire careers
acquire the skills needed to realize
on a solid foundation of conceptual
their visions—whether working within a
thinking, expressed through words,
corporate structure or starting out on
images, strategies, motion, and sound.
their own. Select teams also have the
Prepared for future developments
opportunity to design and produce the
in technology and delivery systems,
school’s award-winning yearbook (the
students learn to craft effective
only solely student-run publication of
messaging and systems design across
its kind in a school of art and design)
a wide range of platforms to redefine
and provide services for vital nonprofit
problems, identify opportunities,
organizations through Design Corps, our
develop solutions, and find their
pro bono design class.
Chair
Kathleen Creighton
Imaging Technician
Russell Barsanti
Office
Tel: 718.636.3594 Fax: 718.399.4495
comd@pratt.edu
www.pratt.edu/
ug-communications-design
audience wherever they prefer to be
Thanks to our industry-leading
found. In Communications Design we
faculty, our students present their
teach our students how to be nimble
work to the designers and art directors
and creative problem-solvers, elegant
who will be evaluating and hiring them
image-makers and analytical individuals,
when they graduate, and have access
who are defined more by the impact
to even greater opportunities through
of their ideas than the titles on their
internships within the diverse networks
business cards.
those faculty members represent.
We prize mental agility as highly as
In the rapidly changing media landscape,
craftsmanship, so that graduates from
where form is more fluid than ever
our program are able to chart their own
and the boundaries between these
courses successfully, using their unique
areas of concentration continue to
vision as their guide. If your goal is to
dissolve, our quest to produce well-
develop your own creative voice, rather
rounded communicators does not stop
than be part of a chorus, if you wish
with the convergence of disciplines.
to explore and then cross boundaries,
Understanding that design is not
Communications Design at Pratt is the
just about the end product on the
major for you.
page or screen, we educate students
Page 118: Work by Nina Bishop (B.F.A. ’15)
Opposite, from top: Work by Kyle Kemmerer
(B.F.A. ’15); Work by Liza Stout (B.F.A. ’16)
Above: Work by Eric Lee (B.F.A. ’15)
Above, from top: Joseph Meier (B.F.A. ’16);
Mengjie Zheng (B.F.A. ’16); Nel Sparkman
(B.F.A. ’16)
Opposite, from top: Work by Xiaoyue Liu
(B.F.A. ’16); EunYoung Cho (B.F.A. ’15)
124
what it takes to be an art director in a
translate or give form to content, but
Emphasis in Illustration
top advertising agency or to start an
also to develop and generate that
agency of your own. You’ll explore every
content through core illustration and
detail that affects an ad or campaign,
imaging classes, as well as electives in
from typography and imagery to sound
motion and interaction design. In the
and motion, from the consumer’s first
industry, graphic designers are often
awareness through user experience
seen as the people who put all the
and delivery. A faculty of award-winning
components together. Pratt graphic
industry professionals will help you
designers craft those components
develop your own message-driven
themselves and, as a result, graduate
creative process, and teach you how
to become not just design professionals
to communicate conceptually and
but also authors and authorities in
effectively. They’ll work with you on
their fields.
With a concentration in illustration at
Pratt, your education will differ from
that offered by most programs at other
schools of art and design specifically
because it is part of a larger major and
not a stand-alone discipline. This means
our graduates enter a field which itself
is more innovative and exciting every
year, not only with grounding in all
media, including painting and drawing,
but also having mastered—in required
classes—typography and photography,
as well as 2- and 3-D design and current
computer software. Recommended
electives include sequential art, motion
graphics, independent publishing, Web
design, and business classes, all of which
augment the students’ solid foundation
in visually sophisticated and conceptually
based storytelling. Our alumni can—and
do—succeed in widely varied careers in
advertising, graphic design, film, display,
fashion merchandising, and children’s
books, and have the skills necessary to
oversee publications and direct other
illustrators. Our students who choose to
brand development, utilizing the
Communications Design program is a
platforms, and developing strategic
multidisciplinary and transdisciplinary
insights that will make your portfolio
studio where students from each
stand out from the crowd. If you’re an
area of emphasis engage and challenge
artistically inclined dreamer who sees
each other, developing their own
no limit to the power and potential of
conceptually sound approaches to
an idea, advertising is the course of
a variety of solutions. Their career
study and career for you. Our students
paths are many, varied, and convergent,
have received some of the industry’s
with success and fulfillment as the
most coveted prizes and are working
common denominators.
at the most progressive and respected
agencies in the country and the world.
Emphasis in Graphic Design
concentrate in illustration are successful,
With a concentration in graphic design
in short, because they are literally
at Pratt, you will learn the balance
prepared for everything, including the
of conceptual problem-solving and
changing face of illustration itself.
technical skills that have earned the
Institute and its graduates and students
Emphasis in Advertising
With a concentration in advertising
at Pratt, you will be charged with
conceiving and executing brilliant
ideas that both engage consumers
and move them to action. You’ll learn
In the end, Pratt’s Undergraduate
potential of established and emerging
the world-class reputation they
deserve, and that can be applied to the
design of deliverables such as logos
and websites or the development of
complex systems and user experiences.
Students are trained not only to
Opposite: Work by Hanna Lefcourt (B.F.A. ´16)
127
Fashion Design
Chair
Jennifer Minniti
From Pratt’s inspirational campus in
ingenuity, authenticity, creativity, and
Brooklyn, the Fashion Department
personal vision as well as an informed
Assistant Chair
Emily Mader
offers students a concept-led,
versatility. Their artistic vision both
craft-based education at the heart of
reflects and challenges the needs
Rachel Kinnard
one of the world’s cultural epicenters.
of contemporary culture.
Office
Tel: 718.636.3415 Fax: 718.399.4566
fashiondesign@pratt.edu
www.pratt.edu/fashion
Fashion education at Pratt Institute
A Fashion Program in the Fashion Capital
is trans-disciplinary in nature, closely
Pratt takes the city of New York and
allied with illustration, photography,
the borough of Brooklyn as its urban
film, performance, visual studies,
laboratory, offering students a wealth
and material culture. The practice
of opportunities to gain crucial experi
of fashion is taught as one’s cultural
ence beyond the classroom environ
embodiment within a social framework
ment. Museums, archives, and design
and learned through rigorous attention
studios familiarize students with design
to production, craft, and contempo-
processes and histories; internships at
rary aesthetics. Students build a vision
top design companies such as Thom
and a language through conceptual
Browne, Zero Maria Cornejo, Rag & Bone,
processes emphasizing curiosity, imagi-
Ralph Lauren, and Donna Karan offer
nation, improvisation, and play. They
hands-on experience and professional
communicate that vision through profi-
networking. All Pratt fashion design
ciency in construction and illustration
students participate in annual design
skills, fluency with materials, traditional
competitions sponsored by the Council
techniques, and digital technolo-
of Fashion Designers of America
gies as well as synthesis of germane
and YMA Fashion Scholarship Fund;
research. Interdisciplinary and collabo-
competitions sponsored by companies
rative classroom opportunities set the
such as Cotton Incorporated and
program apart, offering students tools
Supima Cotton are integrated into
and creative engagement beyond the
the curriculum, providing avenues for
fashion milieu.
scholarship support and exposure
One of the world’s most pre
within the fashion community. Public
stigious independent colleges of art
critiques with faculty, peers, and out
and design, Pratt is globally recognized
side design authorities help students
for its distinguished academic record.
crystallize and articulate their design
Graduates in fashion design carry the
visions. A mandate to show work
hallmarks of the department into
publicly—in gallery environments,
the working world, where they are
on the street, in showrooms—instills
recognized for a commitment to
appreciation for the true spectacle of
128
Fashion Design
fashion. The Fashion Design faculty is
flat 2-D patternmaking, and 3-D drape:
composed of professional practitioners
they are expected to work consistently—
from across the industry, including
executing the fashion idea through the
directors at top design houses,
making of innovative collections.
historians, curators, and craftspeople.
The Department of Fashion
Some have worked for Donna Karan,
offers a wide variety of elective and
Giorgio di Sant’Angelo, Nike, Liz
advanced courses in topics such as milli
Claiborne, Foley + Corinna, Ralph
nery, shoe design, fashion and video,
Lauren, and Geoffrey Beene; some have
zero-waste construction, tailoring
built their own companies, such as Study
techniques, jewelry design, leather and
NY, to promote modern, sustainable
fur, and knitting to complement the
fashion, millinery, and more. Their work
core curriculum. The department offers
has been featured in a wide range of
international exchange programs and an
publications including The New York
intensive program abroad in the summer.
Times, Essence magazine, The Fader,
and The New Yorker. Seen on stage
Internship
and screen at the Metropolitan Opera,
Pratt students are required to complete
on Broadway, and on Bravo TV, faculty
four credits of internship between their
work has also sold in Barney’s New
junior and senior years. Students have
York, Henri Bendel, Saks Fifth Avenue,
the opportunity to explore different
and countless independent retailers.
aspects of the New York fashion design
Guest practitioners from all
industry through their choice of
fashion backgrounds join faculty in the
internships. The internship experience
classroomas visiting lecturers, advisors,
provides them with job searching
and critics. Each semester, a full roster
and interview skills, as well as practice
of fashion experts is invited to talk
in how to write a résumé and present
theory and practice with Pratt students.
their portfolio. A Pratt faculty advisor
guides each student throughout the
The Curriculum
experience, making sure the students’
The fashion design curriculum fosters
learning objectives are met.
development of individual identity
within a collaborative environment,
informed by self-reflection and
engaged critique. A professionally
active and accomplished faculty
challenges students to seek beyond the
conventional. Students are prompted to
have an ongoing dialog between sketch,
Page 126: Work by Giovanna Flores (BFA ’15)
Opposite: Work by Nicholas Andreadis (B.F.A. ’16)
Above from top: Work by Lauren Moseley
(B.F.A. ’16); Work by Moon Jung Chang (B.F.A. ’16);
Work by Camerin Stoldt (B.F.A. ’16)
Opposite: Work by Kit Woo (B.F.A. ’15)
Above from top: Work by Moon Jung Chang
(B.F.A. ’16); Work by Jihyun Kim (B.F.A. ’16);
Work by Isabel Hall (B.F.A. ’16)
Opposite: Work by Kristin Mallison (B.F.A. ’16)
135
Industrial Design
Chair
Constantin Boym
In the last few years, the field of
21st century, capable of tackling these
Industrial Design has gone through
momentous changes.
Assistant Chair
TBD
dramatic changes.
TBD
We have seen the revolution in digital
be able to create products, systems,
technology, which allowed billions
and environments which help to inno
Technical Coordinator
Melissa Skluzacek
of people around the globe to connect,
vate and improve everyday objects
communicate, and share information.
and situations.
Technicians
Gary Hou
Alejandro Morales
Manuel Mota
Julia Wheeler
creativity, which started to erase the
students learn aesthetic values of
old distinction between consumers,
visual abstraction, from line and color
producers, and designers by allowing
to development of complex three-
wider audiences to participate in the
dimensional form. Students study to
creative process.
practice design as an iterative process
Office
Tel: 718.636.3631 Fax: 718.636.3553
id@pratt.edu
www.pratt.edu/ug-industrial-design
Whether working with industry
or acting as entrepreneurs, students will
We have witnessed a wave of mass
We have observed the converg
To become professionals,
that includes ideation, sketching,
ence of industrial design with scientific
prototype making, and testing of their
research—from biology and genetics
projects. Hands-on skills, learned in a
to artificial intelligence and robotics—
model shop, are complemented with
allowing things from the realm of science
digital skills, practiced in computer
fiction to take shape in real life.
labs. From their sophomore year on,
We have at last begun to address
students are taught the importance of
problems of the “other 90%” of
critical thinking: the art of observation
the world, trying to solve problems
and discovery, and ability to uncover
of poverty, hunger, energy, health,
and formulate real-world problems in
and other troubling issues of the
need of design solutions.
disadvantaged world population
by design.
We have come to realize our
Faculty members in the Industrial
Design Department are professional
educators and designers; many of them
responsibility for the planet’s climate
are principals of their own successful
and limited resources, and for our
businesses and recipients of prestigious
handling of the environment, industry,
industry awards. Throughout their
and agriculture.
years of study, students are exposed
The Industrial Design program
to cultural richness and diversity of
at Pratt is set to prepare students to
New York City, with its world-class
become professional designers of the
museums, galleries, and art and design
136
Industrial Design
events. Brooklyn, in particular, has
By the end of senior year, students
recently become a hot spot of young
complete a capstone studio, which
entrepreneurial craft and design
follows students’ choice of subject and
culture, and students can learn a great
delineates the direction of their future
deal from immersing themselves in
careers. The capstone studio project
the activities of the bustling contemp
is presented at the annual Design Show,
orary design scene.
a public event attended by industry
Four years at Pratt will set each
student on a path toward a rewarding
Industrial Design
leaders and potential employers.
The department offers study-
and culturally relevant career, which
abroad exchanges with a number of
can be tailored to specific interests
leading European design schools and
and abilities.
a summer program in furniture making
in Copenhagen through the Danish
International School.
Pratt B.I.D. alumni are designers, artists,
educators, entrepreneurs, researchers,
and corporate leaders. This diversity
comes from a program of study that
allows freedom to explore. In the
sophomore and junior years, students
take core courses, which provide
grounding in drawing, color, 3-D form,
model making, and digital computer
skills. At the same time, they take design
studios, which introduce them to
critical thinking, problem solving, and
environmental responsibility. A variety
of studio options are open in the
junior and senior years where students
can take specialized studios that
respond to their individual interests
and skills, such as:
• Product design
• Furniture
• Tabletop and food design
• Shoes and athletic gear
• Exhibition design
• Interdisciplinary design
Page 134: Work by Sicheng Fu (B.I.D. ’17)
Above: Work by Michael Liu (B.I.D. ’13)
137
Opposite: Zoe Berman (B.I.D. ’17), Jessie Cheng
(B.I.D. ’17), Sam Pannepacker (B.I.D. ’17), Wootaek
Kim (B.I.D. ’17), Sol (space light control) for
Wearable Technology Studio
Above: Work by Masamune Kaji (B.I.D. ’13)
Opposite: Robin Oglesbee-Venghaus,
basecamp chair (B.I.D. ’15)
Above, from top: Tara Ali-Khan, Kick Butt,
sanitary pad (B.I.D. ’17); Neil Erasmus,
concrete tabletop set (B.I.D. ’17)
143
Interior Design
Acting Chair
Karin Tehve
Pratt’s program was ranked second in
in the sophomore year, working in a
the U.S. by DesignIntelligence 2015
stimulating studio setting where the
Acting Assistant Chair
T. Camille Martin
and is accredited by the Council for
learning is collective, cooperative, and
Interior Design Accreditation (CIDA).
competitive. Students work closely
Aston Gibson
Office
Tel: 718.636.3630 Fax: 718.399.4440
int@pratt.edu
www.pratt.edu/interior-design
in small groups with their professor
Studying interior design at Pratt is an
on projects that develop in size and
adventure enhanced by being in New
complexity through the six semesters
York City, the interior design capital of
of design studio. The senior year
the United States. Students enrolled
culminates with a thesis project;
in this challenging course of study are
students develop a body of research on
prepared for a career in a profession
a particular issue of the interior in the
with enormous potential. Pratt’s was
fall which they then develop as a design
one of the first programs in interior
project in the spring.
design education in the country and
Students are encouraged to take
continues to be a leading innovator in
advantage of the many courses offered
the discipline. Our alumni have made
at Pratt that will enable them to fully
significant contributions to the quality
develop their interests and talents.
and character of our built environment
Studio electives may be chosen from
for decades, and it is certain that
virtually any department in the Institute;
tomorrow’s graduates will continue to
an enormous menu of courses is
make an environmentally mindful impact
available for the pursuit of individual
on our culture and sense of place.
interests. Interested students can apply
The Interior Design program is
to spend the spring term of the junior
an architecturally oriented program
year at the Danish International School
with emphasis on spatial design as
(DIS) studying interior architecture
well as surface embellishment. All
in Copenhagen. The program at
aspects of space—scale, proportion,
DIS includes extensive study tours
configuration, and light sources,
throughout Scandinavia.
as well as textures, materials, and
Students are integrated into the
colors—are studied in relation to their
professional world through professional
effect on the human spirit. Students
practice coursework and internships
begin their interior design studies
that serve to prepare students for
Page 142: Work by Ashley Kuo (B.F.A. ’14);
Above from top: Work by Haley
Haugland (B.F.A. ’14); Work by DaSom
Kim (B.F.A. ’15)
Opposite from top: Work by Gerui
(Gray) Cheng (B.F.A. ’15); Work by Yiyao
Tang (B.F.A. ’15)
Pratt was an amazing, amazing
experience in my life. We had
top faculty that inspired us.
I use the foundation that I
received at Pratt, but I take it
in many different directions.
Samuel Botero (B.F.A. Interior
Design ’68), Renowned interior
designer; principal, Samuel Botero
Associates, Inc.
148
Interior Design
Interior Design
149
certification. Pratt students create
prepares graduates for a leadership role
important relationships in school and
in an established profession. To support
become part of the larger alumni
our commitment to technological
network when they graduate.
excellence, personal laptop computers
Our curriculum covers all aspects
are required for all undergraduate
of interior design, beginning with
students. For more information, please
the fundamentals of drawing, right
refer to www.pratt.edu/academics/
through to the complexities of building
technology-resources/laptop-
construction, architectural drawing,
programs/interior.
computer graphics, professional
practice, and contract administration.
Minor in Interior Design
The students’ experience is enhanced
The Department of Interior
by a balance of intellectual exploration,
practical experience in the design studio,
and the development of skills needed
to become successful professionals.
B.F.A. in Interior Design
to undergraduate architecture,
construction management, and
industrial design students, or interested
students with a related background.
Students may apply to the minor after
meeting with the chair of Interior
Students have the opportunity to study
Design, as early as the first semester of
interior design as an integral element of
the sophomore year. Determination of
the built environment: shaping space as
studio level to take INT-301, -302, or
well as planning and furnishing it. Light,
-401 will be based upon a review of the
color, form, and space are the classic
student’s transcript and portfolio. The
elements of interior design with which
completion of the minor will be noted
students work in a series of design
on the student’s transcript but will not
studies and related courses. At Pratt,
be shown on the diploma.
students focus on a variety of interior
design projects that grow more complex
as the curriculum proceeds.
Students begin their study of
interior design in the sophomore year
upon completion of a required year
in Foundation. Individuals interested
in transferring to Pratt from other
institutions are also encouraged to
apply. The structure of the program,
in which dedicated students thrive,
Above: Work by Kelsey Birchenall (B.F.A. ’15)
Design offers a 16-credit minor
151
School of Liberal Arts
and Sciences
School of Liberal Arts and Sciences
History of Art and Design
The Writing Program
Liberal Arts
The mission of the School of Liberal
Dean
Andrew W. Barnes, Ph.D.
las-dean@pratt.edu
Gloriana Russell
Office
Tel: 718.636.3570 Fax: 718.399.4586
www.pratt.edu/las
Second, the School of Liberal Arts
Arts and Sciences (SLAS) is to enable
and Sciences offers four undergraduate
students to explore areas of knowledge
degrees: the B.A. in Critical and Visual
and to reflect critically and creatively
Studies, the B.F.A. in Writing, the B.A. in
on aesthetic forms and on intellectual
the History of Art and Design, and the
and cultural practices. Students con
B.F.A. in the History of Art and Design.
duct research, substantiate arguments,
The Critical and Visual Studies program
and communicate in the broadest
is for the curious and imaginative
possible sociohistorical, literary, and
student who wants to pursue studies
scientific contexts. The school’s primary
in the liberal arts and sciences while
goal is for students to make continuing
immersed in Pratt’s unique environment
contributions as critical thinkers and
of creative openness and intellectual
creative professionals.
experimentation. At the core of the
program is the understanding that
SLAS plays two major roles in the under
the integration of theory, method,
graduate curriculum. First, the School
and experience is crucial to learning.
provides a well-rounded education for
Here, every aspect of social life—from
students in the professional programs,
street art to political systems, from
offering a general education curriculum
international media to the global
in humanities and media studies,
economy—is a potential subject of
mathematics and science, social
study. The program provides a unique
science, and cultural studies. With both
interdisciplinary framework within which
depth and breadth unequaled by other
our students explore the liberal arts
colleges of art and design, SLAS also
through the study of the artistic, social,
offers a suite of minors to complement
and political meanings of cultural and
the professional degrees: Cinema Studies,
aesthetic production.
Creative Writing, Cultural Studies,
History of Art and Design, Literature and
Writing, Media Studies, Performance and
Performance Studies, Philosophy,
Psychology, and Sustainability.
152
The chief goal of the undergrad
uate writing degree is the graduation
of creative writers who are well-versed
in literature, literary theory, and other
modes of critical thinking. At the cen
ter of the curriculum are creative wr
iting studios in which a range of
forms are explored. The studios are
complemented by core courses that
focus on essential, but too often ne
glected, aspects of the literary arts—
word choice, grammar, logic, exposition,
and critical thought. The location of
the program in New York City is taken
full advantage of, primarily in Writer’s
Forum, a course that invites writers,
editors, and literary agents to campus
to address the writing majors; and the
Internship Program, in which students
can select from an array of internships,
from St. Mark’s Poetry Project to
Saturday Night Live.
The undergraduate degrees in the
history of art and design offer students
the chance to study on a campus that
attracts leading artists. Students have
the opportunity to study 17th-century
frescoes in Venice, 19th-century Dogon
figures in the conservation laboratory at
the Brooklyn Museum, and 21st-century
performance art as curatorial interns at
the Guggenheim Museum. History of
Art and Design students bring a wide
array of experiences and backgrounds to
their studies and graduate the program
with new knowledge, experience, and a
professional network to inform and
support their careers for many years.
Page 150: Students in class
Opposite: Students in a Performance Studies
course participating in a show, titled Iris
155
Chair
Gregg M. Horowitz
ghorowi2@pratt.edu
Sophia Straker-Babb
ss@pratt.edu
Assistant Chair
Eric Godoy
egodoy@pratt.edu
Critical and Visual Studies Coordinator
Lisabeth During
lduring@pratt.edu
Critical and Visual Studies is a bachelor
within the School of Liberal Arts and
of arts program for the curious and
Sciences, and across the Institute in
imaginative student who wants to pursue
architecture, art history, art and design,
studies in the liberal arts and sciences
and planning.
while immersed in Pratt’s unique
The fundamental goal of the
environment of creative openness and
faculty in Critical and Visual Studies is
intellectual experimentation.
to provide students with an education
that helps them become critical,
We believe that the liberal arts and
articulate, widely read, intellectually
sciences bring vitality, creativity, and
flexible, and culturally savvy.
Your studies in the program will
Academic Advisement Coordinator
Erich Kuersten
ekuerste@pratt.edu
practical application to intellectual
Office
Tel: 718.636.3567 Fax: 718.399.4575
www.pratt.edu/critical-visual-studies
from international media to the global
is grounded in philosophy, history,
economy—is a potential subject of your
the social sciences, and humanities.
practice. Here, every aspect of social
life—from street art to political systems,
studies. The program provides a unique
give you:
• A critical understanding of culture that
• Competency in social theory,
interdisciplinary framework within
analytical research methods, and
which students explore the liberal arts
various techniques of communication.
through the study of the artistic, social,
• The ability to develop and critically
and political meanings of cultural and
integrate written, oral, visual, and
aesthetic production.
spatial expression.
• The flexibility to pursue in-depth
The Liberal Arts and Sciences
studies and make links between
Context at Pratt: Strong Foundations,
academic work and the wider world
Individualized Programs
through internships in cultural
Our BA program features a first-year
curriculum that builds a foundation in
many classic and innovative texts of
philosophy, the social sciences, and the
humanities, and in the writings of both
historical and contemporary thinkers
who are of special importance to critical
theory and visual studies. Students
then choose from a generous selection
of electives and concentrations from
institutions, especially nonprofit arts
and public service agencies.
• A faculty whose work and teaching is
on the cutting edge of scholarship and
cultural criticism.
156
Our faculty’s diverse teaching and
Saidiya Hartmam, Randy Martin, Tom
The Third Year: Guided Electives and
students benefit from a stimulating
research interests include philosophy,
McCarthy, Gyan Prakash, Vicente
The First Year: Foundation
the Pursuit of a Focus of Study
atmosphere of intellectual and artistic
sociology, ethnography, cultural studies,
Rafael, Martha Rosler, Sukhdev
innovation. The Critical and Visual
media studies, urban studies, social
Sandhu, and Wendy Woon.
The first year of the program provides
In the third year of the program, students
Studies curriculum allows students the
practice, aesthetics and visual culture,
students with a foundation in history,
use their individual interests, as dis
opportunity to take electives in the
globalization, imperialism, colonialism
which brings a major contemporary
philosophy, critical theory, and science
covered and refined in “Moderation,”
traditional studio arts and in new
and post-colonialism, critical theory,
thinker or artist to campus for an
studies. The centerpiece is a first-year
to pursue an independent concentration.
media. Students can work in a variety
psychology, gender and sexuality, world
extended residency. Past scholars-
seminar in which students become
The concentration can follow a standard
of media, developing their writing skills
history, history and historiography,
in-residence have included Stanley
acquainted with the range of subjects,
course of study in the liberal arts, such
and working experimentally to integrate
cinema and documentary film, literature
Aronowitz, Patricia Clough, Juan Cole,
methods, and theories from which, later
as anthropology, history, or philosophy;
the verbal and visual, creating new
and creative writing, theater and
Susan Meiselas, and Laura Mulvey.
in their careers at Pratt, they will be
an interdisciplinary course of study,
combinations of word and image.
performance studies, environmental
able to assemble their own specialized
such as cultural studies, gender studies,
paths of study.
urban studies, or visual studies; or an
Because of our unique context,
• The Scholar-In-Residence Program,
• Film Screenings, which offer provo
studies, sustainability, and the sociology
cative forums for timely debates
Studies are committed to a wide range
of science and technology. The faculty’s
about current social, political, and
of intellectual endeavors and public
area specialties include the Americas,
aesthetic issues. Filmmakers accom
engagement. But we are united in our
Africa, the Mediterranean, Central Asia,
pany their film screenings and ad
commitment to a new approach to the
the Middle East, the Pacific Rim, and the
dress interested students afterward,
liberal arts and sciences that emphasizes
Indian Ocean.
making for lively discussions that
The faculty in Critical and Visual
education and not simply “schooling”
Our students and faculty participate
extend beyond the classroom.
• The Wallabout Film Festival, which is
or training. We understand education
in the dynamic array of cultural events
to be a matter of “learning to learn.”
and institutions offered by our location
a student film festival produced and
Our goal is to provide our graduates with
in New York City. Students immerse
curated by an interdisciplinary team
a foundation for independent, lifelong
themselves in the intellectual life of
of students from Pratt Institute,
learning. Students are prepared to thrive
the city, both outside the gates of the
showcases films by innovative student
in a future economy where they will
Institute and by participating in public
filmmakers from around the world.
need critical and analytical skills to move
programming planned by the faculty
• Field trips to see current museum and
seamlessly among changing economic
members and the organizations with
gallery exhibitions; to network with
sectors and evolving career paths.
which they are affiliated:
artists, architects, designers, critics,
• The Departmental Speaker Series,
and curators; and to engage with the
which brings renowned scholars
and intellectuals to the Institute and
city at large.
• Senior Thesis Readings, which are
gives our students the opportunity
public presentations by seniors of
to meet and interact with them.
their thesis research. These present
Past speakers have included: Nora
ations and discussions are a chance
Alter, Alain Badiou, Robin Blackburn,
for students to get to know the work
Susan Buck-Morss, Tina Campt,
of peers and to gain perspective on
Simon Critchley, Jim Czarnecki, Gina
their own intellectual development.
Dent, Anna Grimshaw, Timothy Hall,
Page 154: Students in class
individually designed course of study,
The Second Year: Free Electives,
such as mass media and society,
“Symposium,” and “Moderation”
psychology and the arts, or war and
The second year of the program is
rich in elective offerings that permit
students to explore and expand the
interests they discovered in their
first year of study. The second year is
culture. Students can also add minors in
studio art to their programs.
The Fourth Year: Senior Seminar
and Senior Thesis
anchored by the two-course sequence
In the fourth year, students round out
of “Symposium” and “Moderation.”
their education by taking all-Institute
In “Symposium,” accomplished
electives in which they explore topics
scholars in the liberal arts, some from
and problems outside of their core areas
the Institute and some from outside,
of study. At the same time, students
lecture and lead a seminar in which
complete their individual concentrations
students gain exposure to the standards
with the capstone courses “Senior
of professional intellectual work.
Seminar” and “Senior Thesis,” in which
In “Moderation,” students are guided
they are guided through the process of
by a faculty committee to reflect on
developing, researching, and writing a
their studies during semesters one
graduate school-level essay. The senior
through three. “Moderation” enables
thesis, which is the end product of this
students to take stock of their initial
experience, hones students’ abilities to
experiences in the program, examine
express themselves, argue their ideas, and
their goals and interests, evaluate
make fresh sense of the cultural world.
their performance, establish their
commitment to a course of study, and
chart their final two years of college.
157
159
Acting Chair
Gayle Rodda Kurtz, Ph.D.
Pratt Institute is an exceptional place to
Every Art and Design History
study the history of art and design. Our
student’s program includes “behind-
Evan Neely, Ph.D.
landmarked campus attracts leading
the-scenes” experiences, not only at
artists, designers, historians, and
exhibitions and museums but also in the
Jill Song
theorists and is only minutes from the
Institute itself. Connections with other
studios, galleries, private collections,
departments in all areas of fine arts
Office
Tel: 718.636.3598
ha@pratt.edu
www.pratt.edu/history-of-art-design
libraries, and museums that make New
and design—interior, industrial, comm
York a premier center of art and design.
unication, and fashion—offer a unique
platform for an interaction between
Our faculty is composed of distinguished
practitioners and theoreticians. Our
scholars and mentors who focus
students witness the making of art and
on the intellectual and professional
design firsthand, which adds a real-life
growth of our students. They bring a
perspective to their scholarly studies.
broad range of expertise and different
The History of Art and Design
methodologies to the classroom;
Department offers exciting lectures
in addition, about half of our faculty also
and seminars with a wide range of
has extensive museum and curatorial
approaches, from connoisseurship to
experience. Their expertise, dedication,
the most recent theoretical approaches.
and original thinking are evident in
Frequent excursions and internships
our curriculum and in the academic
result from our extensive working re
opportunities and professional con
lationships with the city’s museums,
nections faculty members create
galleries, and cultural organizations and
for their students, and most importantly,
are a crucial part of the curriculum.
are reflected in the quality of our
students’ work.
Explore our degree options and
Degree Program’s Philosophy
you will find students studying 17th-
Degrees in the History of Art and Design
century frescoes in Venice, 20th-
have been developed with a keen sense
century product design at first-rate
of Pratt’s history as a technical school.
auction houses, and 21st-century
In the context of a school long devoted
performance art at the Guggenheim
to the practicing artist, designer,
Museum. Students come from a
architect, and librarian, the historical
wide range of backgrounds, and leave
perspective is attached to the concrete
with knowledge, experience, and
example. Its theory is developed from
a professional network that will
the specific to the general. At Pratt,
inform and support their careers
the definition of art history is broad.
for many years.
It includes design history of clothing,
160
interiors, communication, industrial
B.A. in History of Art and Design
History of Art and Design Minor
The BA program affords a deeper
Undergraduates at Pratt who choose
grounding in the philosophy, literature,
to minor in the History of Art and Design
and criticism of the history of art
are required to complete 18 credits of
and design. This program requires
art or design history, or six (including
48 credits to be taken in art history
one 500-level course) beyond the
and incorporates a two-year study of
requirement of 12 credits. Prospective
a foreign language and other humanities
minors should see the department chair
courses in lieu of several studio
for advisement on appropriate choice
courses. Students will take specially
of courses.
products, photography, film, and ani
mation, as well as urban design and the
history of painting, sculpture, archi
tecture, and graphic arts. These courses
have been developed to respond equally
to the needs of the art/design student
and to aspiring historians.
The History of Art and Design
Department provides courses and
a foundation of studies for all Pratt
students. All undergraduates in the
School of Art and the School of Design
are required to take 12 credits of art and
design history, including introductory
survey courses that cover pre-history
to the 20th century. The surveys are
complemented by elective courses
in a wide range of fields, which are
designed to cater to specific interests
of the varied majors within the Schools
of Art and Design. The department
offers a unique choice of programs for
undergraduate majors in two degree
tracks: Bachelor of Arts and Bachelor
of Fine Arts.
Students entering with an Advanced
Placement score of four or five in art
history may apply for exemption from
the first semester survey and are allowed
to substitute an elective in the survey
area for the second semester of survey.
Entering freshmen who have done well in
a full-year art history survey course (but
did not get a four or five score or did not
take AP Art History) may also apply to
the chair of the History of Art and Design
Department to substitute upper-level
electives in each survey area for the
required courses. Courses are open to
all students at Pratt Institute.
designed foundation courses and
All undergraduate students in
the survey classes. They will continue
the department are encouraged to
with an additional 57 credits in liberal
do an internship at a premier New
arts (English, humanities, sciences,
York institution.
social sciences, and foreign language),
8 in studio, and the remaining 19
credits as free electives. Majors will
take upper-level electives in film and
design, architecture, non-Western,
pre-Renaissance, Renaissance to
Rococo, and 19th-, 20th-, or 21stcentury art. Theory and Methodology,
Chemistry of Art, and a Senior Seminar
are requirements for completion
of the degree.
B.F.A. in History of Art and Design
Pratt in Venice
Pratt students and a select few from
other institutions are offered the
opportunity to live and study in Venice
each summer for six weeks in June
and July. They work with Pratt faculty
and experts from Italian universities
and cultural organizations in painting,
drawing/printmaking, art history, and/or
materials and techniques of Venetian
art. The program fosters interaction
between art history and studio arts in
Students who wish to receive a B.F.A.
the context of the visual richness of
in this department must take the regular
Venice and the depth of intellectual
one-year Foundation Program of
resources available in local museums,
24 credits and complete 40 credits of
libraries, and monuments.
history of art and design, an additional
30 credits of studio art, 34 credits of
liberal arts, and the remaining 6 credits
as free electives. Sophomores who have
chosen this major will take upper-level
electives in film and design, architecture,
non-Western, pre-Renaissance,
Renaissance to Rococo, and 19th-,
20th-, or 21st-century art. Theory and
Methodology, Chemistry of Art, and a
Senior Seminar are requirements for
completion of the degree.
Page 158 and above: Class trip to The
Metropolitan Museum of Art, New York
161
163
The Writing Program
Chair
Maria Damon, Ph.D.
mdamon@pratt.edu
Writing Program Coordinator
Thad Ziolkowski
tziolkow@pratt.edu
Erich Kuersten
ekuerste@pratt.edu
Office
Tel: 718.636.3790
www.pratt.edu/writing
A writer writes. There is simply no
The writing program also takes full
other way to learn. It’s hard and
advantage of the fact that it is located
humbling but tremendously exhilarating.
in New York City, arguably the publishing
As an aspiring writer, you already know
capital of the world, and in Brooklyn, the
this. That’s what drew you to Pratt’s
borough now most densely populated
Writing Program.
with writers and artists. New York City
provides brilliant faculty, an endless
In most writing programs, students
stream of famous writers who come to
must complete two years of liberal arts
campus to read from their work or serve
requirements before they are allowed
as writers-in-residence, and a host of
to begin writing. At Pratt, writing majors
internship opportunities at institutions
start writing on the first day of fresh-
ranging from St. Mark’s Poetry Project to
man year and continue for the next
Saturday Night Live.
four years, completing a book-length
work of poetry, fiction, or creative
nonfiction as a senior thesis. In other
words, they learn by doing and by having
their efforts rigorously responded to
in critiques by hard-working peers and
inspired, accomplished instructors.
Along the way, writing majors read
widely and deeply in contemporary and
classical literatures; they study literary
and media theory, science and math,
grammar and logic. But the primary
focus is on writing, and the curriculum
flows outward from, and is fueled by,
writing as the chief activity.
Beyond the writing studios that
form the core of the curriculum are
more specialized, tutorial-sized courses
such as The Book as Compositional
Form, How to Break into Journalism,
Screenplay Writing, Blogging, The
Graphic Novel, Crime Writing, Bending
Genre, and Experimental Fiction.
Bachelor of Fine Arts in Writing
The Writing Program’s goal is the
creation of well-rounded writers. At the
heart of the curriculum are the Writing
Studios, through which students
progress from word choice, grammar,
and clarity of expression to more
advanced narrative and poetic forms
and specialized genres, culminating in
the creation of a book-length work of
prose, poetry, or experimental form. The
practice of writing is reinforced by
studies in literature, cultural studies,
science, and history.
165
Classes in the Liberal Arts
Evan Neely
eneely@pratt.edu
Jill Song
Humanities and Media Studies
Chair
Maria Damon, Ph.D.
mdamon@pratt.edu
Assistant Chair
Kathryn Cullen-Dupont
kcullend@pratt.edu
Danielle Skorzanka
hms@pratt.edu
There are so-called skill mills. And there
is Pratt. We educate the whole person.
Pratt provides a well-rounded
education in the liberal arts that
encompasses Humanities and Media
Studies, Mathematics and Science,
and Social Science and Cultural Studies.
In addition, the Institute supports
international students in gaining the
English language skills they need to
pursue their education and to interact
as vital members of the community.
Mathematics and Science
Chair
Carole Sirovich, Ph.D.
csirovic@pratt.edu
Margaret Dy-So
sci@pratt.edu
Laboratory Technician
Tiffany Liu
Social Science and Cultural Studies
Chair
Gregg M. Horowitz, Ph.D.
ghorowi2@pratt.edu
Assistant Chair
Eric Godoy
egodoy@pratt.edu
Sophia Straker-Babb
ss@pratt.edu
Intensive English Program
Director
Nancy Seidler
nseidler@pratt.edu
Certificate of English
Proficiency Coordinator
Dana Gordon
dgordon@pratt.edu
Assessment and Educational
Technology Coordinator
Rachid Eladlouni
reladlou@pratt.edu
Assistant to the Director
Fanny Lao
hlao@pratt.edu
cep@pratt.edu
The mission of the Department of
Mathematics and Science is threefold.
The first is to acquaint students with
scientific methodologies, critical thinking,
and the history of scientific thought.
The second is to address the interface
between science and art, architecture,
and design, whether it is through the
physics of light, the chemistry of color,
the biology of form, or the mathematics
of symmetry. The third is to educate
students so that they can respond
intelligently and critically to today’s new
developments in science and technology
The Humanities and Media Studies (HMS)
and make informed decisions regarding
Department offers a variety of courses—
current scientific matters that affect
freshman English, literature and literary
public policy issues and ethics.
theory, communications, music, theater,
film, performance and performance
studies, foreign languages, and creative
writing. What unites them, giving them
continuity, is the department’s mission:
to recognize and foster the relationship
between visual and written texts; to instill
in students critical thinking, reading,
and writing skills that will inspire them in
their professional lives for intellectual
and creative growth; and to promote
understanding and appreciation for
the diverse cultures within the U.S. and
throughout the world.
Social Science and Cultural Studies
The Department of Social Science
and Cultural Studies trains students
to bring critical and analytical skills
to bear on the social world and on
their professional and artistic work.
Through the perspectives of social
science, history, philosophy, and cultural
studies, students explore the cultural
achievements of humankind and the
social forces that have influenced
the development of culture and
human personality. A core curriculum
develops understanding of historical
166
relationships among world cultures,
Resources in the School of
trained and experienced in teaching
ideas, and institutions. Electives provide
Liberal Arts and Sciences
English as a second language, as well as
interdisciplinary approaches and
Intensive English Program
in integrating art and design content
intellectual diversity that foster critical
examination of the political, social,
and economic forces at work in the
processes of cultural production.
The department offers minors in
cultural studies, philosophy, psychology,
and sustainability.
Undergraduate Liberal Arts
Requirements
Professional Curricula
Pratt Institute and the School of Liberal
Arts and Sciences welcome international
students and offer an array of programs
and services to improve Englishlanguage skills and academic readiness.
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
At least 25 percent of the credit require
(CEP) and Summer (SCP) programs. The
ments for all baccalaureate degrees
Intensive English Program also oversees
is the responsibility of the School of
the Freshman English sequence for
Liberal Arts and Sciences. The specific
non-native English-speaking students,
requirements are:
ENGL 100 and 102. These credit-bearing
1. A minimum of 6 credits in English:
courses fulfill the same requirements as
English 101 (3 credits) and English 103
(3 credits). Students must pass English
the HMS 101 and 103 sequence.
The mission of all programs in
101 and 103 with a grade of C or better.
the IEP is to support successful
English 101, which must be taken in
matriculation and progress toward
the student’s first semester at the
graduation of international students by
Institute, is a prerequisite for all liberal
arts courses.
2.A minimum of 6 credits in cultural
history. Students must complete the
CH 300 and CH 400 sequence.
3.A minimum of 6 credits in the social
sciences or philosophy.
4.A minimum of 6 credits in science
and/or mathematics.
5.A minimum of 10 credits in the liberal
arts as electives.
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.
Good communication skills are
essential to academic success at
Pratt Institute. Instruction in the IEP
emphasizes language use for general
academic and specific purposes in the
professions in which Pratt specializes:
art, design, architecture, and information
and library science. IEP faculty are
Page 164: The Brooklyn Campus
Opposite: A student takes notes in class
into their courses. Our classes are small
(eight to 12 students per session), and
enrolled international students benefit
from their use of the Language Resource
and Writing and Tutorial Centers for
additional language learning practice.
All international students with
TOEFL scores below 600 (PbT), 250
(CBT), or 100 (iBT)—including transfer
students—whose first language is not
English must demonstrate proficiency
in English by taking an English placement
exam upon arriving at the Institute.
The English placement exam
consists of a reading test, a writing
test, and a personal interview with
an IEP faculty member. Students
assessed at the exempt level of English
proficiency satisfy their Intensive
English requirement and may enroll in
all Institute courses without restriction.
Students who are assessed as being
in need of English instruction must
register in consecutive Intensive English
courses (including summer IEP classes
should they wish to take other Institute
courses during those sessions) until
they achieve exempt status based on
IEP exit proficiency criteria.
Students whose proficiency
is assessed at or below Level 5 are
required to enroll full-time in the
Certificate of English Proficency
(CEP) Program. Any undergraduate
international student who has been
enrolled in three Intensive English
168
courses without having exempted from
The Certificate of English
(passed) the program will be moved
Proficiency Program
to probationary status during his/her
fourth semester.
Any graduate international student
who has been enrolled in one Intensive
English course without having exempted
from (passed) the program will be moved
to probationary status during his/her
second semester.
If the undergraduate student fails
to be exempt from the IEP at the end
of the fourth semester of study, or if
the graduate student fails to be exempt
from the IEP at the end of the second
semester, he will be advised of the reasons
for being placed on IEP probation, then
offered the option of: (1) voluntary
withdrawal from the Institute or, (2) fulltime enrollment in the Summer Certificate
Program (SCP), and/or Certificate of
English Proficiency (CEP) program in order
to meet the Institute English requirement
of exemption. After meeting the language
requirement, affected students are
eligible to return to full‑time degree study.
For information on the Test of
English as a Foreign Language (TOEFL)
requirements at Pratt Institute,
please refer to the catalog listing for
particular schools and departments.
New international students are strongly
encouraged to enroll in our eightweek Summer Certificate Program
(SCP) in order to be fully prepared for
the academic requirements of their
degree programs.
Writing and Tutorial Center
The Writing and Tutorial Center provides
The Certificate of English Proficiency
free tutoring for all Pratt students
(CEP) Program at Pratt Institute is
in English, math, physics, art history,
a one‑year, English-language program
thesis preparation, and other academic
located at our Brooklyn, New York,
areas. Special assistance is provided for
campus. Students whose TOEFL scores
students for whom English is a second
fall below the admission minimums
language. Small-group and regularly
established by the Institute’s degree
scheduled one-on-one conversation
programs may apply to the CEP for full-
sessions are also offered.
time English-language instruction. At the
The Writing and Tutorial Center
end of the two-semester program of
staff consists of a director, faculty
English study, those students completing
and staff tutors, and trained student
CEP coursework receive a certificate
peer tutors. The director coordinates
of English language proficiency.
scheduling and appointments in all
Courses focus on speaking,
areas. Any faculty member, staff
listening, reading, and writing within
member, or adviser may recommend
the context of art and design. For
students who need assistance.
more information on Pratt’s Intensive
The Writing and Tutorial Center is
and Certificate English programs,
located in North Hall 101 (opposite
contact IEP administrative offices at
the bank). Appointments can be made
718.636.3450, visit the IEP website
by phone, Skype IM, or in person.
at www.pratt.edu/iep, or email IEP
at cep@pratt.edu.
Laboratories and Computer Facilities
The science laboratories (chemistry,
physics, biology), located in the Activities
Resource Center, are interdisciplinary
research facilities. Sophisticated instru
ments 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.
Above: Students listening in class.
169
170
Above: Students on the Brooklyn Campus
171
Academic Degrees Overview
Undergraduate Programs
Graduate Programs
Architecture
B.Arch.
Construction Management B.P.S.
0202
0201
Construction Management B.S.
0201
Building and Construction
A.A.S.
5317
Digital Design and
Interactive Media
A.O.S.
5012
Graphic Design
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
School of Art
Film
B.F.A.
1010
Fine Arts
B.F.A.
1001
Photography
B.F.A.
School of Information
0703
M.Arch.
0202
Data Analytics and
Visualization
M.S.
Architecture
(first-professional)
0702
M.S.
0202
Information Experience
Design
M.S.
Architecture
(post-professional)
1601
0205
Library and Information
Science
M.S.
Architecture and Urban
M.S.
Design (post-professional)
0899
M.S.
0206
Facilities Management
M.S.
0201
Science: Library Media
Specialist
M.S.
City and Regional Planning
Historic Preservation
M.S.
0299
Museums and Digital
Culture
M.S.
0702
Real Estate Practice
M.S.
0511
1699
M.S.
0206
Archives Certificate
Program
ADV. CRT.
Sustainable Environmental
Systems
0702
M.S.
0206
Conservation and Digital
Curation
ADV. CRT.
Urban Placemaking and
Management
Digital Humanities
ADV. CRT.
1699
Studies
ADV. CRT.
1699
Library Media Specialist
ADV. CRT.
0899
Museum Libraries
ADV. CRT.
1699
User Experience
ADV. CRT.
0702
School of Art
(init./prf. certification)
M.S.
0831
1011
(prf. certification)
M.S.
0831
B.F.A.
0601
ADV. CRT.
0831
Fashion Design
B.F.A.
1009
M.P.S.
0599
Industrial Design
B.I.D.
1009
Arts and Cultural
Management
Interior Design
B.F.A.
0201
Art Therapy and Creativity
Development
M.P.S.
1099
Art Therapy and
Creativity Development
(spring/summer)
M.P.S.
1099
School of Design
B.A.
4903
B.A.
1003
B.F.A.
1003
Writing
B.F.A.
1599
Dance/Movement Therapy M.S.
1099
Dance/Movement Therapy M.S.
(spring/summer)
1099
Combined Degree Programs
Design Management
M.P.S.
0599
Digital Arts
M.F.A.
1009
Fine Arts
M.F.A.
1001
M.F.A.
1009
M.S.
0601
Industrial Design
M.I.D.
1009
Interior Design
M.F.A.
Interior Design
Package Design
B.F.A./M.S. 0831
M.S.
1003
Media Studies
M.A.
0601
Museum Studies
ADV. CRT.
1003
Performance and
Performance Studies
M.F.A.
1007
Writing
M.F.A.
1599
Combined Degree Programs
Science/Digital Arts
M.S./M.F.A. 1601/
1009
Science/Law
M.S./J.D.
1601/
M.S./L.L.M. 1401
History of Art and
Design/Fine Arts
M.S./M.F.A. 1009/
1001
History of Art and
Design/Information
and Library Science
M.S./M.S.
0201
Science/Information Law
and Society
M.S./L.L.M 1601/
1401
M.S.
0201
Planning and Law
M.S./J.D.
M.S.
1009
School of Design
1009/
1601
0206/
1401
Curricula
172
Curricula
173
173
B.Arch. in Architecture
B.Arch. in Architecture
Morphology Concentration
Semester 1
Semester 8
Semester 4
Semester 1
Semester 4
Semester 8
ARCH-101
Design I
5
ARCH-202
Intermediate Design II
5
ARCH-402
Advanced Design II
5
ARCH-101
Design I
5
ARCH-202
Intermediate Design II
5
ARCH-111
Representation 1
3
ARCH-232
Structures: Steel
3
CH-400
World Civilization II
3
ARCH-111
Representation 1
3
ARCH-232
Structures: Steel
3
ARCH-131
Technics
3
ARCH-252
3
Liberal Arts Elective
3
ARCH-131
Technics
3
ARCH-252
History and Theory of
Architecture I
3
Architecture Elective
3
ARCH-151
3
ARCH-262
3
All-Institute Elective
3
ARCH-262
3
3
Ecology for Architects
3
Introduction to Literary and
Critical Studies I
Architectural Assembly
Systems
3
Critical Studies I
Architectural Assembly
Systems
Architecture I
History and Theory
of Architecture IV
3
ARCH-151
History and Theory
of Architecture IV
MSCI-271
Ecology for Architects
3
HMS-101B
HMS-291B
Introduction to
Transdisciplinary Writing I
Credit subtotal
MSCI-271
ARCH-102
Design II
5
ARCH-112
Representation II
3
MSCI-110
HMS-103B
HMS-292B
Architecture II
3
Introduction to Literary
and Critical Studies II
3
Credit subtotal
ARCH-301
Intermediate Design I
3
ARCH-361
Building Environment
3
ARCH-363
Professional Practice
3
3
Credit subtotal
17
Semester 6
1
3
ARCH-231
Statics and Strength of
Materials
3
ARCH-251
History and Theory
of Architecture III
3
ARCH-261
Architectural Materials
ARCH-403
Advanced Design III
5
Introduction to
Transdisciplinary Writing I
ARCH-501
Degree Project: Research
3
Credit subtotal
HMS-497B
HMS-291B
Research Writing for
Architecture Students
1
Social Science/Philosophy
3
Architectural Elective
3
2
Credit subtotal
17
Semester 10
Comprehensive Design II
5
Building Services
3
Degree Project: Design
Studio
5
ARCH-362
ARCH-364
Construction Documents
3
3
Elective
3
3
6
(History/ Theory)
3
5
Representation III
17
ARCH-302
18
ARCH-211
Credit subtotal
5
Concrete Structures
Semester 3
ARCH-201
Comprehensive Design I
ARCH-331
3
Introductory Physics/
Chemistry
Introduction to
Transdisciplinary Writing II
17
Semester 5
18
Semester 2
ARCH-152
Credit subtotal
1
Credit subtotal
Semester 9
Credit subtotal
17
Semester 7
ARCH-401
Advanced Design I
5
ARCH-461
Urban Genealogies
3
3
CH-300
World Civilization I
3
17
HMS-496B
Advanced Transdisciplinary
Writing
1
Credit subtotal
HMS-101B
ARCH-503
Credit subtotal
Total credits required
17
170
ARCH-102
Design II
5
ARCH-112
Representation II
3
ARCH-152
Architecture II
3
HMS-103B
HMS-292B
Introductory Physics/
Chemistry
3
and Critical Studies II
3
Introduction to
Transdisciplinary Writing II
Credit subtotal
Intermediate Design I
Comprehensive Design I
5
ARCH-331
Concrete Structures
3
ARCH-361
Building Environment
3
ARCH-363
3
3
Credit subtotal
17
1
ARCH-302
Comprehensive Design II
5
ARCH-362
Building Services
3
ARCH-364
Construction Documents
3
Elective
3
(History/ Theory)
3
18
5
Representation III
3
ARCH-231
Statics and Strength of
Materials
3
ARCH-251
History and Theory
of Architecture III
3
ARCH-261
Architectural Materials
Credit subtotal
17
CH-400
3
3
Advanced Design I
5
ARCH-461
Urban Genealogies
3
3
CH-300
3
17
HMS-496B
Advanced Transdisciplinary
Writing
1
3
3
3
3
Credit subtotal
18
5
3
3
Credit subtotal
17
ARCH-403
Advanced Design III
5
ARCH-501
Degree Project: Research
3
HMS-497B
Research Writing for
Architecture Students
1
3
Architectural Elective
3
2
Credit subtotal
17
Degree Project: Design
Studio
5
3
Semester 9
Semester 10
ARCH-503
3
6
Credit subtotal
Semester 7
ARCH-401
18
Advanced Design (Rome)
Semester 6
ARCH-211
Credit subtotal
or
ARCH-4001
17
ARCH-301
Semester 3
ARCH-201
Advanced Design II
Semester 5
18
Semester 2
MSCI-110
Credit subtotal
1
ARCH-402
17
170
Curricula
174
Curricula
175
School of Art
B.P.S. in Construction Management
B.S. in Construction Management
Semester 1
Semester 5
CM-131
Construction Methods and
Materials: Wood and Masonry
3
CM-111
Construction Graphics
3
HMS-101A
Critical Studies I
3
MSCI-300
Calculus I
Credit subtotal
3
3
CM-132
Materials: Concrete & Steel
3
CM-152
History of Construction
Technology
3
Construction Safety
Management
3
Intro to Literary and Critical
Studies II
3
HMS-103A
Construction Cost Analysis
3
CM-341
Design Theory
3
CM-331
Specifications
2
CM-321
Project Controls I
3
CM-346
Estimating
3
MGMT-307
Introduction to Management
3
Credit subtotal
17
Semester 6
Semester 2
CM-140
Semester 1
CM-343
15
A.A.S. in Building and Construction
Semester 5
CM-131
Materials: Wood and Masonry
3
CM-111
3
HMS-101A
Critical Studies I
3
MSCI-300
Calculus I
3
3
Credit subtotal
Planning and Scheduling
3
CM-344
Value Management
2
CM-322
Project Controls II
3
MGMT-303
Business Law
3
MGMT-201
Accounting
3
Professional Elective
3
Credit subtotal
17
3
CM-341
Design Theory
3
CM-331
Specifications
2
CM-321
Project Controls I
3
Estimating
3
Credit subtotal
17
CM-347
Planning and Scheduling
3
CM-344
Value Management
2
CM-322
Project Controls II
3
9
Credit subtotal
17
Materials I: Wood and Masonry
3
CM-111
3
CM-321
Project Controls I
3
HMS-101A
Critical Studies I
3
CH-300
3
MSCI-300
Calculus I
Credit subtotal
CM-132
Materials: Concrete and Steel
3
CM-140
Construction Safety
Management
3
Critical Studies II
3
MSCI-280
Environmental Science
3
Semester 7
MSCI-301
Calculus II
3
CM-471
Construction Law
3
CM-461
18
CM-401
HMS-103A
3
CM-131
Semester 6
Semester 2
CM-347
15
Semester 1
Semester 1
CM-343
CM-346
A.A.S. in Graphic Design/Illustration
3
HA-112
Themes in Art and Culture II
3
Building Codes and Zoning
2
ASDG-206
Painting II
2
MSCI-301
Calculus II
3
Construction Management I
3
HMS-103A
Introduction to Literature
Semester 3
CM-231
Structural Design Methods I
3
3
CM-231
Structural Design I
3
CM-233
Mechanical and Electrical
Equipment I
3
Credit subtotal
17
CM-233
Equipment I
3
3
PHYS-131
Physics I
3
Semester 8
COM-301
Reports and Correspondence
2
CM-499
CH-300
3
CM-402
Construction Management II
3
Credit subtotal
17
CM-404
Project Management
3
Professional Elective
3
Credit subtotal
17
Capstone
3
Semester 4
HMS-497A
Thesis Writing
1
CM-232
Structural Design Methods II
3
MGMT-308
Marketing
3
CM-234
Equipment II
3
CM-242
Construction Surveying
3
PHYS-132
Physics II
3
HMS-261A
CH-400
Introduction to Public
Speaking
3
3
Credit subtotal
Credit subtotal
18
13
132
CM-201
Introduction to Construction
Management
3
PHYS-131
Physics I
3
COM-301
Reports and Correspondence
2
CH-300
3
Credit subtotal
17
Semester 4
CM-499
Capstone
3
CM-402
3
Thesis Writing
1
3
Credit subtotal
CM-232
Structural Design Methods II
3
CM-234
Equipment II
3
CM-242
Construction Surveying
3
PHYS-132
Physics II
3
HMS-261A
Speaking
3
3
CH-400
Semester 8
HMS-497A
Credit subtotal
18
2
3
6
Management
2
Drawing II: General
World Civilizations II
Elective
CM-201
Drawing II: Figure
ASFD-144B
CH-400
3
ASFD-144A
3
Semester 3
Managerial Economics
17
2
2
MGMT-325
Credit subtotal
4
3
3
3
Light/Color/Design II
Construction Management I
Equipment I
2
Studies
3-D Design II
Building Codes and Zoning
CM-233
Painting I
HMS-101A
ASFD-158
CM-401
3
ASIL-100
ASFD-169
CM-461
Financial Management
3
3
Construction Law
MGMT-309
2
Themes in Art and Culture I
3
CM-471
3
Light/Color/Design I
HA-111
Studies II
3
Structural Design Methods I
ASFD-168
Project Controls II
Calculus II
CM-231
3
HMS-103A
MSCI-301
Semester 3
2
3-D Design I
CM-322
Semester 7
18
Drawing I: General
ASFD-157
3
3
Credit subtotal
ASFD-143B
Materials II: Concrete and
Steel
Credit subtotal
2
Semester 2
MSCI-280
3
Drawing I: Figure
18
Semester 2
CM-132
ASFD-143A
3
13
132
Credit subtotal
15
Credit subtotal
Semester 3
ASDG-109
Typographic Design I
2
ASGR-101
Communication Design I
4
Computer Graphics
2
Illustration I
2
Art History Elective
2
World Civilizations I
3
Science Requirement
3
CM-343
3
ASGR-151
CM-201
Management
3
ASIL-101
Elective
3
Physics I
3
PHYS-131
Credit subtotal
18
Semester 4
CM-232
Structural Design II
3
CM-234
Equipment II
3
3
18
CH-300
Credit subtotal
18
Semester 4
ASDG-101
Photography
2
ASDG-211
Typographic Design II
2
ASGR-102
Communication Design II
4
Illustration II
2
CM-344
Value Management
2
ASIL-102
HMS-261A
Speaking
3
CH-400
3
SS-210
General Psychology
3
MSCI-280
3
Credit subtotal
16
PHYS-131
Physics II
3
69
Credit subtotal
17
68
176
Curricula
Curricula
A.A.S. in Painting/Drawing
A.O.S. in Graphic Design
A.O.S. in Digital Design and
177
A.O.S. in Illustration
B.F.A. in Art and Design Education
Interactive Media
Semester 1
Semester 1
ASFD-143A
Drawing I: Figure
ASFD-143B
ASFD-157
Semester 1
Semester 1
2
ASFD-143A
Drawing I: Figure
2
ASFD-143B
Drawing I: General
Drawing I: General
2
ASFD-143B
Drawing I: General
2
ASFD-168
3-D Design I
3
ASFD-168
2
ASGR-101
ASFD-168
2
ASFD-210
2
HA-111
3
Design History:
Communications
ASGR-101
4
ASDG-109
2
ASGR-151
Computer Graphics
2
ASIL-100
Painting I
2
HMS-101A
Studies
3
Credit subtotal
17
Semester 2
Credit subtotal
16
Semester 2
ASFD-144A
Drawing II: Figure
2
ASFD-144A
Drawing II: Figure
2
ASFD-144B
Drawing II: General
2
ASFD-144B
Drawing II: General
2
ASFD-158
3-D Design II
3
ASGR-102
4
ASFD-169
2
ASGR-270
Electronic Page Design I
2
HA-112
3
ASCG-101
Interactive Media
3
ASDG-206
Painting II
2
ASDG-104
Visualization
2
HMS-103A
Introduction to Literature
3
ASDG-211
2
Credit subtotal
17
Credit subtotal
18
Semester 3
Semester 3
ASDG-101
Photography
2
ASGR-201
Graphic Design I
2
ASDG-207
Drawing III
2
ASGR-203
Advertising Design I
2
ASDG-225
Painting III
2
ASGR-205
Publication Design I
2
ASGR-151
Computer Graphics
2
ASGR-207
Package Design I
2
ASPR-205
Printmaking
2
ASGR-250
2-D Computer Graphics
2
CH-300
World Civilizations
3
ASGR-271
Electronic Page Design II
2
2
ASDG-101
Photography
2
Science Requirement
3
ASDG-212
Typographic Design III
2
Elective
2
Credit subtotal
18
Semester 4
Credit subtotal
18
Drawing I: Figure
2
ASIL-202
Illustration IV
2
FDC-143
Drawing I: Figure and General
4
2
ASFD-143B
Drawing I: General
2
ASIL-204
Illustration II: Editorial
2
FDC-157
4
ASFD-168
2
ASIL-206
Illustration II: Advertising
2
Materials and
3-Dimensional Form
3
ASDG-109
2
ASFD-212
Design History: Illustration
2
ASIL-209
Illustration: Children’s Book
2
FDC-163
3
ASCG-100
Fundamentals of Digital Media
3
ASDG-109
2
ASDG-208
Drawing IV
2
FDC-180
4-D Design I
2
HA-111
3
HMS-101A
Critical Studies I
3
ASCG-101
Interactive Media
Credit subtotal
3
ASIL-100
Painting I
2
ASDG-226
Painting IV
2
16
ASIL-101
Illustration I
2
ASIL-240
2
ASGR-151
Computer Graphics
2
Portfolio Development and
Business Procedures for
Illustrators
Semester 2
4
ASDG-211
2
Semester 2
ASDG-101
Photography
2
ASFD-144A
Drawing II: Figure
2
ASCG-102
Digital Design Studio I
3
ASFD-144B
Drawing II: General
2
ASCG-103
Media Design I
3
ASIL-102
Illustration II
2
ASCG-105
Time-Based Media
3
ASIL-215
Digital Illustration I
2
Credit subtotal
17
ASCG-101
Interactive Media I
3
ASDG-101
Photography
2
2
ASDG-104
Visualization
2
ASDG-206
Painting II
2
Semester 3
Credit subtotal
17
ED-250
Contemporary Ideas About
Art and Self
3
CH-300
3
Semester 3
ASGR-201
Graphic Design I
ASCG-204
Digital Design Studio II
3
ASCG-206
Media Design II
3
Digital Video I
3
ASCG-210
3-D Modeling
3
ASIL-201
Illustration III
2
Elective
2
ASIL-203
Illustration I: Editorial
2
Credit subtotal
16
Semester 4
ASIL-205
Illustration I: Advertising
2
ASPR-205
Printmaking
2
ASCG-212
Electronic Pre-Press
3
ASDG-207
Drawing III
2
ASCG-213
Digital Video II
3
ASDG-225
Painting III
2
ASCG-214
3-D Animation
3
ASGR-230
Graphic Design for Illustrators
2
ASCG-208
Media Design III
3
ASIL-216
Digital Illustration II
2
ASCG-240
Digital Design and Interactive
Portfolio
3
Graphic Design II
2
Credit subtotal
17
Painting IV
2
ASDG-213
Typographic Design IV
2
ASGR-250
2-D Computer Graphics
2
ASGR-202
Graphic Design II
2
ASFA-241
Fine Arts Seminar
2
ASGR-204
Advertising Design II
2
CH-400
3
ASGR-206
Publication Design II
2
A.O.S. Electives
SS-210
General Psychology
3
ASGR-208
Package Design II
2
ASCG-115P
Mobile Gaming
3
Credit subtotal
16
ASGR-220
2
ASCG-116P
Game Play
3
69
Pre-Press and Print
Production
ASGR-240
Portfolio Development and
Business Procedures for
Graphic Designers
ASCG-117P
Game Production
3
2
67
16
ASCG-209
ASDG-226
Credit subtotal
Semester 3
Semester 4
2
18
2
16
Credit subtotal
ASGR-102
Drawing IV
Credit subtotal
Semester 1
ASFD-143A
ASDG-208
Elective
Semester 4
2
ASGR-202
Elective
Credit subtotal
66
2
18
Elective
2
Semester 2
Credit subtotal
16
FDC-144
67
A.O.S. Electives
Drawing II: Figure and General
4
FDC-158
Foundation Design Studio
3
FDC-164
3
ASCG-115P
Mobile Gaming
3
FDC-181
4-D Design II
2
ASCG-116P
Game Play
3
HA-112
3
ASCG-117P
Game Production
3
HMS-103A
Critical Studies II
3
Credit subtotal
18
3
Art or Design Core
4
Studio Elective
4
Credit subtotal
17
ADE-215
The Inclusive Art Room
3
SS-391
Child and Adolescent
Development
3
CH-400
3
3
Semester 4
Art or Design Core
Credit subtotal
4
16
Curricula
178
Curricula
179
B.F.A./M.S. in Art and Design Education
(Emphasis in Interactive Arts)
Semester 5
Semester 1
ED-406
American Urban Education:
Issues and Contexts
3
SPAN-501
Conversational Spanish I
3
ADE-419
Foundations in Art and Design
Education
3
Student Teaching:
Saturday Art School
3
ADE-421
or
ADE-523
Student Teaching: After
School
Math/Science
3
Studio Elective
2
Credit subtotal
17
Semester 6
ADE-420
ADE-506
ADE-422
or
ADE-524
SPAN-502
The Art of Teaching Art and
Design
3
Literacy and Language
Acquisition in the Art
Classroom
1
Student Teaching:
Saturday Art School
3
Drawing I: Figure & General
4
FDC-157
Materials and
3-Dimensional Form
3
3
FDC-163
FDC-180
4-D Design I
2
HA-111
3
HMS-101A
Studies I
3
Credit subtotal
Drawing II: Figure & General
4
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
Studies II
3
Credit subtotal
ED-250
Contemporary Ideas about
Art and Self
3
3
Conversational Spanish II
3
3
4
Credit subtotal
17
Foundations in the History and
Philosophy of Education
3
Math/Science
3
Art or Design Core
4
Studio Elective
7
Credit subtotal
17
Semester 8
ADE-361
Technology and Teaching I
1
ADE-362
Technology and Teaching I
1
ADE-431
Student Teaching: Public School,
Pre-K-HS
6
Art or Design Core
4
Studio Elective
2
Credit subtotal
18
Semester 3
Student Teaching:
In the Galleries
14
134
Foundations in Art and Design
Education
3
ADE-431
ED-406
American Urban Education:
Issues and Contexts
3
or
ADE-531B
SPAN-501
Conversational Spanish I
3
ADE-421
Student Teaching:
Saturday Art School
3
or
ADE-524
18
FDC-144
CH-300
Student Teaching: In the
Galleries
Math/Science
3
Studio Elective
2
Credit subtotal
17
ADE-506
ADE-422
or
ADE-523
SPAN-502
Student Teaching:
with Special Populations
3
Literacy & Language
Acquisition in the Art
Classroom
1
Student Teaching:
Saturday Art School
3
ED-604
Contemporary Issues in social
Practice
1
17
Semester 9
4
FDC-158
3
Educating all Students (EAS)
FDC-164
3
Academic Literacy Skills Test (ALST)
FDC-181
4-D Design II
2
HMS-103A
3
ADE-618
Contemporary Museum
Education
3
Education Teacher Portfolio Assessment
(edTPA)
Introduction to Literature and
Critical Studies II
HA-112
3
ADE-636
Puppetry and Performing
Objects
3
3
12
Credit subtotal
17
Graduate Elective
4
Credit subtotal
17
16
FDC-144
Content Specialty Test (CST)
4
Credit subtotal
Semester 2
3
Studio Elective
4
3
18
Thesis I
3
Art or Design Core
Passing scores on the following tests and
assessments:
Credit subtotal
ED-660A
Thesis II
3
3
ED-660B
HA-111
Art Community and Social
Justice
4
3
3
ADE-624
2
Studies I
0
4
Credit subtotal
3
4-D Design I
HMS-101A
Training in Harassment, Bullying,
Cyberbullying, and Discrimination in
Schools: Prevention and Intervention
Art or Design Core
Media and Materials from
Studio to Classroom
FDC-180
0
3
ADE-630
3
School Violence Prevention and
Intervention Workshop
Avant Garde Museum Ed
3
1
ADE-628
Child & Adolescent
Development
FDC-163
Contemporary Issues in Art &
Design Ed
3
SS-391
3
ED-601
3
Materials and
3-Dimensional Form
0
3
The Inclusive Art Room
FDC-157
Child Abuse Identification Workshop
Semester 10
ADE-215
4
3
Credit subtotal
3
3
Graduate Elective
Foundations in the History &
Philosophy of Education
FDC-143
Puppetry and Performing
Objects
3
ED-400
Semester 1
The following requirements must be fulfilled
prior to applying for New York State Education
Department (NYSED) Initial Certification in Visual
Arts, Pre-K–12.
Art or Design Core
Student Teaching: After
School
Semester 7
NYSED Certification Requirements
ADE-635
Credit subtotal
The Art of Teaching Art
and Design
6
Completion of the following workshops taken
with a provider approved by NYSED:
Semester 6
ADE-420
Student Teaching:
Public School, Pre-K-HS
Conversational Spanish II
Semester 4
CH-400
Semester 8
ADE-419
Semester 2
Semester 7
ED-400
Semester 5
FDC-143
Credit subtotal
18
Semester 3
DDA-250
Coding for Artisits
3
DDA-251
Interactive Media
3
DDA-252
Interactive Studio I
3
HA-555
History of New Media
3
HMS 440
Key Concepts in Net Art
3
Media Arts or Communications
Design Requirement
2
10
159
Credit subtotal
18
Semester 4
DDA-253
Coding Interactive Sculpture
3
Physical Computing
3
Interactive Studio II
3
3
Math/Science
3
DDA-254
Art or Design Core
6
DDA-255
Studio Elective
2
Math/Science Requirement
Credit subtotal
17
Studio Elective
6
Credit subtotal
15
Curricula
180
Semester 5
Curricula
2-D Animation and Motion Arts Concentration
3-D Animation and Motion Art Concentration
Semester 1
Semester 5
181
B.F.A. in Film
Semester 1
Semester 5W
Semester 1
DDA-360
Coding for Installation
3
FDC-143
4
DDA-339
Composing + SFX
3
FDC-143
4
DDA-350
3D Animation II
3
PHOT-101
Photo I
DDA-361
Interactive Studio III
3
FDC-157
DDA-340
Animation Studio III
3
FDC-157
3-D Design I
3
DDA-351
Animation Studio Ill
3
FVID-101
Digital Cinema I
3
Digital Arts in Context
3
Materials and
3-Dimensional Form
3
DDA-325
DDA-325
3
FDC-163
3
DDA-325
3
FDC-143
Drawing I
4
FDC-163
3
DDA-341
2D Character Animation I
3
FDC-180
4-D Design I
2
HMS-430S
Animation Narr.
3
FDC-163
Light, Color, Design I
3
FDC-180
4-D Design I
2
HMS-430S
SPT: Animation Narr
3
HA-115
Survey of Art I
3
Studio Elective
3
HA-111
3
HA-111
3
2
HMS-101
History of Art/Design Elective
3
HMS-101A
3
Credit subtotal
17
I ntroduction to Literary and
Critical Studies I
3
Critical Studies I
Critical Studies I
3
HMS-101A
2
Requirement
3
Studio Elective
3
Credit subtotal
17
Credit subtotal
Semester 6
18
DDA-342
DDA-363
Performance & Electronic
3
Semester 2
DDA-390
Senior Project Development
3
FDC-144
4
Math/Science Requirement
3
FDC-158
3
History of Art Elective
3
FDC-164
3
All Institute Elective
3
FDC-181
4-D Design II
2
Studio Elective
3
HA-112
3
Credit subtotal
18
HMS-103A
Critical Studies II
3
Semester 7
DDA-400
Senior Project I
3
CH 300
World Civilizaion I
3
Studio Elective
6
Requirement
3
Credit subtotal
15
Credit subtotal
Credit subtotal
Semester 6
DDA-390
Post Prod. for 2D Animation
3
Sr. Project Development
3
History of Art Elective
3
3
Math/Science
3
Studio Elective
3
Credit subtotal
18
DDA-400
Senior Project I
3
Semester 3
CH-300
3
Drawing for Animation I
3
3
DDA-231
Animation Studio I
3
Studio Elective
6
HA-343
History of Animation
3
Credit subtotal
15
HMS-320S
Screenwriting
3
Ssemester 8
Semester 8
3
DDA-410
Senior Projects II
3
DDA-410
Senior Project II
3
Studio Elective
3
DDA-415
Professional Practices
3
DDA-415
3
Credit subtotal
18
CH-400
3
CH-400
3
3
Studio Elective
3
DDA-232
Drawing for Animation II
3
Studio Elective
3
3
DDA-233
Graphics and the Moving
Image
3
Credit subtotal
15
2D Character Animation
3
Math/Science
3
Studio Elective
3
Credit subtotal
15
Credit subtotal
Semester 4
15
134
DDA-234
FDC-144
4
FDC-158
3-D Design II
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
Survey of Art II
3
HMS-103
Critical Studies II
3
Credit subtotal
DDA-230
134
18
Semester 2
Semester 7
18
Credit subtotal
18
Semester 3
DDA-240
3D Modeling II
3
18
Credit subtotal
18
PHOT-250
Digital Imaging 1
2
FVID-102
Expanded Digital Cinema
3
FDC-144
Drawing II
4
FDC-164
Light, Color, Design II
3
HA-112
3
HMS-103A
Critical Studies II
3
Semester 6
DDA-352
Post Prod. For 3D Animation
3
DDA-390
Senior Project Development
3
Studio Elective
3
LAS Elective
2
3
2
Semester 2
Math/Science
3
Credit subtotal
17
DDA-400
Senior Projects I
3
Semester 3
CH-300
3
FVID-201
Nonfiction Video I
3
3
FVID-210
or
FVID-211
Film Analysis/Practice
2
HMS-320A
or
HMS-320B
or
HMS-320S
Poetry Writing
Semester 7
Credit subtotal
18
DDA-241
3D Animation I
3
DDA-242
Animation Studio I
3
Studio Elective
6
HA-343
History of Animation
3
Credit subtotal
15
HMS-320S
ScreenWriting
3
Ssemester 8
3
DDA-410
Senior Projects II
3
18
DDA-415
3
CH-400
3
Creative Writing, Special
Topics
3
3
3
Credit subtotal
Semester 4
Ways of Seeing Cinema
3
Fiction Writing
DDA-243
3D Modeling II
3
LAS Elective
DDA-244
Lighting & Rendering
3
Studio Elective
3
DDA-245
Animation Studio II
3
Credit subtotal
15
Studio Elective
3
Math/Science
3
134
Credit subtotal
17
Studio Elective
3
Credit subtotal
15
Fiction Video I
3
3
Film Elective
3
3
Semester 4
FVID-202
Studio Elective
3
Credit subtotal
15
182
Curricula
Curricula
B.F.A. in Fine Arts
B.F.A. in Fine Arts (Emphasis in Drawing)
183
(Emphasis in Ceramics)
Semester 5
Semester 1
FVID-311
or
Writing Through Pix and
Sound
FVID-310
Screenwriting
3
FVID-301
Nonfiction Video II: Hybrid
Forms
3
CH-300
3
3
Film Elective
SCJ-308
Ceramics IV
4
FDC-143
4
FDC-157
Material and Three
Dimensional Form
3
DRWG-206
Drawing II
CH-400
3
FDC-157
Life Study II
Choose one.
Materials and
3-Dimensional Form
3
DRWG-212
PTG-206
Painting II
PRNT-203
Intaglio I
PTG-208
Painting II:
Sophomore Intensive
PRNT-204
Lithography I
FDC-163
3
4-D Design I
2
3
HMS-101A
3
3
Critical Studies
Studio Elective
3
Credit subtotal
Credit subtotal
18
FVID-312
Major Seminar: Film
2
CH-400
3
Math/Science
3
Film Elective
3
Studio Elective
3
Credit subtotal
17
semester 7
Senior Studio I
4
3
Math/Science
3
Studio Elective
6
Credit subtotal
16
Semester 8
FILM-404
Choose one.
3
FVID-402
4
FDC-180
Fiction Video II: Directing
the Short
FVID-401
Semester 6
HA-111
Semester 6
FVID-302
Semester 4
FDC-143
18
Semester 2
4
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
Critical Studies
3
Credit subtotal
DRWG-205
or
DRWG-211
Drawing I
PTG-205
or
PTG-207
or
PTG-211
Painting I
Painting I: Sophomore Intensive
SCJ-205
Sculpture I
2
Life Study I
2
Life Study I
Ceramics II
Sophomore Seminar II
2
2
2
Relief I
PRNT-303
Intaglio II
PRNT-304
Lithography II
PRNT-311
Silkscreen II
PRNT-312
Relief II
2
FAU-342
Fine Arts Seminar IV
2
3
Fine Arts Seminar II: Sculpture
FDC-180
4-D Design I
2
HA-111
Themes in Art I
3
HMS-101A
Critical Studies
3
Credit subtotal
3
Studio Electives
4
3
Credit subtotal
18
Studio Elective
2
Credit subtotal
18
Silkscreen I
FDC-158
3
PRNT-212
Relief I
FDC-164
3
PRNT-303
Intaglio II
FDC-181
4-D Design II
2
PRNT-304
Lithography II
HA-112
3
PRNT-311
Silkscreen II
HMS-103A
Critical Studies
3
PRNT-312
Relief II
Credit subtotal
2
Semester 3
DRWG-205
or
DRWG-211
Drawing I
Painting I
4
PTG-205
or
PTG-207
or
PTG-211
TECH-422
Advanced Slip Casting
2
Liberal Arts
3
FAU-341
Fine Arts Seminar III
2
Studio Elective
4
CH-300
3
Credit subtotal
16
Math/Science
3
Semester 8
Ceramics VI
Intaglio I
Lithography I
4
3
PRNT-203
PRNT-211
Ceramics V
Life Study II
PRNT-204
Fine Arts Seminar V
2
Painting II: Sophomore
Intensive
4
FAU-441
4
or
PTG-212
Life Study II
SCJ-407
Ceramics III
Painting II
FDC-144
Semester 7
SCJ-307
PTG-206
or
PTG-208
2
Choose one.
18
Semester 2
SCJ-408
3
Drawing II
18
2
Life Study I
2
Painting I: Sophomore Intensive
Life Study I
2
Choose one.
SCJ-206
Sculpture II
SCJ-208
Ceramics II
SCJ-212
Life Study II
SCJ-216
Jewelry II
2
FAU-242
or
FAU-244
Fine Arts Seminar II
2
3
3
PRNT-203
Intaglio I
4
PRNT-204
Lithography I
Studio Electives
2
PRNT-203
Intaglio I
Studio Elective
2
2
PRNT-204
Lithography I
Credit subtotal
18
PRNT-211
Silkscreen I
PRNT-212
Relief I
2
Film Elective
2
6
134
FAU-242
or
FAU-244
Materials
2
PRNT-212
FDC-163
DRWG-206
or
DRWG-212
Choose one.
2
SCJ-208
Slipcasting Beginning
Choose one.
Ceramics I
15
TECH-421
2
Silkscreen I
Semester 4
2
Fine Arts Seminar I
Credit subtotal
Sculpture II
PRNT-211
Semester 5
FAU-241
or
FAU-243
3
SCJ-206
18
Semester 3
SCJ-207
Studio Elective
Life Study II
TECH-515
FDC-144
4
Senior Studio II
PTG-212
Semester 1
Fine Arts Seminar I: Sculpture
3
Math/Science
3
Studio Electives
2
Credit subtotal
18
PRNT-211
Silkscreen I
PRNT-212
Relief I
PRNT-303
Elective
Credit subtotal
Intaglio II
PRNT-304
Lithography II
PRNT-311
Silkscreen II
PRNT-312
Relief II
Credit subtotal
12
134
2
Choose one.
SCJ-205
Sculpture I
2
SCJ-207
Ceramics I
16
SCJ-211
Life Study I
SCJ-215
Jewelry I
2
FAU-241
or
FAU-243
Fine Arts Seminar I
2
3
Math/Science
3
Studio Elective
2
Credit subtotal
18
184
Semester 5
Curricula
Curricula
B.F.A. in Fine Arts
B.F.A. in Fine Arts
(Emphasis in Jewelry)
(Emphasis in Painting)
Semester 1
Semester 4
Semester 6
185
Semester 1
Semester 4
DRWG-314
Junior Drawing (fall)
4
FDC-143
4
DRWG-209
Rendering for Jewelry I
2
SCJ-316
Jewelry IV
4
FDC-143
4
PTG-305
or
PTG-311
Painting III
2
FDC-157
Materials and
3-Dimensional Form
3
PTG-206
or
PTG-208
Painting II
2
FAU-345
Junior Fine Arts Seminar:
Jewelry
2
FDC-157
Materials and
3-Dimensional Form
3
Life Study III
FAU-341
2
CH-300
3
Math/Science
3
Studio Elective
2
Credit subtotal
16
FDC-163
FDC-180
4-D Design I
2
HA-111
3
HMS-101A
Critical Studies
3
Credit subtotal
3
18
Semester 2
Semester 6
3
DRWG-406
Drawing VI
4
Studio Elective
6
4
Credit subtotal
14
134
PRNT-204
Lithography I
Studio Elective
2
Credit subtotal
PRNT-211
Silkscreen I
Credit subtotal
18
2
Semester 8
3
4-D Design II
4
14
FDC-181
Studio Electives
Credit subtotal
Intaglio I
PRNT-304
Critical Studies
3
PRNT-203
3
HMS-103A
3
Critical Studies
3
2
HMS-101A
FDC-164
Studio Elective
3
SCJ-415
CH-400
3
2
Intaglio II
4-D Design I
HA-111
PRNT-303
HA-112
2
FDC-180
2
3
2
Fine Arts Seminar V
2
Tools and Techniques for
Metalsmiths
FAU-441
Metalsmithing: Holloware
TECH-371
FDC-158
FAU-342
4
TECH-291
Semester 7
2
Drawing V
Relief I
Painting IV
DRWG-405
FDC-163
PRNT-212
PTG-306
or
PTG-312
Semester 7
3
4
4
18
Choose one.
Junior Drawing (spring)
Credit subtotal
Life Study II
CH-400
FDC-144
DRWG-315
Life Study IV
or
PTG-212
Intensive
Credit subtotal
Drawing I
PTG-205
or
PTG-207
or
PTG-211
Painting I
Drawing II
PTG-206
or
PTG-208
Painting II
or
PTG-212
Life Study II
Choose one.
18
Semester 2
PRNT-203
Intaglio I
PRNT-204
Lithography I
FDC-144
4
PRNT-211
Silkscreen I
FDC-158
3
PRNT-212
Relief I
Lithography II
3
FDC-164
3
PRNT-303
Intaglio II
PRNT-311
Silkscreen II
3
FDC-181
4-D Design II
2
PRNT-304
Lithography II
3
PRNT-312
Relief II
2
Studio Electives
4
HA-112
3
PRNT-311
Silkscreen II
3
SCJ-216
Jewelry II
2
Credit subtotal
14
HMS-103A
3
PRNT-312
Relief II
FAU-245
Sophomore Seminar: Objects
2
Semester 8
Critical Studies
3
SCJ-416
2
Life Study I
2
Painting I: Sophomore
Intensive
Life Study I
Choose one.
3
Studio Elective
2
Credit subtotal
18
Semester 5
FAU-445
Jewelry VI
Senior Seminar: Jewelry
2
Studio Electives
4
4
Credit subtotal
Credit subtotal
4
14
Drawing I
PTG-205
or
PTG-207
Painting I
Jewelry III
4
DRWG-310
Rendering for Jewelry II
2
CH-300
3
or
PTG-211
TECH-292
Bench Skills: Stone Setting
2
Choose one.
TECH-372
Casting for Metalsmiths
2
PRNT-203
Intaglio I
134
2
Life Study I
SCJ-315
18
Semester 3
DRWG-205
or
DRWG-211
2
Intensive
Life Study I
PRNT-203
Intaglio I
PRNT-204
Lithography I
Math/Science
3
PRNT-204
Lithography I
PRNT-211
Silkscreen I
Credit subtotal
16
PRNT-211
Silkscreen I
PRNT-212
Relief I
2
PRNT-212
Relief I
SCJ-215
Jewelry I
2
Choose one.
FAU-241
or
FAU-243
Fine Arts Seminar I
2
SCJ-205
Sculpture I
SCJ-207
Ceramics I
SCJ-211
Life Study I
SCJ-215
Jewelry I
2
FAU-241
or
FAU-243
Fine Arts Seminar I
2
3
Math/Science
3
Studio Elective
2
Credit subtotal
18
2
Intensive
4
18
2
Life Study II
Jewelry V
Semester 3
DRWG-205
or
DRWG-211
3
DRWG-206
or
DRWG-212
2
3
Math/Science
3
Studio Elective
2
Credit subtotal
18
2
Choose one.
SCJ-206
Sculpture II
SCJ-208
Ceramics II
SCJ-212
Life Study II
SCJ-216
Jewelry II
2
FAU-242
or
FAU-244
2
3
3
Studio Elective
2
Credit subtotal
18
Curricula
186
Semester 5
PTG-307
or
PTG-313
Semester 7
Junior Intensive Painting, Fall
4
PTG-405
FAU-441
Junior Intensive Painting: Life
Study, Fall
Choose one.
DRWG-301
DRWG-305
DRWG-307
Curricula
Drawing Installation, Fall
Drawing III
DRWG-311
Life Study III
DRWG-321
Illustration and Symbolic
Imagery
4
Fine Arts Seminar V
2
3
Studio Elective
2
3
Credit subtotal
Drawing III:The Expanded
Field
16
Semester 8
PTG-406
2
B.F.A. in Fine Arts
B.F.A. in Fine Arts
(Emphasis in Printmaking)
(Emphasis in Sculpture)
Semester 1
Painting V
Painting VI
4
Studio Electives
6
4
14
FDC-143
FDC-157
Semester 4
4
Material and
3-Dimensional Form
3
FDC-163
3
FDC-180
4-D Design I
2
HA-111
3
HMS-101A
Critical Studies
3
Credit subtotal
18
Semester 2
3
Credit subtotal
Silkscreen II
Credit subtotal
Intaglio II
PRNT-304
Lithography II
CH-300
Credit subtotal
18
PRNT-311
PRNT-312
FDC-144
4
FDC-158
3
FDC-164
3
3
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
and Critical Studies
3
Silkscreen II
Math/Science
3
Relief II
Credit subtotal
16
2
Semester 6
Choose one.
Credit subtotal
Sculpture II
Choose one.
SCJ-208
Ceramics II
PRNT-303
Intaglio II
SCJ-212
Life Study II
PRNT-304
Lithography II
SCJ-216
Jewelry II
2
PRNT-311
Silkscreen II
FAU-242
2
PRNT-312
Relief II
2
Intensive
3
PRNT-310
Junior Printmaking
4
3
DRWG-308
Drawing IV: Expanded Field
2
Life Study I
Studio Elective
2
FAU-342
2
or
PTG-211
18
CH-400
3
Choose one.
Drawing I
PTG-205
or
PTG-207
Painting I
2
Life Study I
2
Choose one.
Credit subtotal
18
Semester 2
SCJ-206
DRWG-205
or
DRWG-211
or
PTG-211
18
PRNT-311
PRNT-303
Semester 3
2
Intaglio I
2
4
Studio Elective
PRNT-203
Junior Seminar: Prints and
Collaboration
Semester 6
2
Lithography II
FAU-347
3
Painting Processes
3
Intaglio II
PRNT-304
Relief I
Critical Studies
TECH-507
Critical Studies
PRNT-303
Choose one.
PRNT-212
HMS-103A
3
HMS-101A
Life Study II
3
16
3
3
Credit subtotal
CH-400
2
2
2
4-D Design I
HA-111
3
FDC-180
PRNT-212
FDC-164
FAU-342
Relief I
Intensive
FDC-158
4-D Design II
2
3
2
HA-112
Illustration and Symbolic
Imagery
Expanded Field
FDC-181
DRWG-321
FDC-163
DRWG-307
2
Life Study IV
Silkscreen I
PRNT-211
2
Silkscreen I
3
DRWG-312
3
PRNT-211
Studio Elective
Drawing IV: The Expanded
Field
Materials and
3-Dimensional Form
Lithography I
2
Math/Science
DRWG-308
FDC-157
PRNT-204
Relief II
Drawing IV
4
4
PRNT-312
2
DRWG-306
Intaglio I
Lithography I
3
Choose one.
or
PTG-212
FDC-143
PRNT-203
Life Study II
Semester 1
PRNT-204
Junior Intensive Painting:
Life Study, Spring
Painting II
Semester 5
Select any two course for 4 credits
4
or
PTG-314
PTG-206
or
PTG-208
2
CH-300
Junior Intensive Painting,
Spring
Drawing II
FDC-144
FAU-341
PTG-308
DRWG-206
or
DRWG-212
Choose one.
Credit subtotal
134
187
18
Semester 3
DRWG-205
or
DRWG-211
Drawing I
PTG-205
or
PTG-207
Painting I
2
Life Study I
2
Intensive
Life Study I
PRNT-203
Intaglio I
Studio Elective
2
PRNT-203
Intaglio I
PRNT-204
Lithography I
3
PRNT-204
Lithography I
PRNT-211
Silkscreen I
18
PRNT-211
Silkscreen I
PRNT-212
Relief I
PRNT-212
Relief I
2
Credit subtotal
2
Choose one.
SCJ-205
Sculpture I
Semester 7
PRNT-405
Senior Printmaking I
4
SCJ-205
Sculpture I
2
FAU-441
Fine Arts Seminar V
2
FAU-243
2
3
SCJ-207
Ceramics I
3
SCJ-211
Life Study I
Studio Elective
2
Math/Science
3
SCJ-215
Jewelry I
2
3
Studio Elective
2
FAU-241
or
FAU-243
Fine Arts Seminar I
2
Credit subtotal
14
Credit subtotal
18
Semester 8
3
Math/Science
3
Studio Elective
2
Credit subtotal
18
PRNT 406
Senior Printmaking II
4
Studio Electives
6
Liberal Arts Electives
Credit subtotal
4
14
134
Curricula
188
Curricula
189
School of Design
B.F.A. in Photography
B.F.A. in Communications Design
(Emphasis in Illustration)
Semester 4
DRWG-206
or
DRWG-212
PTG-206
or
PTG-208
or
PTG-212
Semester 6
Drawing II
2
Life Study II
Painting II
2
FAU-344
CH-400
Life Study II
Intaglio I
PRNT-204
Lithography I
PRNT-211
Silkscreen I
PRNT-212
Relief I
PRNT-304
Lithography II
PRNT-311
Silkscreen II
Relief II
2
SCJ-206
Sculpture II
2
4
PHOT-322
Lighting I
3
FDC-143
4
COMD-321
Illustration III
2
Fine Arts Seminar IV: Sculpture
2
FDC-163
3
PHOT-305
Junior Research I
3
FDC-157
2
PHOT-105
Black and White Photography
3
CH-250
Between Image and Word
3
Tech Elective
2
HA-111
3
Photography Elective
3
FDC-163
3
TECH-227
or
COMD-345
Illustration: New Media I
3
Materials and
3-Dimensional Form
3
3
Math/Science Reqt
3
Studio Elective
4
3
Critical Studies I
2
3
HMS-101A
4-D Design I
4
FDC-180
CH-300
Studio Elective
3
18
SCJ-405
Sculpture V Senior Intensive
4
FAU-441
Fine Arts Seminar V
2
3
Studio Elective
2
3
FAU-244
2
3
3
Studio Elective
2
Credit subtotal
18
Semester 5
SCJ-305
Sculpture III
4
FAU-343
Fine Arts Seminar III: Sculpture
2
CH-300
3
Math/Science
3
Tech Elective
2
Studio Elective
2
Credit subtotal
16
Credit subtotal
16
Semester 2
Drawing II:Figure and General
4
FDC-164
3
PHOT-210
Digital Photography
3
HA-112
3
HMS-103A
Credit subtotal
4
3 Studio Electives
6
Credit subtotal
4
14
134
Critical Studies II
Credit subtotal
Junior Research II
3
PHOT-490
Photography Lectures
1
PHOT Elec
Photography Elective
3
Math/Science Reqt
3
Reqt
3
3
16
Credit subtotal
FDC-157
Materials and
3-Dimensional Form
3
PHOT-106
Inter. Black and White
Photography
3
PHOT-310
Inter. Digital Photography
3
HA-360
Survey of Photography: 1839
to Present
3
FVID-101
Intro to Digital Cinema
CH-300
Credit subtotal
3
HMS-101A
Critical Studies I
3
PHOT-405
3
PHOT-491
1
HMS-497
Thesis Writing
1
18
3
PHOT-205
Sophomore Critique
3
PHOT-220
Large Format Photography
3
PHOT-410
Adv. Digital Photography
3
3
3
Credit subtotal
18
3
Reqt
3
3
3
Credit subtotal
17
4
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
Critical Studies II
3
COMD-201
Visual Communication I
2
COMD-211
Design Procedures I
2
COMD-215
2
COMD-221
Illustration I
2
COMD-231
Communications Imaging I
2
COMD-235
Illustration Methods and
Media I
2
9
3
Credit subtotal
Credit subtotal
3
15
134
3
3
18
Semester 4
COMD-202
Visual Communication II
2
COMD-212
Design Procedures II
2
COMD-216
2
COMD-222
Illustration II
2
COMD-232
Communications Imaging II
2
COMD-236
Illustration Methods and
Media II
2
3
Math/Science
3
Credit subtotal
18
4
15
Semester 6
COMD-322
Illustration IV
2
TECH-228
or
COMD-346
Illustration: New Media II
2
CH-400
3
Studio Elective
4
6
Credit subtotal
17
Senior Project
8
3
Children's Books II
Semester 7
COMD-401
Senior Thesis II
18
Semester 3
Semester 8
PHOT-406
18
FDC-144
Credit subtotal
Senior Thesis I
Contemporary Issues in
Photography
3
16
PHOT-440
3
FDC-158
3
Children's Books I
Credit subtotal
Semester 2
Semester 7
Semester 4
CH-400
Credit subtotal
PHOT-306
Semester 3
Sculpture VI Senior Intensive
18
HA-111
Semester 6
FDC-144
14
Semester 8
SCJ-406
Semester 5
Credit subtotal
PRNT-312
Semester 1
FDC-143
Semester 7
Intaglio II
Semester 5
4
Credit subtotal
Choose one.
PRNT-303
Sculpture IV
Intensive
PRNT-203
Semester 1
SCJ-306
Studio Elective
4
Credit subtotal
15
Senior Project
8
Semester 8
COMD-402
Math/Science
3
Studio Elective
4
Credit subtotal
15
134
Curricula
190
Curricula
(Emphasis in Advertising Art Direction)
(Emphasis in Graphic Design)
Semester 1
Semester 5
B.F.A. in Fashion Design
Semester 1
Semester 5
Semester 1
FDC-143
4
COMD-302
Copywriting for Advertising
2
FDC-143
4
COMD-313
2
FDC-157
Materials and
3-Dimensional Form
3
COMD-313
2
FDC-157
COMD-315
Graphic Design I
2
Graphic Design I
2
Materials and
3-Dimensional Form
3
COMD-315
COMD-317
Advertising I
2
FDC-163
3
FDC-163
3
CH-300
3
FDC-180
4-D Design I
2
FDC-180
4-D Design I
2
Printmaking Elective
2
HA-111
3
HA-111
3
4
ENGL-101
Critical Studies I
3
ENGL-101
Critical Studies I
3
Credit subtotal
18
Semester 2
FDC-144
4
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
ENGL-103
Critical Studies II
3
Credit subtotal
COMD-317
Advertising I
2
CH-300
3
4
Credit subtotal
Semester 6
COMD-211
Design Procedures I
2
COMD-316
Graphic Design II
2
COMD-318
CH-400
Advertising II
2
Film/Video Elective
2
3
6
Credit subtotal
17
18
COMD-401
2
2
FDC-144
4
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
HA-112
3
ENGL-103
Critical Studies II
3
2
Semester 8
COMD-221
Illustration I
2
COMD-402
COMD-231
2
3
8
3
Semester 3
Studio Elective
4
COMD-201
15
COMD-211
Design Procedures I
2
COMD-316
Graphic Design II
2
3
COMD-231
Studio Elective
4
Credit subtotal
18
15
134
2
COMD-212
2
COMD-216
2
COMD-216
2
COMD-222
Illustration II
2
COMD-222
Illustration II
2
COMD-232
2
COMD-232
2
3
Math/Science
3
Math/Science
3
Studio Elective
2
Studio Elective
2
Credit subtotal
18
Credit subtotal
18
3
Credit subtotal
17
Semester 6
FASD-302
Shape and Form II
4
HA-111
3
FASD-368
Experimental Surface Design
2
18
FASD-318
Fashion Design III
3
Studio Elective
2
Math/Science Elective
3
Social Studies/Philosophy
Elective
3
Credit subtotal
17
Credit subtotal
Fashion Studio: Concepts +
Criteria
2
or
FASD-112
Textiles
FASD-114
Fashion Illustration I
3
FVID-102
Digital Cinema II
3
FASD-401
Collection I
4
Studio Elective
4
or
PHOT-210
FASD-441
or
FASD-500
Portfolio
2
Digital Photography
FASD-280
Internship
2
Studio Elective
2
3
3
15
HMS-103A
Senior Project
8
Math/Science
3
Studio Elective
4
18
COMD-202
Social Studies/Philosophy
3
Credit subtotal
2
3
Credit subtotal
2
Black and White Photo
2
Semester 7
3
Studio Elective
4
2
2
Drape and Construct II
3
COMD-212
4
Tailoring Techniques
FASD-122
Studio Elective
COMD-202
Shape and Form I
FASD-233
8
Semester 4
FASD-301
Senior Project
Credit subtotal
Math/Science
3
3
2
COMD-402
Fashion Design II
Critical Studies I
6
Semester 8
Digital Cinema I
FASD-317
HMS-101A
2
or
PHOT-105
Film/Video Elective
2
Credit subtotal
FVID-101
FASD-110
Illustration I
2
4
Semester 2
2
2
Drape and Construct I
2
2
3
FASD-121
3
COMD-401
Fashion Studio I
3
17
2
Drawing: Figure/Form
Package Design I
Credit subtotal
Semester 5
Textiles
FASD-113
COMD-323
Semester 7
18
FASD-112
or
FASD-110
CH-400
3
3
COMD-314
COMD-221
15
Semester 6
COMD-215
Studio Elective
Credit subtotal
8
Senior Project
Semester 4
Credit subtotal
Senior Project
Credit subtotal
18
Semester 2
Semester 7
COMD-215
Credit subtotal
COMD-314
Semester 3
COMD-201
15
191
15
134
HA-112
Critical Studies II
3
3
Credit subtotal
18
Semester 3
FASD-213
Fashion Illustration II
2
FASD-221
Drape and Construct III
4
FASD-201
Hand Knitwear
3
CH-300
3
FASD-345
Contextualizing Fashion
3
Studio Elective
2
Credit subtotal
17
Semester 4
FASD-214
Fashion Illustration III
2
FASD-222
Drape and Construct IV
4
FASD-217
Fashion Design I
2
FASD-202
Knitwear: Cut and Sew
3
FASD-208
20th Century Fashion
2
CH-400
3
Credit subtotal
16
Special Topics
Credit subtotal
16
Semester 8
FASD-402
Collection II
4
FASD-500
or
FASD-441
Special Topics
2
FASD-281
Internship
Portfolio Development
Strategy
Credit subtotal
2
3
4
15
134
Curricula
192
Curricula
193
School of Liberal Arts
and Sciences
B.I.D. in Industrial Design
B.F.A. in Interior Design
Semester 1
Semester 5
FDC-143
4
FDC-157
Materials and
3-Dimensional Form
3
FDC-163
FDC-180
Semester 8
Semester 1
Design III (Exhibit)
3
IND-301A
or
IND-301B
or
IND-301C
4-D Design I
2
IND-311
HA-111
3
Complex Form and Space
Methodology
HMS-101A
Critical Studies I
3
IND-539
or
IND-541
CAID I
IND-585
Production Methods
2
3
ICH-300
3
Studio Elective
2
Credit subtotal
18
Semester 2
FDC-158
3
Credit subtotal
Semester 6
FDC-181
4-D Design II
2
HA-112
3
HMS-103A
Critical Studies II
3
IND-302A
or
IND-302B
or
IND-302C
Credit subtotal
Design IV (Exhibit)
2
16
4
INT-301
FDC-157
Materials and
3-Dimensional Form
3
FDC-163
3
FDC-180
4-D Design I
2
HA-111
3
HMS-101A
Critical Studies I
3
Prototypes: Selected Topics
Credit subtotal
2
15
134
Credit subtotal
4
CST-100
First Year Seminar
3
INT-315
Building Construction I
2
CH-300
3
INT-323
Presentation Techniques
2
History of Philosophy, Ancient
3
INT-517
Furniture Design
2
PHIL-208
or
PHIL-209
3
HMS-101A
3
Critical Studies I
3
Math/Science
Studio Elective
2
MSCI-210
Science and Society
3
Credit subtotal
18
CST-190
Beyond Google I: Basic
Information Literacy
1
18
Semester 6
Semester 2
FDC-144
4
INT-302
FDC-158
3
INT-316
Building Construction II
2
Environmental Theory
2
CADD II: 3-D Max
2
3
All-Institute Electives
Studio Elective
2
Credit subtotal
3
3
FDC-181
4-D Design II
2
INT-561
HA-112
3
Credit subtotal
Credit subtotal
4
FDC-164
Critical Studies II
Modern Philosophy
Design IV
INT-332
HMS-103A
Semester 1
Design III
3
18
Credit subtotal
18
16
Semester 2
HMS-103A
Critical Studies II
3
CH-400
3
9
15
Semester 3
SS-225
Symposium
3
2
Semester 7
12
Production Methods
2
INT-201
Design I
4
INT-401
Design V
4
Credit subtotal
15
2
INT-215
Construction Systems
2
INT-403
Directed Research
2
Semester 4
INT-216
Color and Materials
2
INT-415
Working Drawings I
2
SS-299
INT-424
Portfolio Development
2
4
CAID II: Alias
IND-211
Form and Space Methodology I
4
IND-540
or
IND-542
IND-214
Model Making and Drafting
4
CH-400
3
18
IND-146
Drawing II
2
IND-202
Design II
4
IND-212
Form and Space
Methodology II
4
IND-215
Introduction to Prototypes
2
3
3
18
Semester 3
CAID II: Solid Works
3
Semester 4
Credit subtotal
Applied Space Methodology
4
Applied Form and Space
Methodology
Drawing I
IND-510
or
IND-516
IND-312
Design I
2
Design VI (Transportation)
Semester 5
FDC-143
Design IV (Transportation)
IND-145
Credit subtotal
2
Design IV (Product)
IND-201
Math/Science
Professional Practice and
Portfolio II
Design VI (Furniture)
IND-586
History of Industrial Design
IND-442
3
4
18
Semester 3
HD-361
2
CAID I: Solid Works
4
3
Design VI (Product)
Design III (Transportation)
IND-402A
or
IND-402B
or
IND-402C
Design III (Product)
FDC-144
FDC-164
4
B.A. in Critical and Visual Studies
Credit subtotal
3
INT-223
Architectural Drawing I
2
3
CH-300
3
16
Semester 7
IND-401A
or
IND-401B
or
IND-401C
Design V (Product)
4
Design V (Furniture)
Design V (Transportation)
3
Credit subtotal
16
Semester 4
Credit subtotal
Design II
4
INT-221
Lighting Design
2
INT-224
Architectural Drawing II
2
2
2
Theory and Practice Electives
3
6
9
Credit subtotal
16
14
Semester 5
Semester 8
INT-402
INT-202
Moderation
Design VI: Thesis
4
INT-416
Working Drawings II
2
INT-431
2
Studio Elective
2
4
CST-390
Beyond Google II: Thesis and
Information Research
1
15
Credit subtotal
16
Semester 6
IND-509
or
IND-515
Advanced Space Methodology
IND-441
Professional Practice and
Portfolio
2
Math/Science
3
Studio Elective
2
12
2
Credit subtotal
15
2
Prototypes: Selected Topics
Credit subtotal
15
INT-560
CAD: Autocad
2
CH-400
3
Credit subtotal
3
Credit subtotal
16
14
134
15
Credit subtotal
15
Senior Seminar
3
Semester 7
CST-440
Semester 8
CST-480
Senior Thesis/Project
3
12
Credit subtotal
15
121
Curricula
194
Curricula
B.A. in History of Art and Design
B.F.A. in History of Art and Design
Semester 1
Semester 6
B.F.A. in Writing
Semester 1
Semester 5
HA-111
3
3
FDC-143
4
FDC-143
4
Foreign Language
3
FDC-157
Critical Studies I
3
English/Humanities
3
Materials and
3-Dimensional Form
3
HMS-101A
FDC-163
3
4
FDC-180
4-D Design I
2
2
HA-111
3
HMS-101A
Critical Studies I
3
Credit subtotal
16
3
FDC-144
4
HMS-103A
Critical Studies II
3
2
HMS Elective
3
Credit subtotal
15
Semester 3
CH-300
4
2
Credit subtotal
15
Semester 7
Semester 2
HA-112
3
English/Humanities
3
5
4
Credit subtotal
15
Senior Project
3
Semester 8
HA-405
or
HA-406
Senior Seminar
Credit subtotal
4
FDC-158
3
FDC-164
3
FDC-181
4-D Design II
2
3
3
Math/Science
3
English/Humanities
6
Foreign Language
3
3
6
3
CH-300
Credit subtotal
2
Credit subtotal
17
18
132
Semester 4
CH-400
Math/Science
Foreign Language
Credit subtotal
3
3
3
7
2
18
Semester 5
Critical Studies II
Credit subtotal
Semester 3
MSCI-430P
3
18
WR-101
Writer’s Studio I
4
WR-300
Writer’s Forum
1
3
WR-110
Critical Thinking and Writing I
3
WR-301
Writer’s Studio V
4
3
WR-120
Word, Usage, Style I
3
WR-320
Special Topics
3
Studio Elective
6
WR-300
Writer’s Forum
1
WR-330
The Professional Workplace
2
Credit subtotal
15
HMS-203A
World Literature Survey I
3
HMS Elective
3
MSCI–270
or
MSCI-221P
Ecology
3
Math/Science
3
Credit subtotal
16
Chemistry for Art Historians
3
5
3
Studio Elective
4
2
Credit subtotal
17
Math/Science
3
5
Studio Elective
4
Credit subtotal
3
Semester 8
9
Studio Elective
6
HA-405
or
HA-406
Credit subtotal
18
3
9
Studio Elective
6
Credit subtotal
18
Semester 5
3
Semester 7
3
Semester 4
CH-400
Semester 1
Theory and Methodology
Semester 6
18
FDC-144
HMS-103A
HA-402
Semester 2
HA-112
195
Senior Thesis
2
14
3
Senior Seminar
Conceptual Physics
Credit subtotal
17
Semester 2
WR-102
Writer’s Studio II
4
WR-111
Critical Thinking and Writing II
3
WR-121
Word, Usage, Style II
3
WR-300
Writer’s Forum
1
HMS-203B
World Literature Survey II
3
HMS Elective
3
Credit subtotal
17
WR-201
Writer’s Studio III
4
WR-300
Writer’s Forum
1
CH-300
3
HMS-304B
Perspectives on U.S. Literature
3
3
3
4
Studio Elective
4
4
2
Credit subtotal
Credit subtotal
18
Semester 4
16
WR-202
Writer’s Studio IV
4
134
WR-300
Writer’s Forum
1
WR-320
Special Topics
3
CH-400
3
HA-402
Theory and Methodology
3
HMS Elective
3
MSCI-430P
Chemistry for Art Historians
3
Studio Elective
2
3
Credit subtotal
16
Foreign Language
3
4
Credit subtotal
2
18
WR-302
Writer’s Studio VI
4
WR-320
Special Topics
3
WR-390
Internship/Seminar
3
HMS Elective
3
3
Credit subtotal
16
Senior Project
4
6
Studio Elective
2
Semester 7
WR-420
Semester 3
Studio Elective
Semester 6
3
Credit subtotal
15
Senior Project
4
Semester 8
WR-421
HMS Elective
3
Elective
6
Studio Elective
2
Credit subtotal
15
130
196
Undergraduate Minors
197
Morphology Minor
Architectural Theory and Technology
As part of the Center for Experimental Structures,
the Morphology Minor leverages the long history of
our interest in form studies with a focus on exploring
the relations between Form and Space (geometry,
topology), Form and Force (structural morphology),
Form and Time (dynamic morphology) enabled by
computation, fabrication, construction and emerging technologies. Within this overview, different
course offerings focus on any combination of these
topics. Students can stay within one or move among
these areas of study.
The Undergraduate Architecture Department
offers a 15-credit non-studio based minor to
qualified Construction Management students
(Minimum GPA of 3.0) pursuing a Bachelor of
Professional Studies degree. Students may
apply to the Minor in Architectural Theory and
Technology through their advisor at any point
during their academic career, beginning in the
first semester of their second year.
Students may choose from the following courses:
Take the following required course:
Topic: Teaching Practicum
Students can choose from either:
Exhibition, Installation, and Architectural Design:
HMS-340E
Documentary Image
Ceramics
ARCH-557A
Architectural Creativity
ADE-521/522
Student Teaching: Saturday
Art School
HMS-431A
Modernism & Postmodernism
FVID-370
Multimedia Installation
HMS-404E
Photography & Am Lit
ADE-523
Student Teaching: After School
Theory and History:
HMS-493A
Writing As Photograph
ADE-524
Student Teaching: In the Galleries
HA-327
Art since the Sixties
PHIL-307
Philosophy/Contemporary
Cultural Theory
HMS-431A
Modernism and Postmodernism
A Ceramics Minor offers students the
opportunity to work in depth with clay through
its many forms and techniques. Students gain
valuable technical skills as well as strengthen
their conceptual knowledge within the field of
Ceramics. Students with a serious interest in
Ceramics in any major have the opportunity to
add this Minor to enrich their degree by gaining
a deeper understanding of this versatile medium.
Topics: Social Science and Critical and
Visual Studies
Students can choose from
SS-512
Art, Culture and Community
Development
SS-490
The Art Museum: Theory
and Practice
ARCH-252
History and Theory of Architecture IV
ARCH-262
Architectural Assembly Systems
ARCH-361
Building Environments
Take 3 credits from the required courses:
ARCH-362
Building Services
ARCH-363 Professional Practice
ARCH-211
Representation III
ARCH-364 Construction Documents I
ARCH-252
History & Theory IV
ARCH-461 Planning I
Take 9 credits from the following courses:
HD-506
Concepts of Design
ARCH-551A
Aalto
ARCH-571A(R)
Form and Space: Analog
HA-350
ARCH-551B
Frank Lloyd Wright
ARCH-551C
Kahn and Venturi
ARCH-571B(R)
Form and Space: Digital
Arts of the Other in a
Changing World II
ARCH-555A
Islamic Architecture
ARCH-571C(R)
Form and Force: Analog
HA-551.07/08 Sculpture and the Public
Imagination (Issues in Art History)
ARCH-559C
Collaboration: Artists &
Architecture
ARCH-571D(R)
Form and Force: Digital
HA-560
ARCH-571E(R)
Form and Time: Analog
ARCH-563A
Energy-Conscious Design
ARCH-573A Architectural Analysis
ARCH-571F(R)
Form and Time: Digital
ARCH-581A
Special Topics
ARCH-581B
Impact of Technology
ARCH-591A
Elements of Landscape Design
ARCH-593B Architecture of the City
ARCH-595A
Vintage New York
The Construction Management department
offers an 18-credit minor. Students may apply to
the Minor in Construction Management program
through their advisor at any point in their aca
demic career beginning in the first semester of
their second year. The completion of the minor
will be noted on the student’s transcript but will
not be shown on his or her diploma.
Complete the following required courses:
CM-201
Intro to Construction Management
CM-401
Construction Managment I
CM-402
CM-321, CM-322, CM-331, CM-343, CM-344,
CM-352, CM-440, CM-446, CM-461, CM-462,
CM-463, CM-471, MGMT-205, MGMT-307
ARCH-233
Technics: Non-Architecture Majors
School of Art
Art Design and Social Practice
The Department of Art and Design Education
offers a dynamic and cross-disciplinary 15-credit
minor for students from across the Institute.
Through coursework, fieldwork research, and
practicum experiences, students learn to conceive
and develop educational experiences in a variety
of community settings and explore participatory
practices in the public sphere. The minor further
opens up opportunities beyond the gates for
students and expands their capacity to engage in
the creative industries.
Topic: Art and Design Education
ADE-419
ADE-420
Foundations in Art
The Art of Teaching Art & Design
Topic: Fieldwork
ADE-215A
Fieldwork in Art
ADE-215B
Fieldwork with Special Populations
CST-310
Culture in Motion
SS-369
Perception and Creativity
SS-355
Mass Media and Society
Topic: History of Art and Design
Museology
Museum and Gallery Practices Minor
Photography
The Photography Minor enables students from all
majors to gain a conceptual, critical and technical
grounding in contemporary photographic practice.
The minor consists of one required core course,
Digital Photography, followed by six additional
Photography credits from a select menu of
options in the Photography Department, and
six credits from a select menu of options in
Liberal Arts and/or History of Art and Design.
A substantial menu of courses and the flexible
structure of the minor allow students to
determine a specific area of focus within the
medium. Please see Photography Department
website for more information.
Non-Fiction Video I
FVID-202
Fiction Video I
FVID-301
Non-Fiction II: Hybrid Forms
FVID-302
Fiction Video II
PHOT-210
Digital Photography
ADE-418
Contemporary Museum Education
HA-560
Museology
Curation and Education:
Students who minor in Film/Video will
graduate with the fundamental skills to express
themselves creatively with motion image digital
technology. The Film/Video Department offers
a 15-credit minor to undergraduates from all
departments, consisting of nine studio-based
credits in the F/V department and six history/
theory credits. Students may apply for the minor
through their advisor at any point during their
academic career, beginning first semester of the
second year. In order to maintain minor status,
students must consult with the F/V Department
Minor coordinator once each semester prior
to registration.
FVID-201
The Museum and Galleries Practices Minor is a
unique integrated and cross-departmental minor
that allows students to become familiar with a
range of professional activities within the museum
and gallery fields. Students will acquire a general
understanding of various areas of practices and can
also tailor their selection of courses to concentrate
on more specific areas of interest such as curation,
museum education, or exhibition design.
Choose a total of 9 credits from the courses
listed below. You must take at least 1 course from
each menu. Each of these menus focuses on
a smaller area of study and practice in museumrelated fields.
Film/Video
SCJ-207
Ceramics I
SCJ-208
Ceramics II
SCJ-307
Ceramics III
TECH-421
or
IND-515
Beginning Slipcasting
TECH-422
Advanced Slipcasting
TECH-515
Clay & Glazes
Prototypes I
Take 3 credits from the following Social
Science courses:
SS-350
Technology and the Future
of Work
SS-369
PHIL-307
Philosophy and Contemporary
Cultural Theory
FVID-251
FX, Tricks + Pix
SS-321
Heritage Practice
FVID-310
Screenwriting
SS-330
Cultural Studies
FVID-311
Writing through Pix & Sound
SS-444
Concepts of Materiality
FVID-320
Sound Design & Editing
FVID-321
Expanded Editing: Tools &
Techniques
Take 3 credits from the following History of Art
courses:
PHOT-210
Digital Photography
PHOT-220
Large Format Photography I
PHOT-310
Intermediate Digital Photography
PHOT-322
Lighting I
PHOT-410
Advanced Digital Photography
FVID-370
Multimedia Installation
PHOT-413
Narrative Forms: Photo Book
FVID-371
Film + Fashion
PHOT-415
Non-Silver Processes
PHOT-416
Platinum/Palladium Process
PHOT-422
Lighting II
PHOT-440
Contemporary Issues in Photo
PHOT-443
Photography: Theory & Practice
PHOT-455
Digital Monochrome
PHOT-460
Photo: Curatorial Practices
HMS-340B
Myth into Film
PHOT-465
Editorial Photography
HMS-340D
Cinema/New Media
Socially Engaged Media
HMS-432A
Feminist Film/Theory
PHOT-490
HMS-440A
Documentary Film
PHOT-491
HMS-440B
Cinema & the City
PHOT-492
HMS-440E
Poetics of Cinema
HMS-440F
PHOT-470
Take the following required courses:
HA-216
Survey of Art: 20th-Century Art
HD-361
History of Industrial Design
School of Design
HA-341
Film: Early Film to WWII
Interior Design
HA-342
Film: WWII to the Present
HA-517
Documentary Film
The Department of Interior Design offers a
16-credit minor to undergraduate Architecture,
Construction Management, and Industrial Design
students, or interested students with a related
background. Students may apply to the minor
after meeting with the Chair of Interior Design,
as early as the first semester of their sophomore
year. Determination of studio level to take—INT301, 302, 401—will be based upon a review of a
student’s transcript and portfolio.
FA-486
The Artist as Curator
FA-310
Artworlds
Women in International Cinema
FASD-345
Contextualizing Fashion
HMS-440I
Film Sound
INT-216
Color and Materials
PHOTO-460
Curatorial Practices: Photography
CH-250
Between Image and Word
HMS-440S
NT-221
Lighting Design I
ADE-524
Student Teaching: Galleries
HA-360
Survey of Photography: 1839
to Present
Special Topics in Cinema
and Media
198
Choose minimum of one of the following design
studio courses in consultation with the interior
design department chair:
Creative Writing
History of Art
The Creative Writing Minor is designed for Pratt
students who seek to deepen their commitment
to the composition of fiction, poetry, creative
nonfiction, and other forms. The core of the
minor consists of admission into Writing Studios,
a Special Topics class (WR-320), the Writer’s
Forum, and one more elective. The minimum
number of credits required for the minor is 15.
All students wishing to enroll in the minor must
submit a writing sample to the program director.
Minoring in History of Art is a great way to
strengthen your degree no matter which field
of study you choose. The minor consists of 18
credits in History of Art & Design, including
the 12 credits required of all undergraduates
in the Schools of Art and Design (10 credits of
art history survey and one elective course). In
addition to the 10 credits of art history survey,
you need to complete a total of 8 credits of
electives, including at least one 500-level course.
To declare the minor, simply stop by the History of
Art & Design office (no appointments necessary)
or email us at ha@pratt.edu with your questions.
INT-201
Design I
INT-202
Design II
INT-301
Design III
INT-302
Design IV
INT-401
Design V
INT-223
Architectural Drawing I
INT-224
Architectural Drawing II
Take two of the following studio courses:
INT-332
WR-201
Writer’s Studio III
INT-456
Special Projects
WR-202
Writer’s Studio IV
INT-501
NEOCON Intensive (Chicago)
WR-301
Writer’s Studio V
INT-517
Furniture Design
WR-302
Writer’s Studio VI
INT-525
Sustainable Design
INT-532
Textiles for Interiors
INT-560
CADD I: Autocad
INT-561
CADD II: 3-D Max
INT-562
CADD III: REVIT
INT-571
Retail Design
INT-572
Residential Design
Take the following courses:
WR-320
Special Topics in Writing
WR-300
Writer’s Forum
Cultural Studies
The Cinema Studies Minor is for students who
want to gain an understanding of film from a
humanities perspective. Emphasizing interpre
tation, theory, history, and cultures of film across
the world, it’s a perfect complement for Film/
Video majors or other majors who want to build a
knowledge base about film. The minor involves a
required course (Intensive Film Theory) and four
electives. It may be declared at any time.
Cultural Studies provides students with an
understanding of human experience through the
critical analysis of contemporary and historical
material expressions—objects, communities and
identities, media, institutions, technologies, and
environments—of the social world. It provides
you with a critical perspective on a world in flux
and on the future that you will be called upon to
create. The Minor in Cultural Studies strengthens
your grasp of the dynamics of social life and
develops your ability in critical analysis and its
application in the arts, architecture, design, and
the liberal arts. You develop insight into how fields
of scholarship and modes of creative expression
emerge, influence each other, and change.
HMS-440K
SS-330
Cultural Studies
SS-430
Methods of Cultural Studies
SS-510
Controversies in Cultural Theory
Cinema Studies
Intensive Film Theory
Take 12 credits from the following
elective courses:
HMS-240A, HMS-320S, HMS-340A, HMS-340B, HMS-340D, HMS-340E, HMS-340S, HMS-341A, HMS-341B, HMS-341S, HMS-342S, HMS-432A,
HMS-440A, HMS-440B, HMS-440E, HMS-440F, HMS-440H, HMS-440I, HMS-440S, HA-341, HA- 342, HA-343, HA-425, HA-517, SS-490, AIC-101
Take 9 credits from the following electives:
PHIL-207, PHIL-307, SS-200, SS-202, SS-209,
SS-210, SS-250P, SS-251P, SS-318, SS-320P,
SS-340,SS-343, SS-350, SS-355, SS-369, SS-460,
SS-463, SS-472, SS-480, SS-485, SS-537, SS-560
Complete 18 credits of art history courses.
Literature and Writing
The Minor in Literature and Writing enables
students of all majors to build a knowledge and
skill base in both the study of literature and the
practice of writing, choosing five courses from
a broad range that includes literature, writing,
and theory/criticism courses. Writing majors may
substitute additional literature/criticism/theory
courses for the writing component. The minor
may be declared at any time; courses already
taken can be counted.
Take 6 credits from the courses listed below:
HMS-203A, HMS-203B, HMS-203C, HMS-204A,
HMS-205A, HMS-205B, HMS-208A HMS-208B,
HMS-225A, HMS-225B, HMS-231A, HMS-231B,
HMS-230A
HMS-300A, HMS-300B, HMS-300C, HMS-300D,
HMS-300S, HMS-301A, HMS-301B, HMS-301S,
HMS-303S, HMS-304A, HMS-304B, HMS-304S,
HMS-308A, HMS-308B, HMS-308S, HMS-310S,
HMS-400A, HMS-400S, HMS-401S, HMS-403S,
HMS-404A, HMS-404B, HMS-404C, HMS-404D,
HMS-404E, HMS-404F, HMS-405A, HMS-405S,
HMS-410A, HMS-410S, HMS-432S, HMS-320A,
HMS-320B, HMS-320C, HMS-320S, HMS-325A,
HMS-325B, HMS-325S, HMS-420A, HMS-420B,
HMS-420S, COM-301, HMS-430A, HMS-430S
199
Media Studies
Philosophy
Take 3 credits from the following courses: The Media Studies Minor offers space for reflection
on how media shape our dreams, desires, and fears.
It includes study of media theories and histories,
contemporary world-changing technologies, and
approaches to the future. The minor involves one
required course, Contemporary Media Theory, four
electives, and a qualifying paper/project. You may
declare the minor at any point; courses already
taken can be counted.
A Minor in Philosophy at Pratt introduces the
formative ideas of Western thought, from beauty
and justice to bioethics and possible worlds.
With a grounding in the historical foundations
(Plato, Aristotle, Descartes), students shape their
own program, selecting courses in aesthetics,
ethics, politics, metaphysics, logic, epistemology, depending on their individual interests. The
minor can be combined with any undergraduate
major and requires the completion of 15 credits
in philosophy.
HMS-440C
Contemporary Media Theory
HMS-290A, HMS-331C, HMS-340A, HMS-340B,
HMS-340D, HMS-340E, HMS-340S, HMS-341A,
HMS-341B, HMS-341S, HMS-342S, HMS-390S,
HMS-404E, HMS-430B, HMS-430C, HMS-432A,
HMS-440A, HMS-440B, HMS-440E, HMS-440F,
HMS-440H, HMS-440I, HMS-440S, HMS-490A,
HMS-491A, HA-341, HA-343, HA-425, HA-517,
HA-551, SS-355, SS-370P, SS-490
Child and Adolescent
Development
Choose 3 credits from the following history of
philosophy courses:
SS-444
Abnormal Psychology
SS-456
Social Psychology
PHIL-208
History of Philosophy: Ancient
to Medieval
SS-369
INT-332
History of Modern Philosophy
PHIL-355
Theories of Knowledge
HMS-330A
Freud & Lacan
PHIL-209
Choose 3 credits from one of the following
contemporary philosophy courses:
PHIL-200
Problems in Philosophy
The Performance and Performance Studies Minor
is designed for students who want to incorporate
performance perspectives into their primary
art/design/architecture/writing practice and to
learn new ways of understanding how all kinds of
performance—from theater, media, and music to
everyday life performances—affect how we see
and engage the world. The minor involves two
required courses and three electives; it may be
declared at any time.
PHIL-301
Logic
HMS-261A, HMS-262A, HMS-301B, HMS-308A,
HMS-320C, HMS-320S, HMS-331C, HMS-360A,
HMS-360B, HMS-360S, HMS-460S, HMS-430S,
HMS-490S
Take 3 credits from the following courses: Cognitive Psychology
Aesthetics
Introduction to Performance
Studies
Freud & Lacan
SS-391
Ethics and Social Issues
HMS-360D
Theories of Knowledge
HMS-330A
Psychology of Gender/Sex Roles
PHIL-265
Introduction to Performance
Practice
PHIL-355
SS-359
PHIL-210
HMS-360C
INT-332
SS-357
Performance and Performance Studies
SS-369
PHIL-307, PHIL-311, PHIL-312, PHIL-320,
PHIL-350, PHIL-355, PHIL-356, PHIL-400,
PHIL-450, SS-460, CH-442
Psychology
Psychology is a study of human mental
processes, emotions, behaviors, and activities.
The goal of the Psychology Minor at Pratt is
to provide students with a deep grounding
in diverse theoretical perspectives and a
working understanding of empirical research
methodologies in order to scaffold creative,
critical, and psychologically mindful processes
of artistic production, design, urban planning,
and architecture. This minor can be combined
with any undergraduate major and requires the
completion of 15 credits.
Sustainability
A Minor in Sustainability Studies at Pratt deepens
the understanding of the interdisciplinary approach
to sustainable environmental, economic, and social
practices, providing students with a broad understanding of the complex interrelationships between
humans and ecosystems, and the best practices
for protecting environmental quality and fostering
social equity. The minor can be combined with any
undergraduate major and requires the completion
of 15 credits approved in Sustainability Studies.
Take the following required courses:
SUST-201
The Sustainable Core
MSCI-270
Ecology
SUST-401
Power, Pollution, and Profit
SUST-405
Production, Consumption,
and Waste
PHIL-356
Environmental Ethics
INT-332
IND-487
Sustainability and Production
MSCI-436
Toxics in the Environment
SS-210
MSCI-438
Chemistry of Modern Polymeric
Materials
CM-446
Sustainable Construction
Management
General Psychology
SS-357
Psychology of Gender/Sex Roles
SS-359
Cognitive Psychology
SS-391
Child and Adolescent Development
SS-444
Abnormal Psychology
SS-456
Social Psychology
SS-430
Methods of Cultural Analysis
More information about each minor can be found
at www.pratt.edu/academics/degrees/
undergraduate.
200
Architecture Faculty
201
Karen Bausman
Anthony Buccellato
George Cutsogeorge
Daniela Fabricius
Helen Gyger
Visiting Associate Professor
B.Arch., The Cooper Union.
Adjunct Assistant Professor
B.S.B.A., Management Information Systems,
Northeastern University; M.Arch., Pratt Institute.
Adjunct Professor
Ken Adria
William Bedford
Visiting Assistant Professor
Ph.D. Architectural History, Princeton
University; M.Arch., Columbia University; B.A.,
Brown University.
B.A., Sydney College of the Arts; TESOL,
University of New South Wales; M.A., The New
School; Ph.D., Columbia University.
Dieter Feurich
Thomas Hanrahan
Academic Degree in Structural Engineering,
Unversity of Hanover; M.B.A., Baruch College,
City University of New York.
Dean of the School of Architecture
B.S., University of Illnois at Urbana-Champaign;
M.Arch., Harvard Design School; practicing
architect and founding partner of Hanrahan
Meyers Architects (hMa), widely recognized
in design by numerous national and international
publications, the Museum of Modern Art, the
AIA, and the National Academy of Design;
author of a monograph on his work “Four States
of Architecture,” and his projects include the
Pratt Design Center and “Light-Arc,” a Platinum
LEED‑rated community center adjacent to
Ground Zero in lower Manhattan.
B.Arch., Cornell University; M.S. Architectural
Acoustics, Rensselaer Polytechnic Institute.
Nicholas Agneta
Adjunct Associate Professor
B.Arch., The Cooper Union; achieved Licensure
with the New York State in 1986; since then, has
worked as architect and construction manager
in the NYC metropolitan area; in 1991, added
teaching to his weekly agenda and has taught
at New York University and New York Institute
of Technology; currently teaching Professional
Practice and is IDP Coordinator at Pratt.
Evan Akselrad
B.S., B.S.C.E., City College of New York.
Howard Albert
B.A. Art History, Binghamton University;
M.Arch. University of Pennsylvania; M.S. Real
Estate Development, Columbia University.
Ajmal Aqtash
B.Arch., Pratt Institute; M.S., Columbia University.
Ezra Ardolino
B.S., Portland State University; M.Arch.,
Pratt Institute.
Tulay Atak
B.Arch., Middle East Technical University;
Ph.D., EHESS, UCLA.
Guillermo Banchini
Dipl. Universidad Nacional de Rosario, Argentina;
M.Arch., SCI-ARC.
Annie Barrett
B.Arch., Yale; M.Arch., Harvard.
Jon Barry
B.S. Civil Engineering, Georgia Institute of
Technology; M.S. Civil Engineering, University of
Illinois, Champaign.
Philippe Baumann
M.Arch., Rice University; Honors Degree Art
History, Brown University; Rhode Island School
of Design.
M. Planning and Urban Design, Harvard
University; M.Arch., Pratt Institute; B.Arch.
Texas A&M University.
Dan Bucsescu
Jacob Bek
Reese Campbell
B.Arch., Pratt Institute; M.S., Architectural
Association School of Architecture, England.
B.S., Arizona State University.
Frederick Biehle
Adjunct Professor
B.S., University of Virginia; M.Arch., Harvard
Design School; represents the third generation of
a northern Ohio family dedicated to the fine and
decorative arts; in 1986, was awarded the Prix
de Rome Fellowship in Architecture, allowing him
to live and study in Italy for two years; has
traveled extensively in the Mediterranean region
researching and documenting the architecture
of antiquity; his drawings and architectural
works have been exhibited and published
widely; founded his own firm in partnership with
Erika Hinrichs in 1997; is registered in the state
of New York.
Ezio Blasetti
Dipl. National Technical University of Athens;
M.S., Columbia University.
Lawrence Blough
Associate Professor
B.Arch., Tulane University; M.S., Columbia
University.
Robert Brackett III
B.S., University of Illinois; M.Arch., Columbia
University.
Lex Braes
M.F.A., University of California; Brooklyn
Museum Art School; Duncan of Jordanstone
College of Art.
Bronwyn Breitner
B.A., Duke University; M.Arch., Parsons The
New School of Design.
Jeff Brock
B. Arch., Princeton University; M.Arch.,
Columbia University.
Christopher Brokaw
B. Environmental Design, Miami University;
M.F.A., University of Maryland.
Adjunct Professor
M.S., University of Surrey; B.Arch., City College
of New York.
Anthony Caradonna
Professor
B.Arch., Pratt Institute; M.Arch., Harvard
University.
Gonzalo Carbajo
Architect, National University of Rosario, College
of Architecture, Urban Planning and Design.
Bianca Celestin
B.Eng. Building Engineering, Concordia University,
Montreal.
Michael Chen
B.A., University of California at Berkeley; M.Arch.,
Rosario D'Urso
Ph.D. Architectural and Urban Design,
Polytechnic School of Architecture,
Milan; M.Arch. Polytechnic School of
Architecture, Milan.
Theoharis David
Professor
B.Arch., Pratt Institute; M.Arch., Yale University;
former Graduate Architecture Chair, teaching
graduate and undergraduate design; fellow
of the American Institute of Architects, and
maintains a practice in New York City and Nicosia,
Cyprus; has received awards at local, state,
national and international levels and his work
as architect/educator has been exhibited and
published internationally.
Adam Dayem
B.Arch., University of California at Berkeley;
M.Arch., Columbia University.
Ronald DiDonno
B.Arch., Pratt Institute.
Livio Dimitriu
Jesse Chrismer
Adjunct Professor
M.S.S.E., Columbia University.
Patrick Donbeck
Karl Chu
Professor
B.Arch., Pennsylvania State University; M.S.A.A.D.,
Jonas Coersmeier
M.Arch., Massachusetts Institute of Technology;
M.S.A.A.D., Columbia University.
William Cooch
M. Eng. Civil & Environmental Engineering,
Cornell University; B.S.E. Civil & Environmental
Engineering, Princeton University.
Abigail Coover-Hume
B.Arch., University of Virginia; M.Arch.,
Yale University.
Donald Cromley
Adjunct Professor
B.Arch., Massachusetts Institute of Technology;
M.Arch., University of Pennsylvania.
Patrick Curry
B.E.D., Texas A&M University; M.Arch., University
of Illinois.
Kathleen Dunne
Professor
B.S., B.Arch., Rensselaer Polytechnic Institute;
M.S., Environmental Design, Yale University;
professional engineer and a registered architect;
has been teaching in the technology sequence
at Pratt for almost 20 years, and has 30 years
of work experience as a structural engineering
consultant to architects; currently teaches
in both the undergraduate Architecture and
Construction Management programs.
Cathryn Dwyre
B.A., Colgate University; M.L.A., University
of Pennsylvania.
Adam Elstein
B.A. History, Yale University (cum laude); M.S.,
London School of Economics; M.Arch., Pratt
Institute; M.B.A., M.Phil., Oxford University.
Gabriela Escalera-Joy
M.Arch., Pratt Institute School of Architecture.
Giuliano Fiorenzoli
Professor
M.Arch., University of Florence; M.A.A.D.,
Massachusetts Institute of Technology.
Lapshan Fong
B.Arch., University of Washington; M.Arch.,
University of Washington at Seattle; study
abroad, University of Liverpool; Design/Build
Mexico, Cuernavaca, Mexico; study abroad,
architecture in Rome at Palazzo Pio, Rome.
Carlyle Fraser
B.Arch., Pratt Institute; M.S. Arch.,
Nina Freedman
Dipl., Architectural Association School of
Architecture; B.S., City College of New York.
Emma Fuller
B.Arch., The Cooper Union Irwin S. Chanin School
of Architecture.
Deborah Gans
Professor
B.A., Harvard University (summa cum laude);
M.Arch., Princeton University.
Frank Gesualdi
B.Arch., Syracuse University; M.S., Advanced
Arch., Columbia University GSAPP.
Simone Giostra
M.Arch., Polytechnic School of Architecture
at Milan (summa cum laude); Erasmus Program,
University of Porto.
Lou Goodman
Adjunct Professor
B.Arch., Philadelphia Textile Institute;
B.A., University of Pennsylvania.
Michele Gorman
Visiting Assistant professor
B.S., Int. Arch., University of North Carolina
at Greensboro; M.Arch., Rhode Island School
of Design.
Shannon Hayes
Erika Hinrichs
Chair, Adjunct Associate Professor
B.A., Parsons The New School for Design; B.Arch.,
The Cooper Union; has practiced architecture in
New York City since 1990, working for seven years
with Tod Williams and Billie Tsien, Architects;
was responsible for several highly acclaimed
projects including the auditorium building for
the Neurosciences Institute in La Jolla, Calif.,
which received a national AIA citation; maintains
an avid interest in materials—new, natural, and
recycled—and the manner in which they relate
both to each other and to the body through
detail; founded her own firm in partnership with
Frederick Biehle in 1997.
Kyle Hovenkotter
B.A. Architectural Studies, Unversity of
Washinton; M.Arch., Columbia University.
Nathan Hume
B.S., Ohio State University; M.Arch.,
Yale University.
Merica Jensen
B.S. Management, Georgia Institute of
Technology; M.Arch., Georgia Institute
of Technology.
Junhui Jia
B.S., Shenyang Jianzhu Univ; M.S., West Virginia
Univ; Equivalent M.S., Zhejiang Univ; Ph.D., West
Virginia Univ; Post Doctoral Fellow, Pennsylvania
State University; over 10 years of experience in
the research, analysis, design, investigation,
and construction of complex structures of all
types; has experience in forensic analysis, new
or remedial design, vulnerability assessment
and blast design, complex retrofits, seismic and
vibration analysis, curtain wall calculation, and FRP
composite application.
202
Latoya Johnson
Sanford Kwinter
John Lobell
Administrative Clerk
B.S.A.E., Pennsylvania State University.
Professor
Ph.D. Comparative Literature, M.Phil.
Comparative Literature, M.A. Comparative
Literature, Columbia University; B.A., University
of Waterloo/University of Toronto.
Zachary Phillip Joslow
Haresh Lalvani
Professor
B.A., M.Arch., University of Pennsylvania; author
of numerous articles and several books, including
Between Silence and Light: Spirit in the Architecture
of Louis I. Kahn; interests include technology
and culture, consciousness, art, Buddhism,
and mythology; projects include Timeship, for
the storage of cryogenically preserved people,
FutureFeeder.com, CinemaDiscourse.com,
analysis of movies from a mythological point of
view; consulting for Milgo/Bufkin, a high-tech
architectural metal company; Louis Kahn: Building
as Philosophy, book in progress.
David Jones
Visiting Instructor
Adam Kacperski
William Katavolos
Codirector of Center for Experimental
Structures at Pratt Institute; recipient of
Rowena Reed Award.
Brendan Kelly
B. Environmental Design in Urban Design, Miami
University; M.Arch., Columbia University.
Theodore Kofman
of Architecture.
Duks Koschitz
Associate Professor
Dipl. Ing., Technische Universitaet Wien;
Ph.D. Candidate, Massachusetts Institute
of Technology.
Nicholas Koutsomitis
B.Arch., Pratt Institute; architect and educa
tor with over 20 years of experience; active
member of the the American Institute of
Architects, where he has served on the board
of directors of the NYC Chapter, and of the
American Association of Museums, and is
certified by the National Council of Architectural
Registration Boards.
Matthew Krupanski
B.Arch., Pratt Institute School of Architecture.
Christoph A. Kumpusch
Thesis at The Cooper Union; B.Arch.,
University of Applied Arts in Vienna, Austria.
Christopher Kupski
M.Arch., Ohio State University; B.S. Architecture,
Georgia Institute of Technology.
Zehra Kuz
Adjunct Professor
M.S.Arch. and Building Design,
Professor
B.Arch., Indian Institute of Technology, Kharagpur
(India); M.S.Arch., Pratt Institute; Ph.D. Arch.,
University of Pennsylvania.
Jason Lee
203
Michael Morris
Brent Porter
Allen Slamic
B.Arch., The Cooper Union Irwin S. Chanin
School of Architecture; BFA. Environmental
Design, Parsons School of Design.
Adjunct Professor
B.Arch., University of Kansas; M.Arch.,
Pennsylvania State University.
M.Arch., Yale University; B.Arch., B.S.,
Kent State College of Architecture and
Environmental Design.
Nicholas Mundell
Assistant Professor
Product Architecture Lab, Stevens Institute
of Technology; B.Arch., University of Auckland,
New Zealand.
Signe Nielsen
B.A. Architecture, University of California at
Berkeley; M.Arch., Columbia University.
Adjunct Professor
B.A., Smith College; B.L. Arch., City College of
New York; B.S., Pratt Institute; is a Fellow of the
American Society of Landscape Architecture
and has been principal of her firm, Mathews
Nielsen Landscape Architects, PC, since 1979;
has taught landscape architecture, urban design
and environmental planning at City College
of New York, NJ Institute of Technology, and
Pratt Institute; is currently a full professor and
has been a faculty member since 1980; Vice
President of the New York City Art Commission
and is a registered landscape architect in
five states; her work has been published and
exhibited extensively.
Diploma of Architecture at the School of
Architecture at École Polytech Federale
de Lausanne.
Andrew Lyon
Anne Nixon
A.B., Architectural Studies, Brown University;
M.Arch., Yale University.
B.A., B.Arch., Art and Art History, Rice University;
Diane Lewis
David Mans
Beth O’Neill
Visiting Professor
of Architecture, 1976; Rome Prize in Architecture,
The American Academy in Rome, 1976–77.
John McNanie
Assistant Chair, Adjunct Assistant Professor
B.A. Architecture, University of California at
Berkeley; M.Arch., Columbia University.
Philip Lee
B.S., University of Michigan; M.Arch., Rice
University; E.C.-U.S., Princeton University.
Leonard Leung
M.Arch., Harvard University; B.S., Columbia
University.
Frederic Levrat
Enrique Limon
B.Arch., University of Southern California;
M.S.A.A.D., Columbia University; Graduate
Diploma, The Architectural Association, London;
recipient of the William Kinnie Traveling
Fellowship to Paris to study and research the
theories of urban theorist Paul Virilio; awarded
a Smithsonian Fellowship with residency at
the Cooper Hewitt National Design Museum
to research complex transparency in the
work of Laszlo Moholy-Nagy. LimonLab was
established as an urban laboratory dedicated
to the experimentation and development of
architecture and design in 2006. The Lab’s
projects have been published in Metropolis
Magazine and The New York Times.
Scott Lomax
M.Eng., University of Glasgow.
Frank Lupo
M.Arch., Yale University; B.Arch., University of
Cincinnati.
Christian Lynch
Institute of Design at Illinois Institute
of Technology.
B.F.A., Parsons College; B.A., Smith College;
Yetunde Olaiya
Ph.D. History, Theory and Criticism of
Architecture, Princeton University; M.A.,
Princeton University; M.Arch., Harvard University;
B.A. Architecture, Barnard University.
William Menking
Ran Oron
Juliet Medel
Professor
B.A., University of California; M.S., Pratt Institute;
M.Sc., University of London, England; Ph.D.,
History of Art, City University of New York.
B.Arch., The Cooper Union; B.A.,
University of Haifa.
Gregory Merryweather
B.S. Civil Engineering, Rutgers University; M.S.
Civil Engineering, Pennsylvania State University.
B.S.Arch., Ohio State University; M.Arch.,
Sebastian Misiurek
Visiting Instructor
Iris Moon
Ph.D. Massachusetts Institute of Technology;
B.A. Art and Political Science, Williams College.
Robert Otani
Mark Parsons
Director of Production Technologies, Adjunct
Assistant Professor
B.P.A., University of Massachusetts at Dartmouth;
Fine Arts/Pre-Med. Major at Rochester; M.F.A.,
Cornell University.
Jack Philips
M.Arch., Columbia University; B.E.D., Texas
A&M University.
Mark Rakatansky
B.A., University of California at Santa Cruz;
M.Arch., University of California at Berkeley.
Thomas Rice
B.S., Glasgow University, UK; Structural Engineer
and Chartered Engineer (UK) working for Ove
Arup and Partners PC in New York, specializing
in the structural design of buildings; current and
recent projects are located in the Americas,
Europe, and Asia.
Dagmar Richter
Professor
Vordiplom, University of Stuttgart; M.Arch.,
Royal Art Academy School of Architecture; postgraduate study, Städel School, Frankfurt; principal,
DR_D, a design research practice in Berlin
and Los Angeles; her internationally exhibited
design work has garnered numerous prestigious
competition prizes and awards, including second
prize for the design of the National Library of
Denmark in Copenhagen and first prize for an
office park design for the Shinkenshiku Membrane
competition in Japan; her work is the subject of
two monographs: XYZ: The Architecture of Dagmar
Richter (Princeton Architectural Press, 2001) and
Armed Surfaces: Architecture and Urbanisms 5
(Black Dog Press, 2003).
Brian Ripel
B.Arch., Pratt Institute; Phillips Exeter Academy;
Otto Ruano
B.Arch., Pratt Institute; B.A., Parsons The New
School of Design.
Ostap Rudakevych
B.Arch., Carnegie Mellon University; M.Arch.,
Harvard University.
Yehuda Safran
Adjunct Professor
M.A., Royal College of Art; Dipl., St. Martin School
of Art; Ph.D., University College London.
Richard Sarrach
M.S., Columbia University; B.Arch., Pratt Institute.
Taka Sarui
M.Arch., Columbia University; B.A. Sculpture,
Dartmouth College.
Eunjeong Seong
B.S., INHA University; M.Arch., Columbia
University.
Ashley Simone
Justin Snider
B.Arch., Pratt Institute; Fine Arts,
Adelphi University.
Scott Sorenson
Terilyn Stewart
Student Advisement Coordinator
Michael Su
B.S., California Institute of Technology; M.S.,
Columbia University; B.Arch., The Cooper Union;
M.A., Princeton University.
Mike Szivos
M.S.AAD., Columbia University; B.Arch., Louisiana
State University.
John Szot
B.Arch., University of Texas at Austin; M.S.,
Stephen Szycher
Visiting Instructor
B.S.C.E., Cornell University.
Meredith TenHoor
Associate Professor in History and Theory
B.A., Brown University; M.A., Princeton University;
Ph.D. (in progress).
Salvatore Tranchina
B.S., Swarthmore College; M.Arch., Columbia
University.
Michael Trencher
Professor
B.A. English Literature, Yale College; B.Arch.,
M.Arch., Columbia University; M.S. Urban Design.
Evan Tribus
B.S., University of Virginia; M.Arch., Southern
California Institute of Architecture.
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Federica Vannucchi
Farzam Yazdanseta
Ph.D. History, Theory and Criticism of
Architecture, Princeton University; M.E.D, Yale
University; M.A. Architecture, Università degli
Studi di Firenze.
B.A., University of Maryland; M.Arch.,
University of Maryland School of Architecture;
M.S. Advanced Architectural Design.
Erik Verboon
B.Arch., University of Cincinnati; M. Eng., Stevens
Institute of Technology.
Florencia Vetcher
Certificate in Art and Design at University
of Buenos Aires; Joieria Artistica Diploma
at Universitat Autonoma de Barcelona;
Architecture Diploma at University of Belgrano;
M.Arch., Princeton University .
Robert Zaccone
Adjunct Professor
B.A. Art, C.W. Post College, L.I.U.; B.Arch.,
Pratt Institute; M.S.Arch., Columbia University.
Lawrence Zeroth
B.S., University of Wisconsin at Milwaukee;
Dragana Zoric
Faculty
Dareen Abdelmoneim, EIT, CMIT
M.S. Civil Engineering–Construction
Management, University of Illinois at Urbana –
Champaign; B.S. Construction Engineering; minor
in Architecture, American University in Cairo;
LICENSURE: Engineer in Training, Construction
Manager in Training (CMIT); Project Controls
Specialist-STV Inc.
Howard Albert
B.Arch., Pratt Institute; M.S. City and Regional
Planning; Fulbright scholarship for study in
Vienna, Austria in Technische Universität and
Hochschule für Angewandte Kunst.
B.A., Binghamton University; M.Arch., University
of Pennsylvania; M.S., Real Estate Development,
Columbia University; principal of Howard Albert,
Residential Architects; formerly: associate at
Streetworks (retail design and development);
principal at The Saratoga Associates (Landscape
Architecture and Planning); and assistant director
of planning at the New York City Housing Authority.
Omar Walker
Lennart Andersson
Winston Von Engel
of Architecture.
Chris Ward
M.Eng. Structural Engineering, Washington
University in St. Louis; B.S. Civil Engineering,
Washington University in St. Louis.
Christa Waring
Ed Wendt
B.A., Princeton University; cum laude, Fine Arts
and Art History; Ph.D., Columbia University;
Dissertation: “The Burkean Sublime in British
Architecture.”
Danielle Willems
A.A., Orange Coast College; B.Arch., SCI-ARC;
Gia Wolff
B.A., Parsons The New School of Design; M.Arch.,
Harvard University.
Chi-Fan Wong
B.Arch., The Cooper Union; M.S., Columbia
University.
B.A., University of California at Berkeley;
M.Arch., Savannah College of Art and Design;
M.B. Engr., Wasa Gymnasium, Stockholm, Sweden;
associate, The LiRo Group, New York, NY.
Kenneth Browne
Construction executive working in purchasing
and project management for Goldman Sachs.
Martin Bruno
EH&S Director for the Skanska New York metro
area, consisting of New York and New Jersey;
the National EH&S Director of Skanska’s Mission
Critical Group; and the Global EH&S Director of
Skanska’s Validation and Commissioning Group.
Bruno is also an associate professor of construc
tion management at Middlesex County College,
New Jersey, a Safety Committee member of the
Building Trade Employers Association (BTEA)
of New York City, and a voting member of the
National Crane Education and Safety Training
Committee for the Special Carriers and Rigging
Association (SC&RA); he is a 13-year member of
the American Society of Safety Engineers.
George Cambourakis
B.Engineering, Civil Engineering, City College of
New York; M.Engineering, Structural Engineering,
Columbia University; Ph.D. candidate, City
College of New York.
Bruce D. Cohan
B.S. Civil Engineering; B.Arch., Carnegie-Mellon
University; construction project management
executive, JRM Construction Management, LLC;
LEED AP.
Daniel Crow
B.A., Lafayette College; J.D. New York Law
School; associate, John E. Osborn P.C.,
specializing in construction law.
Bryan Diffley
Schiavone Construction Co., LLC.
George Fowler
B.Arch., City College of New York.
Jon Frascatore
B.S. Environmental Design; M.S. Architecture,
Texas A&M; Certified Construction Manager
(CCM); vice president, STV Construction, Inc.;
area of expertise: healthcare facilities.
T. Kent Hikida
Associate Professor
B.A., Bennington College; M.Arch., Columbia
University; recipient, Alpha Rho Chi medal;
AIA, LEED-AP; AIAS faculty advisor; recipient,
faculty development grant (2001–02) to enhance
professional practice curriculum; participant,
NAAB reviews; intern development program
coordinator for Pratt; 2006 primary author of
AIA’s Mentoring Guidelines, IDP Mentoring: The
Essential Relationship Between Architects and
Interns; experience includes work with Steven
Holl, Michael Sorkin, Gaetano Pesce, HLW
International, and Gensler.
James Howie
Adjunct Professor
B.Arch., University of Detroit; recipient, Alpha
Rho Chi medal; AIA; LEED AP; NCARB; associate
principal, Perkins Eastman Architects; founder
and partner, Howie, Freireich and Gardner,
Architects; member, World Trade Center Task
Force (2002–03), NYC Department of Buildings
(chair, Evacuation Committee); chief of quality
control, NYS Urban Development Corporation.
Diane S. Kaese, RA
B.S. Architecture, University of Nebraska; M.S.
Preservation, Columbia University; Partner in
Kaese & Lynch Architecture and Engineering LLP
in New York City.
Hillary Lobo
B.Eng. (Electrical), Bombay University, India;
member IEEE; professional engineer, State of New
York; associate principal at Arup, 2000–present;
Syska & Hennessey, 1995–2000.
Michael F. Lynch
B.S. M.E., Clarkson University; Partner in Kaese
& Lynch Architecture and Engineering LLP in
New York City; other work experience includes
vice president for property care at the Society
for the Preservation of New England Antiquities,
Construction Management Faculty
205
and senior restoration coordinator for the
New York State Office of Parks, Recreation,
and Historic Preservation.
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 dis
pute resolution; 2000 Member of the Year,
Greater New York Construction User Council.
Mary Matthews
Professor Emerita
B.A. Concentration in Sociology and Education
Management, Emmanuel College; M.S. Social Work,
Boston College; consistent career advancement
specializing in safety, training, government com
pliance, environmental issues, and insurance
programs in the construction management and
facilities management industries in the public
and private sector; professor and former chair
in the Construction Management and Facilities
Management Department at Pratt Institute.
Harriet Markis
Adjunct Professor
B.S., Rensselaer Polytechnic Institute; M.Eng.,
Cornell University; member of CMAA, AISC, ACI,
SECB and SEoNY; partner at Dunne & Markis
Consulting Structural Engineers, PLLC since 1990;
30 years of experience as a structural designer in
a variety of projects; licensed to practice in New
Jersey, Connecticut, Delaware, New Hampshire,
and Rhode Island.
Martin McManus
B.B.A., Accounting, Pace University; CPA; financial
principal and Registered Representative with
NASD; member of the NYS Society of CPAs;
American Institute of CPAs.
Wilfredo Moran
B.S. Accounting, Everest College; M.B.A.
Accounting, Southern New Hampshire University;
member of the Association of Accountants and
Financial Professionals in Business; member of
the National Society of Accountants; National
Association for Developmental Education,
College Reading and Learning Association.
Clifford Opurum
Dip.T.S. (B.A. Honors) Transportation Studies,
University of London; M.S. Transportation
Management, SUNY Maritime; M.A. Economics
and International Business Management and
Finance, Fordham University; M.S. Transportation
Planning, Engineering, and Management, NY
Polytechnic; Ph.D. Transportation Studies,
Management and Economics, University of
Leeds; active role in planning, design, and
implementation of NYC’s first comprehensive
para-transit program (Access-A-Ride), while
serving as a member of NYC’s Transportation
Task Force and Senior Citizen’s Transportation
Advisory Committee.
John Osborn
B.A. Political Science and Economics, State
University of New York at New Paltz; J.D.,
University of South Carolina Law Center; John
Osborn, P.C. Attorneys and Counselors at
Mark Porter
B.S., Duquesne University; OSHA 500 Authorized
Construction Trainer; EH & S professional.
Edward Re
A.A.S. Construction Technology, NYC Technical
College; B.S. Construction Management, M.S.
Facilities Management, Pratt Institute; AIA;
certified professional constructor; certified real
estate appraiser (NAREA); certified environmental
inspector (EAA); certified occupational safety and
health director; knighted, Government of ItalyLegions of Merit; qualified continuing education
instructor, State of New York Department of
State/Division of Licensing for Architecture and
Real Estate Appraising, arbitrator, American
Arbitration Association (AAA).
Robert Schwartz
B.S. Construction Management, Pratt Institute;
RA; AIA; CSI; founder and president of Robert
Schwartz and Associates; member of AIA Master
Spec Review Committee.
Marjorie St. Elin
B.P.S., C.M., Pratt Institute; M.C., Management,
Baruch College, School of Continuing and
Professional Studies; engineer/superintendent,
Turner Construction Co.
Joseph Tagliaferro
Visiting Instructor
B.Eng., The Cooper Union; certificate in Plumbing
Systems Design, N.Y.; SCPS; LEED; consulting
engineer, P.E. associate, BR+A Consulting
Engineers, publications in Real Estate Weekly;
member of USGBC.
Mira Tsymuk
B.S. Economics and Computer Science, University
of Business Management, Moscow, Russia; M.B.A.,
University of Economics and Finance, Moscow,
Russia; M.A. Economics, C.U.N.Y. Hunter;
member American Economic Association and
International Institute of Public Finance; gathered
experience as executive business developer for
the International Association of Arts and Sciences,
Inc., and later became a research analyst for
Estée Lauder Trust subsidiary, the Institute for the
Study of Aging, Inc.
Arthur Xanthos
B.A., Williams College; J.D., Fordham University,
School of Law; partner, Gartner + Bloom, PC.
206
Faculty
Lisa Capone
Adjunct Instructor
B.F.A., Marymount College and Chelsea School
of Art; M.F.A. Sculpture, Pratt Institute; PostBaccalaureate Art Education, Teachers College,
Columbia University, in collaboration with
Pratt Institute; exhibitions include Oklahoma
City Museum, Governors Island, and Saks Fifth
Avenue; selected publications include Art In
America, Interior Design, House + Garden, and
New Glass Review, among others; commercial
venues include Barneys NY and MAD Museum;
awards include Corning Museum 100 Significant
Glass Works, Abrams Grant for Sculpture, and
McMellin Award; art educator; owner and
director of Salon Enfant and Chess Knights,
Studio in a School, and Cathedral of St. John
the Divine.
Mary Elmer-Dewitt
B.A. French, New York University; M.S. Art and
Design Education, Pratt Institute; art educator
and student teacher mentor with expertise in
assessment and elementary art education;
Studio in a School teaching artist, 2003-2011;
New York City Blueprint for teaching and Learning
in the Arts teacher trainer; 2006; Empire
State Partnerships researcher 2008-2011;
Arts Achieve research facilitator, 2010-2013;
photographer and painter; exhibitions include
Dance Theater Workshop, Spoke the Hub
Re-Creation center, Edward Hopper House and
MS Rezny Gallery; Vermont Studio Center
residency, 2014.
Borinquen Gallo
Assistant Professor
B.F.A., Cooper Union; M.F.A. Painting, 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;
national and international exhibitions include
the Warsaw International Art Expo, 2015; the
Bronx Museum of the Arts 2015; Scope Miami,
2015; and the National Academy Museum and
school, where she was also appointed Studio
Practice Program Head, 2015; residencies
include the Vermont Studio Center, 2013 and
the AIM Residency at the Bronx Museum of the
Arts, 2015; awards and honors include the Doris
Liebowitz Art Educator Award, 2009; the Marion
Netter Fellowship at Columbia University, 2010,
and the Art Fund Grant, 2015.
207
Ann Holt
Heather Lewis
Visiting Instructor
B.F.A. Painting, San Francisco Art Institute;
M.A. Art Education, Concordia University,
Quebec, Canada; Ph.D. Art Education, Women’s,
Gender, and Sexuality Studies Minor, Pennsylvania
State University, University Park; areas of
research include the history of art education,
feminist transdisciplinary practices with archives
for teaching, learning, research, and art practice;
publications include “Lowenfeld at Hampton
(1939-1946): Empowerment, Resistance,
Activism and Pedagogy” Studies in Art Education
(October, 2012); awards include the Robert
W. Graham Endowed Graduate Fellowship 2007;
exhibitions include Georges Laoun, Montreal;
Galerie La Seigneurie du Centre Cultural du
Vanier, Chateauguay, Quebec; dissertation:
Experience with Archives and Feminist Teaching
Conversations with the Judy Chicago Art
Education Collection.
Associate Professor
Ph.D. History of Education, New York University;
research explores the intersection of urban
social movements and institutional reform;
book, New York City Schools from Brownsville
to Bloomberg: Community Control and its
Legacy (2013), explores the history of New York
City’s long civil rights movement; publications
include “Assessment by Design: Scaling Up by
Thinking Small” in Reframing Quality Assurance in
Creative Disciplines, edited by Joseph M. Hoey IV
and Jill L.Ferguson (2015) and “Future Teachers
and Historical Habits of Mind: A Pedagogical
Case Study,” History of Education Quarterly
(February, 2016).
Christopher Lee Kennedy
Assistant Professor
B.S. Environmental Engineering, Rensselaer
Polytechnic Institute; M.A. Environmental
Education, New York University; Ph.D. in
Education and Cultural Studies, University of
North Carolina at Greensboro; group exhibitions
include Southeastern Center for Contemporary
Art, Winston-Salem, N.C.; Ackland Art Museum,
Chapel Hill, N.C.; Philadelphia Academy of the
Arts, Philadelphia, Penn.; Harlem Workspace and
Nurture Art, New York; selected publications
include Temporary Art Review, Artlink Magazine,
Parsons Journal for Information Mapping,
Proximity Magazine, Radical Teacher; awards
and honors include NEA Southern Constellations
Fellowship, North Carolina Arts Council
Teaching Artist award, DOE Energy Efficiency
and Conservation Block Grant, ArtPlace
America National Grant Program, and Warhol
Initiative recipient.
Tonya Leslie
Visiting Instructor
B.A., SUNY New Paltz; M.A., New York University;
Ph.D. candidate in Teaching and Learning, New
York University; Vice President and Publisher
at Scholastic Inc.; research focuses on academic
resilience, culturally responsive pedagogy, and
literacy; 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.
Theodora Skipitares
Associate Professor
B.S., University of California at Berkeley; M.F.A.,
New York University; an interdisciplinary artist,
has exhibited work and performed throughout
Europe, Asia, and South America; awards include
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; her production Iphigenia won two New
York Innovative Theater Awards; has created
performances in Vietnam, Cambodia, and Korea,
and travels frequently to India to develop new
projects; has taught workshops to diverse
populations with Hospital Audiences, Inc. and has
developed classes and performances at Rikers
Island Prison; projects include teaching
performance workshops in India as a Fulbright
Scholar, and developing a site-specific permanent
installation at Gibb Mansion, a housing facility for
homeless and chronically ill community residents,
managed by Pratt Area Community Council.
Aileen Wilson
Professor
B.A. Fine Art (Printmaking/Painting), Gray’s
School of Art, Aberdeen, Scotland; M.A.
Printmaking, Chelsea School of Art, London;
Ed.D. Art/Art Education, Teachers College,
Columbia University; awards and honors include
a Fulbright specialist grant 2011- 2012 and a
National Art Education Foundation Research
Award 2013-2014; recent projects include
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 Gallery Bergen,
Paramus, N.J., 2013.
Faculty
Donn Albright
Professor
The Art Center College of Design, Los Angeles,
California; has illustrated for a wide variety
of publications. Magazines include Boy’s Life,
Scouting, Ingénue, Nation's Business, Cavalier,
and Children’s Digest. Work has appeared in
books published by Scott Foresman, Allyn and
Bacon, Little Brown, Macmillan and Company,
Simon & Schuster, Scribner’s, and Ginn. Drawings
have been used in promotions for Blue Cross/
Blue Shield, the New York Municipal Bond
Authority, and the City of Los Angeles.
Basem Aly
Visiting Instructor
B.A., Hamilton College; M.A., The New School;
Near East Foundation, the McCann-Erickson
advertising agency, Reverend Billy’s Church of
Stop Shopping (as penance for the ad agency
gig), the Welfare Poets, the Whitney Museum, and
finally here at Pratt Institute, serving as the senior
Web developer and helping to establish a holistic
game-design program.
Jonathan Andrews
Dean Dalfonzo
Michael Marston
Visiting Instructor
Certificate in Fine Art, Maryland Institute College
of Art; M.F.A., New York Academy of Art; studied
with world-renowned artists Steven Assael,
Eric Fischl, Vincent Desiderio, Damian Loeb,
and Tony Scherman; summer resident in the
Norwegian studio of acclaimed figurative painter
Odd Nerdrum and at the Florence Academy of
Art; exhibited at both Sotheby’s and Christie’s
auction houses in New York; works included
in private and corporate collections including
United Airlines, Struever Brothers, and Eccles
and Rouse.
B.F.A., Portland School of Art; M.F.A., Pratt
Institute; National Endowment for the Arts,
Artist’s Fellowship, 1984; photographer/
multimedia producer; clients include Godiva
Chocolatier, CBS Broadcast Group, HoffmannLa Roche, Lancôme, NYNEX, Equitable Life, and
Architectural Digest.
Lee Epstein
Adjunct Professor
B.F.A., The Cooper Union; president and
creative director, Epstein and Walker
Associates, a New York advertising agency;
previously senior creative director, Doyle Dane
Bernbach Advertising.
Bob Feldgus
Adjunct Professor
B.F.A., Philadelphia College of Art; M.F.A.,
Brooklyn College; clients include Marvel
Entertainment Group, DC Comics, Topps Inc.,
Children’s Television Workshop.
Jeffrey Felmus
Visiting Instructor
B.F.A., The Cooper Union; M.A., Hunter College;
president, Andrews Design.
Visiting Instructor
B.F.A., Rochester Institute of Technology; the
principal and creative director of Felmus Design,
a design firm established in 2009.
Jane Archer
Harley Goode
Visiting Instructor
B.A., University of Mary Washington School of
Visual Arts; has designed in various marketing and
packaging-design roles in-house for Doubleday
Broadway Books/Random House and via her
design studio for clients Simon & Schuster,
HarperCollins, Knopf Doubleday, Hyperion
Books, Little Brown, Sterling/Barnes &
Noble, Sourcebooks, Clinton Kelly Inc., and
others.
Anne Fink Bartoc
Visiting Instructor
B.A., University of Michigan; M.F.A., Art Institute
of Chicago; work exhibited by the American
Institute of Graphic Arts, 50 Books/50 Covers,
1999, 2001, and 2003; clients include The
New-York Historical Society, Martha Stewart,
Guggenheim Museum, Penguin Books, and New
Press; has co-authored six books on graphic
design with Steven Heller, including Less Is More,
published by North Light Books.
Art director, designer, and consultant, Goode
Communications and Design; clients include
Campbell’s, Bacardi, and AT&T; received many
awards, including an honor from The New York
Times for a supplement design; former creative
director at Jamison and Associates and art
director at BBDO.
Carrie Hamilton
Visiting Instructor
A designer, art director, and educator who has
done extensive work for a variety of clients and
companies, including HBO, Interbrand, the Bryant
Park Corporation, the New Press, RCA Records,
and Doyle Partners; work has been published
in New Vintage Type: Classic Fonts for the
Digital Age, by Steven Heller and Gail Anderson,
featured online in Fonts in Use, FPO, Felt &
Wire, and Swiss Miss, among others, and has won
awards from the AIGA’s 50 Books/50 Covers and
the Bookbinder’s Guild of New York.
David Marcinkowski
B.A. Philosophy and Religion, Kean University;
M.A. Media Studies, The New School.
Katherin McInnis
Visiting Instructor
M.F.A., California College of the Arts; projects
have been shown internationally in major film
festivals, including New York Film Festival,
Slamdance, European Media Arts Festival, as well
as in museums including the Pompidou Center,
Neue Gesellschaft für bildende Kunst—Berlin,
and the San Francisco Museum of Modern Art.
Yoko Motomiya
Visiting Instructor
B.F.A., Musashino Arts University; B.F.A., M.F.A.,
School of Visual Arts; solo exhibitions include
Domo Gallery, N.J., Exhibit A Gallery, N.Y.; group
exhibitions have included Jersey City Museum,
Noyes Museum of Art, and IPCNY.
Edward Murr
Visiting Instructor
M.F.A. Illustration, Fashion Institute of
Technology; creating illustrations for a wide
range of clients for more than 20 years; starting
off at the Marvel Comics Bullpen in the early ’90s,
working alongside legendary cartoonists; moving
over to the Topps Company; immersing himself
in the study of storytelling and illustration the
entire time.
John Nickle
Visiting Instructor
B.A., M.F.A., University of South Florida; clients
include Random House, Scholastic Books,
Simon & Schuster, The New York Times, The Wall
Street Journal, Los Angeles Times, Nike, Inc.,
The Atlantic Monthly, Sports Illustrated, Knopf
Books, Crown Publishing, HarperCollins, St.
Martin’s Press, Pocket Books, Little, Brown & Co.,
Harcourt Brace, Harlequin Books, Washington
Post, and Avon Books.
Sung Ha No
Visiting Instructor
A.A., Monroe Community College; B.F.A., M.F.A.,
Pratt Institute.
Mark O’Grady
Professor
B.F.A., The Cooper Union; M.F.A., Louisiana Tech
University; painter and educator; exhibits in
New York, Boston, Barcelona, and Dublin; work
included in both private and public collections.
Digital Arts Faculty
209
Blake Carrington
Carla Gannis
Linda Lauro-Lazin
Assistant Professor
B.A. Digital Media, Indiana University
Bloomington; M.F.A. Computer Art,
Syracuse University
Assistant Chair
B.F.A., University of North Carolina at
Greensboro; M.F.A., Boston University; 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 New York City; exhibited in solo and group
exhibitions both nationally and internationally;
works have appeared in Res Magazine and
Collezioni Edge, and been reviewed in The New
York Times, the Los Angeles Times, the Miami
Herald, the Daily News, and the Village Voice.
Master’s in Computer Graphics, NYIT; a crossdisciplinary artist, curator, lecturer and educator
who explores impermanence, perception and
vehicles of communication; has been using
digital media in her practice since 1986 and is
considered a pioneer of digital art; began her
career as a painter and photographer; Fulbright
scholar in art; work is included in Art in the Digital
Age by Bruce Wands; 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; has a great passion
for building community and sharing her ideas
about art.
208
Wilfredo Ortega
Greg Singer
Visiting Instructor
A.A.S., B.F.A., Pratt Institute; M.F.A., Yale
University; Barry Cohen Scholarship.
Visiting Instructor
B.A., Colorado College; M.S., M.F.A.,
Pratt Institute.
Thomas Palmer
Victoria Vebell
Visiting Instructor
B.F.A., Washington University in St. Louis; comic
artist and illustrator working under the pen name
T. Motley; publishers include Dalkey Archive Press,
The Brooklyn Rail, Nickelodeon Magazine, Kidjutsu.
com, Starcherone Books, Fantagraphics, Exquisite
Corpse, and The Stranger; www.tmotley.com.
B.A., Philadelphia College of Art; M.F.A., Lesley
University.
C. Stewart Parker
Associate Professor
B.A., Glasgow School of Art; M.F.A., Danube
University, Krems/Transart; painter and
illustrator; clients include David Geffen Co., Sony
Music, Scottish Television, MCA/Universal Group;
exhibits in Europe and the United States.
Jamie Powell
Visiting Instructor
B.A., Marietta College; Post-Baccalaureate,
Brandeis University; M.F.A., Rutgers University;
recipient of the Paul Robeson Emerging Artist
Award from Rutgers University (2006) and
a Geraldine R. Dodge Grant (2007); exhibitions
include FLUXspace in Philadelphia, the Allston
Skirt Gallery in Boston, Hello My Name Is Gallery
in New Haven, and Seton Hall Law School.
Stuart Rentzler
Visiting Instructor
Bachelor’s degree, Polytechnic University.
Yisun Rho
B.F.A., Parsons School of Design; M.F.A., Lehman
College; Graduate Study, Pratt Institute; New York
City-based art director and graphic designer
who has worked with clients including UNICEF,
Scholastic, Bookspan, Doubleday, Wilton Industry,
Emporio Armani, Emanuel Ungaro, Jaeger, Anne
Klein, MBI, and Weston Gallery.
Federico Savini
Visiting Instructor
M.F.A., Facultad de Bellas Artes, Universidad
Complutense de Madrid; Printmaking, Pratt
Institute; Master's in Digital Photography, School
of Visual Arts.
Herman Schaper
Visiting Instructor
B.F.A., Montclair State College; principal of a
New Jersey-based studio; served as art director
and creative director at New York and New
Jersey agencies.
Marlyn Dantes Veenstra
Visiting Instructor
M.F.A., School of Visual Arts; designed book
covers for publishing houses such as Simon and
Schuster and Hachette Books; work includes
the design of identities, brand systems, and
websites for a list of discerning clients, including
Collins, SpotCo, Slope Cellars, the Ovarian Cancer
National Alliance, the Hetrick Martin Institute,
Hastings Yoga, and Krupa Grocery.
Digital Arts Faculty
Dan Augsburger
Visiting Instructor
B.F.A. Time Arts, Northern Illinois University; M.F.A.
Animation, Savannah College of Art and Design.
Justin Berry
M.F.A., School of the Art Institute of Chicago.
Liubomir Borissov
Chair
B.A., Loyola University; M.F.A., Savannah College
of Art and Design; freelance illustrator working in
portraiture, marketing, animation development,
book illustration, and packaging design.
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 confer
ence, Japan, 2004; Canada 2005; Lincoln
Center Summer Festival, New York City; the
Kennedy Center, Washington, D.C.; has taught
at Harvestworks, Parsons The New School
of Design and the Columbia Graduate School
of Architecture, Planning and Preservation.
M. Christopher Zacharow
Michael Bourbeau
Susan G. Young
Visiting Instructor
M.F.A., Academy of Fine Arts, Krakow, Poland;
painter and illustrator.
Visiting Instructor
B.A. Liberal Studies, Hamilton College;
M.F.A. Computer Art, School of Visual Arts
Svjetlana Bukvich-Nichols
B.A., Sarajevo University Music Academy; M.F.A.,
Rensselaer Polytechnic Institute. 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 contempor
ary 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 U.S.A., 2013 Live Music for Dance award.
Her album EVOLUTION was released on PARMA’s
Big Round Records in April 2014. In July, 2014,
she was an artist-in-residence at the historic
Manley-Lefevre House in Vermont. Bukvich was
also on faculty at NYU, and was a 2013 New York
Foundation for the Arts Fellow in Music/Sound.
Elliot Cowan
Visiting Instructor
Cowan was born in Melbourne, Australia, then
moved to the wilds of Tasmania, where he
directed thousands of commercials for regional
television. In 2006 he left for London where he
mostly worked with UIi Meyer animation. While in
London he began animating the award-winning
Boxhead and Roundhead shorts. Now he lives
in New York with all kinds of grown-up stuff like
a wife and child and a green card. He has recently
completed The Stressful Adventures of Boxhead
& Roundhead, his first feature, and he did almost
all of it himself in between teaching, freelance
animation gigs, and his family.
Edward Darino
M.F.A., Tisch School of Art, New York University;
Ph.D., UEU on New Technologies; 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.
Andrea Defelice
Visiting Instructor
B.A. Studio Art, B.A. Art History, Stony Brook
University; M.F.A. Sculpture and Installation,
Queens College
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, New York City, 2009,
Hysteria, UC Long Beach, 2008.
Mike Enright
B.F.A., The University of the Arts; M.F.A.,
California Institute of the Arts; curated national
and international animated shorts and features
for the Philadelphia Film Society (2002–08);
also produced animated campaigns for the
Philadelphia Film Festival and the Philadelphia
International Gay and Lesbian Film Festival;
scenic painter for theater, broadcast, and
museum installations, credits include work for
NBC, VH1, Anheuser Busch theme parks, and
the Long Beach Opera; 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
Digital Arts
Everett Kane
Visiting Instructor
B.A. Religion, Princeton University; B.F.A. with
distinction, Fine Arts; M.F.A., Fine Arts, Art Center
College of Design; 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.
Jacques Khouri
Visiting Instructor
B.A. Graphic Design, Université du Québec
à Montréal; B.F.A. Cinema: Film Animation,
Concordia University; M.F.A. Animation, M.A.
Sequential Art, Savannah College of Art and Design
Robert Lyons
B.S. Experimental Animation, State University of
New York at New Paltz
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., 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.
Justin Maynard
Visiting Instructor
B.A. Communications and Philosophy,
Boston College; M.F.A. Computer Graphics,
Pratt Institute
Morgan Miller
Hyunsuk Kim
Visiting Instructor
B.F.A. Film/Video, University of the Arts,
Philadelphia; B.F.A. Film/Animation, School of
Visual Arts; M.A. Film, University of East Anglia,
United Kingdom
Visiting Instructor
Digital Arts
Genevieve Okupniak
Visiting Instructor
Digital Arts
M.F.A., California Institute of Arts
Michael O’Rourke
Professor
Film/Video Faculty
211
Jim Finn
Matthew Hysell
John J. Murphy
Assistant Professor
B.A. Creative Writing, University of Arizona;
M.F.A. Electronic Arts, Rensselaer Polytechnic
Institute; his award-winning movies have
been called “Utopian comedies” and “trompe
l’oeil films”; his Communist Trilogy is in the
permanent collection of MoMA, and he has
had retrospectives in seven countries; movies
have screened widely at festivals like Sundance,
Rotterdam, São Paulo, AFI, and Edinburgh, as well
as museums and cinematheques; featured in a
Phaidon Press book called Take 100—The Future
of Film: 100 New Directors.
Visiting Instructor, Film/Video Lab Manager
Columbia College Chicago; B.A., Hunter College,
City University of New York; M.F.A., California
Institute of the Arts; writes, directs, composes,
and edits his own narrative films; in 2009
he premiered his first feature film, Marin Blue,
at the 59th Berlinale in the Forum section;
the film received distribution from the Arsenal
Institute of Film and Video Art, and subsequently
screened in several theaters across Germany,
among other places.
B.F.A., University of Oklahoma; M.F.A., The
School of the Art Institute of Chicago; the
Whitney Museum of American Art, Independent
Study Program; Cinema Audio Society; profes
sional sound mixer providing audio for networks
including CBS, NBC, PBS, BBC, HBO, FOX, ADR,
WDR, HULU; cinematography and sound mixing for
the History Channel on Secret Access: Air Force
One, Keep the River on Your Right for IFC, Brace
For Impact: The Chesley B. Sullenberger Story for
TLC, and Everybody Knows, a documentary about
Elizabeth Murray’s life screened at the Museum of
Modern Art, New York; screenings and exhibitions
include Sue Scott Gallery, NYC; Spectacle Theater,
Brooklyn; First Fridays, Bushwick; publications
include Production Sound Mixing: The Art and
Craft of Sound Recording for the Moving Image,
a book in the CineTech series of Guides to the
Film Crafts (Bloomsbury).
210
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, New York City; Hong Gah Museum,
Taipei; Uma Gallery, New York City; 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, 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,
worked extensively for the artist Frank Stella,
producing sculptural models, graphics, and
animation; consulted on digital imaging for a
number of artists, including Jenny Holzer; author
of two books and numerous articles about digital
art; teaching experience includes teaching
kindergarten, conversational French, and English
as a foreign language in Birkina-Faso, Africa.
Michael Tanzillo
Visiting Instructor
B.F.A. Studio Art (Photography), The Ohio
State University, Columbus; M.F.A. Visual Effects,
Savannah College of Art and Design.
Katherine Torn
Visiting Instructor
Digital Arts
M.F.A., School of the Art Institute, Chicago
Gregory Webb
Adjunct Instructor
Digital Arts
Elizabeth White
Chair
M.F.A., University of Oregon; digital artist exhibit
ing 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.
Visiting Instructor
B.A., Vassar College; M.F.A. Photography,
Video, and Related Media, School of Visual
Arts; 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; publications include
Feature Issue 95, and The State (UAE); awarded
residencies in Leipzig, Tbilisi, Marfa, TX, and on
Governors Island, and has received support from
CECArtsLink, the Hattie Strong Foundation, and
the Davis Educational Foundation; recipient
of an Aaron Siskind Fellowship; also teaches at
Bennington College in Vermont.
Mira Scharf
Bryan Zanisnik
Peter Patchen
Visiting Instructor
B.S., University of California at San Diego;
M.F.A., University of California at Los Angeles;
animated for television programming including
Dilbert, Queer Duck, Assy McGee, Wonder Pets,
Sesame Street shorts and Pinky Dinky Doo;
also animated many webisodes for General
Mills, Postopia, and PBS Kids, and animated
computer games for Dreamworks Interactive,
Knowledge Adventure, and others; illustrated 25
educational workbooks for U.R.J. Press and has
written copy for computer games and created
story and graphic content for computer game
play as well; cartoons have appeared in Harvard
Business Review, Reader’s Digest, Funny Times,
and Narrative magazine.
Claudia Tait
Associate Professor
B.F.A., Ringling School of Art and Design; M.F.A.,
University of Maryland Baltimore County; digital
artist and media theorist whose works explore
the meaning of technology in the construction
of gender; 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.
Visiting Instructor
M.F.A., Hunter College; attended the Skowhegan
School of Painting and Sculpture; has 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; work has
been reviewed in The New York Times, Art in
America, Artforum, ARTnews, Modern Painters,
and Time Out New York; residencies include the
Macdowell Colony, the Art Omi International
Artists Residency, the Lower Manhattan Cultural
Council Workspace Program, and the Guangdong
Times Museum in Guangzhou, China; artist in
residence at the Smack Mellon Artist Studio
Program in Brooklyn, N.Y., and presented
a newly commissioned project at the Institute
of Contemporary Art in Philadelphia in the
spring of 2014.
Film/Video Faculty
Perry Bard
Adjunct Professor
B.A. French Literature, McGill University,
Montreal; M.F.A. Sculpture, San Francisco Art
Institute; exhibitions/screenings include
Montreal, São Paulo, Cartagena Biennials, MoMA,
Guggenheim, Reina Sofia Museum Madrid, MoCA
Zagreb, MoCA Bucharest, Rotterdam, Moscow,
Toronto, Amsterdam (IDFF) International
Film Festivals, Ars Electronica Linz, Transmediale
Berlin, File São Paulo Media Festivals; awards
include NYFA, NEA, Canada Arts Council,
Arts Council of England; publications include
Artforum, Art in America, Resolutions 3: Global
Networks of Video.
Jacob Burckhardt
B.A., University of Pennsylvania; TESOL certificate,
Teachers College at Columbia University; awardwinning filmmaker and sound designer, and winner
of New York’s Bessie Award for sound design;
projects include sound design for John Cage’s
Variations VII; and producing, directing, camera,
and editing on the feature films Landlord Blues and
It Don’t Pay to Be an Honest Citizen.
Lisa Crafts
M.F.A, Vermont College of Fine Arts; animator,
After Effects artist, and painter; her independent
films have been shown in festivals, museums,
and theaters, and on television in Europe, Japan,
Korea, and throughout North America; recipient
of grants from the Jerome Foundation, NYSCA,
and NYFA; was named a 2012 Guggenheim Fellow;
commissioned work includes animation for
independent documentaries, Sesame Street, and
American Movie Classics; guest lecturer at many
schools, including Harvard University and Rhode
Island School of Design; and curator of animation
programs in the United States and Japan.
John Crowe
Visiting Instructor, Technician
B.F.A., University of Georgia; California Institute
of the Arts; M.F.A., Tyler School of Art; timebased artist, animator, and sculptor; videos have
been screened at Joymore Gallery, Fleisher
Ollman, Bodega, Cinema Scope Miami, and the
Institute of Contemporary Art, Philadelphia.
Erin Harper
Visiting Instructor
B.S. Theatre, Northwestern University; M.F.A.
Film, City College of New York; produced the
feature comedy My Best Day, which premiered at
The Sundance Film Festival in 2012; a NYSCA grant
supported her international touring improvised
film and jazz show, Passion; cinematographer on
Barbara Hammer’s award-winning short Maya
Deren’s Sink; she is adapting and directing the
award-winning novel East of Denver into a feature
that will be filmed in rural Colorado; directs and
edits videos for the YMCA of the U.S.A.
Gorav Kalyan
Technician
B.A. Philosophy, the College of New Jersey;
M.F.A. Film Directing, California Institute of the
Arts; 2013 Film Independent Project: Involve
fellow; has made feature-length narratives,
documentaries, short films, and music videos;
most recent film is Letters to the City Yet
to Come, an essay film about New Delhi, India,
that is playing the festival circuit; currently
working on feature-length documentary,
The Last Communist, about French philosopher
Alain Badiou.
Josh Koury
Assistant Chair
B.A. Creative Thought and Action, University of
California at Santa Cruz; M.A. Interdisciplinary
Art Education, San Francisco State University;
M.F.A. Art Practice, University of California at
Berkeley; exhibitions/screenings/performances
include MoMA, SFMoMA, Recess, EFA Project
Space, DiverseWorks, New Orleans Museum of Art,
Yerba Buena Center for the Arts, White Columns,
Center for Curatorial Studies at Bard, Berkeley Art
Museum, Pacific Film Archive, Walker Art Center,
and Dallas Video Festival; awards and honors
include Core Fellowship, Museum of Fine Arts;
artist-in-residence, Recess.
B.A., Pratt Institute; a documentary filmmaker;
his first film, Standing by Yourself, received critical
acclaim after opening theatrically in 2002; his
second feature-length documentary, We Are
Wizards, had its world premiere at SXSW in March
of 2008 and was later theatrically released in five
cities across the country; his third feature-length
film, Journey to Planet X, had its world premiere
at the Tribeca Film Festival and has traveled
to film festivals around the world; the film was
picked up as an Epix Original Documentary and
aired nationwide in May of 2013; his short film
An Immortal Man premiered at the Toronto
International Film Festival and aired as part of
ESPN’s 30 for 30 documentary series in 2015.
Eliza Hittman
Ross McLaren
Assistant Professor
B.A. Theater and Drama, Indiana University;
M.F.A. Film/Video, California Institute of the
Arts; selected screenings include Sundance
Film Festival; Rotterdam Film Festival; Museum
of Modern Art; London BFI; Viennale; IFC
Center; publications include Artforum, The New
Yorker, The New York Times, Village Voice, The
Los Angeles Times, Film Comment, NPR, Cinema
Scope, Filmmaker Magazine; nominations and
awards include Gotham Award nomination for
Breakthrough Director, 2014, and two Indepen
dent Spirit award nominations, 2015.
AOCA—Associate of College Art (B.F.A.
equivalent), Ontario College of Art; winner of the
EVVY Millennium Achievement Award in 2009;
collections include the Arts Council of Great
Britain, London; The National Gallery of Canada,
Ottawa; National Film Archives, Ottawa; and the
American Federation of Arts, New York.
Kara Hearn
Deborah Meehan
Professor
B.S., Northwestern University; M.F.A., School
of the Art Institute of Chicago; the Whitney
Museum, Independent Study Program; clients
include the BBC, IFP, Steelcase, Cook’s magazine,
and the Whitney Museum of American Art.
Alexander Noyes
B.A. Music, Antioch College; sound designer,
editor, and mixer, whose television projects
have appeared on the following networks: HBO,
Cinemax, Sundance, IFC, PBS, Discovery, TLC,
MTV, and ESPN; radio projects have appeared on
NPR; film and video projects include The Road
to Redemption; 2008 Academy Award winner
Freeheld: The Laurel Hester Story; and Tea on the
Axis of Evil, among others.
Jacki Ochs
B.F.A., San Francisco Art Institute; films have
been broadcast worldwide; awards include
Special Jury Prize at Sundance Film Festival, Best
Feature Documentary at SXSW Film Festival, premieres at the New York Film Festival, Mannheim
Film Festival (Germany), and Cinema du Réel
(Paris); two MacDowell Colony Fellowships and
the Guggenheim Fellowship; publications include
The New York Times, LA Times, Film Comment,
Cinéaste, Variety, and International Documentary
Magazine, among others; executive director of
the Human Arts Association, a not-for-profit
media arts foundation.
Jorge Oliver
Chair
B.A. Psychology and Zoology, George Washington
University; M.A. Media Studies, The New School;
M.F.A. Cinema, San Francisco State University;
independent filmmaker, actor, and educator born
and raised in Puerto Rico; first male filmmaker
in the history of Puerto Rican cinema to openly
deal with gay images; films have been featured
in film festivals in the U.S. and around the world,
including the Cork International Film Festival,
the Havana Film Festival, and the Festival de
Viña del Mar in Chile; as a professional actor,
has performed off-off-Broadway, as well as on
regional stages in San Juan, Washington, D.C.,
San Francisco, and St. Louis; he is proud of
having worked with some of the major Hispanic
theaters in the U.S.; performed in radio and
television commercials for the Hispanic market in
the U.S., as well as television and films.
212
Fine Arts Faculty
Ramón Rivera-Moret
Fine Arts Faculty
B.A., University of Notre Dame; M.A., University
of Iowa; his film and video work combine
documentary material with experimental
narrative strategies.
Alexandra Sumner
B.F.A., School of the Museum of Fine Arts, Boston;
M.F.A., School of the Art Institute of Chicago;
video artist and performance/installation artist,
musician, and community activist; selected shows
and performances include Art for Change, Theater
for the New City, Lincoln Center Out of Doors,
Tribeca Film Festival outdoors, Irving Plaza, Museum
of Modern Art performance, Knitting Factory, ABC
No Rio, Socrates Sculpture Park, Mardi Gras New
Orleans, as well as venues in many cities around
the world; appearances in What Would Jesus Buy,
produced by Morgan Spurlock, and Shortbus,
directed by John Cameron Mitchell; chair of the
Pratt Initiative for Art, Community and Social Change.
Ramzy Telley
B.F.A. Film, California Institute of the Arts; has
exhibited video and fine arts projects nationally
and internationally at the Museum of Fine Arts,
Houston; Museo de Arte Moderno, Trujillo, Peru;
Leipzig Art House Cinema, Leipzig, Germany;
and Shanghai Art Museum, Shanghai, China; has
worked as cinematographer on such films as
The Wildest Show in the South: The Angola Prison
Rodeo, which won Best Documentary Short at
the Sundance Film Festival and also received
an Academy Award nomination; his film Death
in Vegas was awarded the Grand Remi “Best of
Show” at the 2007 Houston International Film
Festival; his production company, Rodeo Circus
Films Inc., has provided production, editing, and
programming services to such clients as HBO,
Discovery, A&E, and The Travel Channel.
Eric Trenkamp
Visiting Instructor, Assistant to the Chair
B.A. Moving Image Arts, College of Santa Fe; short
films and documentaries have been featured
on the Independent Film Channel and Current
TV; festival exhibitions and awards include Big
Apple Film Festival (Closing Night film), New
York, N.Y.; RxSM Film Expo (Jury Award), Austin,
TX; Mississippi International Film Festival (Best
Feature Award), Jackson, MS; Manhattan Film
Festival (Best Feature Award), New York, N.Y.; Art
of Brooklyn Film Festival (Best Director Award),
Brooklyn, N.Y.; feature film American Bomber
acquired and distributed by IndiePix Films and
awarded “Made In NY” Marketing Credit by NYC
Mayor’s Office.
David Alban
B.F.A., Kansas City Art Institute; M.F.A.,
Cranbrook Academy of Art; selected group
exhibitions: Clay Art Center, Port Chester, New
York; 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, New York; 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, N.Y.; 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,
Massachusetts; 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.
Lisa Bateman
B.F.A., East Carolina University; M.F.A., Virginia
Commonwealth University; recent exhibition
and curatorial projects: Location One, New York;
PS1 MoMA, New York; public arts projects: MTA
Arts for Transit, BACA, and PACC; special projects
manager, PS1 MoMA; Teme Celeste magazine;
national and international exhibitions; recipient
of Pollock-Krasner fellowship; www.lisabateman.
tumblr.com/post/3622546208.
Michael Brennan
David Butler
B.A., University of Florida; M.F.A., Pratt
Institute; 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.
B.F.A., Georgia State University; M.F.A., University
of Washington; sculptor, jeweler, designer, and
goldsmith; work has been extensively exhibited
and is included in public and private collections;
www.davidbutlerco.com.
Deborah Bright
Chair
B.A., Wheaton College; M.F.A., University of
Chicago; photographic projects have been
exhibited internationally, including at the Victoria
and Albert Museum; the Museet for Fotokunst,
Copenhagen; Nederlands Foto Instituut,
Rotterdam; Museum Folkwang, Essen; Canadian
Museum of Contemporary Photography, Ottawa;
Cambridge Darkroom; Vancouver Art Gallery;
her photographs are included in the collections
of the Whitney Museum; National Museum of
American Art, Smithsonian; Addison Gallery
of American Art; Fogg Art Museum; Boston
Athenaeum; Rose Art Museum; University Art
Museum at Binghamton University; California
Museum of Photography; and the RISD Museum
of Art; www.deborahbright.net.
Mona Brody
B.F.A., Moore College of Art and Design; M.S.,
Massachusetts College of Art; M.F.A., Vermont
College of Art; 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.
Howard Buchwald
Professor
B.F.A., The Cooper Union; M.A., Hunter College;
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.
Kathy Butterly
M.F.A., University of California, Davis; CABFA,
Moore College of Art, Philadelphia, PA; has
received numerous awards including the Evelyn
Shapiro Foundation Grant, Empire State Crafts
Alliance Grant, New York Foundation for the Arts
Grant, Anonymous Was A Woman Grant, Ellen P.
Speyer Award, and the Artist’s Legacy Foundation
Grant; has exhibited nationally and internationally
and is represented by Tibor de Nagy in New
York City; collections include the Museum of
Fine Arts, Houston, Texas.; The Museum of
Modern Art, New York, N.Y.; Oakland Museum
of California, Oakland, Calif.; Renwick Gallery,
National Museum of American Art, Smithsonian
Institution, Washington, D.C.; University Art
Museum, Arizona State University, Tempe, Ariz.;
The Currier Museum of Art, Manchester, N.H.;
The American Craft Museum, New York, N.Y.;
Carnegie Museum of Art, Pittsburgh, Pa.; Detroit
Institute of Art, Detroit, Mich.; Everson Museum
of Art, Syracuse, N.Y.; and Iris & B. Gerald Cantor
Center for Visual Art.
William Carroll
B.F.A., Pratt Institute; M.F.A., C.U.N.Y. Queens
College; director of the Studio Program at the
Elizabeth Foundation for the Arts; involved with
the New York art world for more than 25 years;
held prior positions at the Dia Art Foundation,
the Brooklyn Museum, and as the gallery director
for Charles Cowles Gallery and the Elizabeth
Harris Gallery; has lectured for the New York
Foundation for the Arts, Bard College, Cranbrook
Academy of Art, F.I.T., New York University,
and the School of Visual Arts.
Nanette Carter
Adjunct Associate Professor, Coordinator
for Drawing
B.A., Oberlin College; M.F.A., Pratt Institute;
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.
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; 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
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213
artists cross-generationally; 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 co-curating, 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 LopezChahoud; 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 VieraGallo at Y Gallery; and The Doubtful Guest (2010)
at Kill Devil Hill in Greenpoint, N.Y.; publications
include Arte al Día International, The Business of
Being an Artist Today (2011), the Art Newspaper,
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;
art jewelry pieces have been shown with Mobilia
Gallery and Gallery Loupe, both prominent
galleries in the art jewelry world; exhibitions
include the Art of Adornment: Studio Jewelry
exhibition at the Hunterdon Art Museum in New
Jersey; www.alexiacohen.com.
James Costanzo
M.A., M.F.A., University of Iowa; has shown
work in the United States 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.
Grayson Cox
B.F.A., Indiana University; M.F.A., Columbia
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, the 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.
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
B.Arch., Center for Environmental Planning
and Technology; M.S., Massachusetts Institute
of Technology in Architecture; M.F.A.,
International Center of Photography/Bard
College; www.pradeepdalal.com.
Gregory Drasler
B.F.A., M.F.A., University of Illinois; solo exhibitions:
Betty Cunningham Gallery, New York; the Center
for Contemporary Art, Chicago; Queens Museum
of Art, New York, and Tattoo Parlor at California
State University at Fullerton, Santa Ana; group
exhibitions include New Museum of Contemporary
Art; the Whitney Museum of Contemporary Art/
Champion, New York; Carnegie Museum of Art,
Pittsburgh; awards: Guggenheim Fellowship,
National Endowment for the Arts Fellowship, New
York Foundation for the Arts Fellowship; author
of “Painting into a Corner: Representation as
Shelter,” in The Vitality of Objects: Exploring the
Work of Christopher Bollas (Wesleyan University
Press, 2002); represented in New York by the Betty
Cunningham Gallery; www.drasler.com.
Kelly Driscoll
Assistant Professor
B.F.A., Plymouth University of England; M.F.A.,
City College, New York; exhibitions: Kristen
Frederickson Gallery, New York; International
Print Center, New York; Greater New York (2000),
MoMA PS1, New York; Mark Wooley Gallery,
Portland, Ore.; D.A.P, New York; Kaosiung
Museum of Fine Art, Taiwan; artist books:
Jalaluddin Mohammad Rumi (Vincent Fitzgerald &
Co, New York), and Georges Bataille’s Story of the
Eye (Institute for Cultural Inquiry, California).
Samuel Evensen
B.F.A., Brigham Young University; M.F.A., the New
York Academy; exhibition venues include: Fuse
Gallery, N.Y.; Art House Gallery, Pa.; Mark Miller
Gallery, N.Y.; and Sloan Fine Art, N.Y.
Brad Ewing
Visiting Instructor
B.F.A., Cornish College of the Arts; M.F.A., Rhode
Island School of Design; Teaching Certificate,
Brown University; 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.
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Fine Arts Faculty
Patrick Fenton
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.
Toni Greenbaum
B.A., City College of New York; M.A., Hunter
College; 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.
Joseph Fyfe
Nancy Grimes
B.A., University of California at Los Angeles; M.F.A.,
Stanford University; partner and cofounder 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;
solo exhibitions in 2005 and 2009; publications
include Detour (Kehrer Veriag Heidelberg,
2001); recipient of grants from the Penny McCall
Foundation, the Peter Reed Foundation, Creative
Time, Art Matters, CEC Artslink, and others;
cofounder of the contemporary art center Delta
Axis in Memphis in 1992, and in 1990, co-created
“Electric Blanket,” an epic slideshow about AIDS,
which toured throughout the United States
and to Norway, the United Kingdom, 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
B.F.A., M.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.
Michael Fujita
B.F.A. Ceramic Art, Kansas City Art Institute;
M.F.A., New York State College of Ceramics
at Alfred University; 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
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.
Anne Gilman
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; numerous group exhibitions and awards;
collections: the New York Public Library; Kresge
Museum of Art; Brooklyn Museum; National
Museum of Women in the Arts; Colegio de
Arquitectos de Estado de Jalisco, Guadalajara,
Mexico; Library of Congress; publications:
Frayed Edges (Ediciones Vigia, Matanzas, Cuba,
2001); Facing Eviction and Don’t Lose Heart, ISCA;
www.annegilman.com.
Jonathan Goodman
B.A., Columbia University; M.A., University of
Pennsylvania; freelance writer and editor, various
publications, including Art in America, ARTnews,
Drawing, and Art Asia Pacific.
David Gothard
B.F.A., Pratt Institute; freelance illustrator
providing conceptual images for major national
and international publications such as The Wall
Street Journal, Newsweek, Time magazine,
the Los Angeles Times, and The New York Times;
www.davidgothard.com.
B.A., Indiana University; M.F.A., School of the Art
Institute of Chicago; cofounder of the artists’
space West Hubbard Gallery, Chicago; exhibited
widely nationally; author of Jared French’s Myths;
writes for Art in America and ARTnews, for which
she has been an editorial associate since 1986;
www.nancygrimes.net.
Dave Hardy
Visiting Professor
B.A., Brown University; M.F.A., the Yale School of
Art; 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, La Mama Galleria in New York, and
Southern Exposure in San Francisco; recipient of
New York Foundation for the Arts fellowship in
2011; www.davehardystudio.com.
Vera Iliatova
B.A., Brandeis University; M.F.A. Painting, Yale
University; studied at the Sorbonne University in
Paris, France; attended Skowhegan School of Art;
exhibition venues include: Monya Rowe Gallery,
N.Y.; Schroeder Romero, N.Y.; Eleven Rivington,
N.Y.; and Artists’ Space, N.Y.
Martine Kacynski
B.F.A., Liverpool Polytechnic, England; M.F.A.,
Parsons The New School of Design; exhibit
ions: Sculpture Space, Utica, N.Y.; Mary Dinaburg
Studios, N.Y.; Affinity Archives, Dublin, Ireland;
Jessica Murray Projects, Brooklyn, N.Y.; Kent
Gallery, N.Y.; 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 N.Y.;
www.martinestudio.com.
Fine Arts Faculty
215
Yael Kanarek
Vivien Knussi
David Lantow
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; exhibitions include The Drawing
Center, New York; Beral Madra Contemporary
Art, Istanbul; National Museum of Contemporary
Art, Athens; CU Museum, Boulder; Cantor Arts
Center, Stanford University; The Jewish Museum,
New York; Exit Art; The Kitchen; Museum of the
Moving Image, New York; Wood Street Galleries,
Pittsburgh; bitforms gallery, New York; grants
and awards include Rockefeller New Media
Fellowship, Eyebeam Honorary Fellowship,
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.
Adjunct Instructor
B.A., M.A., Tufts University; Ph.D., Columbia
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.F.A., University of Iowa; M.F.A., City University
of New York, Brooklyn College; exhibition venues
include Exit Art, Ruby Gallery, Nurture Art;
cofounded 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.
Shirley Kaneda
Professor
B.F.A., Parsons The New School of Design;
solo exhibitions: Danese Gallery, New York;
Bernard Jacobson Gallery, London; Galerie
Jean-Luc and Takako Richards, Paris; Feigen
Contemporary, New York; 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, BOMB magazine,
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;
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, New York; 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.
Peter Kruty
B.A. Geography, University of Chicago; M.A.,
M.L.S. Book Arts, Printmaking and Photography,
University of Alabama; founded Kruty Editions
in 1991 in Brooklyn, providing a studio for col
laborative artists’ books, letterpress, printmaking,
typographic design, and fine commercial
letterpress printing.
Julia Kunin
B.A., Wellesley College; M.F.A., The Mason
Gross School of the Arts at Rutgers University;
represented by Sandra Gering Inc. Gallery; Kunin
has exhibited nationally and internationally;
solo exhibitions include: Les Guerilleres, Sandra
Gering Gallery; Golden Grove at Barry Whistler
Gallery, Dallas, Texas, in 2013, Nightwood at
Greenberg Van Doren Gallery, N.Y., N.Y., in 2012,
as well as Crimson Blossom at the Deutches Leder
Museum in Offenbach, Germany in 2002; group
exhibitions include Julia Kunin and Jacky Gendel
at Jeff Bailey Gallery, Hudson, N.Y., in 2014,
Farewell Ruins at Inman Gallery, Houston, Texas,
in 2013 and Against Nature at Greenberg Van
Doren Gallery, N.Y., N.Y., in 2007; she has been
included in exhibitions at the Museum of Arts
and Design, N.Y., and the Museum of Applied
Art and Design, Frankfurt Germany; Kunin’s work
has been reviewed in Art News, Art in America,
The Brooklyn Rail, The New York Times, and the
Houston Chronicle.
Alexander Kvares
B.F.A. Painting, University of Kansas; M.F.A.
Printmaking, University of Texas; exhibition
venues include: Mulherin + Pollard, N.Y.,
Westbeth Gallery, N.Y.; Beep Beep Gallery
Atlanta, GA; the Atlanta Contemporary Art
Center, GA.
Benjamin La Rocco
B.A., Middlebury College; M.F.A., Pratt Institute;
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; 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.
Catherine Lecleire
M.F.A., University of Southern California; M.A.E.
Art Education, Philadelphia College of Art;
B.F.A., Philadelphia College of Art; B.A., Political
Science, Ursinus College; selected solo and
group exhibitions at Montclair Art Museum,
Hunterdon Museum of Art, William Paterson
University, College of New Jersey, University
of Wisconsin, Dana Library, Center for
Contemporary Printmaking, University Council
on the Humanities; has taught at MIT’s Visual
Arts Program, Hunter College, Bennington
College, and Maryland Institute of Art.
Jenny Lee
Adjunct Professor
B.F.A. Sculpture, The Cooper Union for the
Advancement of Science and Art; has exhibited
extensively in galleries, arts organizations and
museums; in fall 2002, had a retrospective at
the Hoboken Historical Museum sponsored by
the NJ State Council for the Arts and the NJ
Council for the Humanities, National Endowment
for the Humanities; in 2001, her work was
featured in the first-ever historical survey of
20th-century welded sculpture held at the
Neuberger Museum; work is in public venues such
as the Brooklyn Museum, the Newark Museum,
and the Neuberger Museum of Art; private
collections include DeMenil and BorgenichtBrandt; www.ironmite.com.
Marc Lepson
B.A. English Literature, State University of New
York at Albany; M.F.A., School of the Art Institute
of Chicago; 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; publications include Art in America;
www.lepson.info.
Frank Lind
Professor
B.A., Georgetown University; M.F.A., Pratt
Institute; selected solo exhibitions: Recent
Paintings, Gallery 210, Brooklyn, N.Y.; Ocean
Paintings from Long Island, Henry Gregg Gallery,
DUMBO, N.Y.; selected group exhibitions: The
New Hudson River School, Riverstone Arts,
Haverstraw, N.Y.; Mermaids, Sideshow Gallery,
Williamsburg, N.Y.; www.lindpaintings.com.
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Fine Arts Faculty
Omar Lopez-Chahoud
Dennis Masback
Jennifer Melby
M.F.A.,Yale University School of Art; an
independent international curator, 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, Collette Blanchard Gallery,
and The Pipe and the Flow at Espacio Minimo in
Madrid, Spain; publications include the catalogs
for Dynasty (2006) and Rewind/Re-Cast/
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, and The Village
Voice, among many other publications.
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.
B.F.A., Arcadia University; M.F.A., Pratt Institute;
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; collections include
MoMA, The New York Public Library, the 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.
Josh MacPhee
B.F.A., Oberlin College; a designer, artist, and
archivist; member of the Justseeds Artists’
Cooperative (Justseeds.org); coauthor of Signs of
Change: Social Movement Cultures 1960s to Now,
and coeditor of Signal: A Journal of International
Political Graphics and Culture; helps run
Interference Archive, a public collection of
cultural materials produced by social movements
(InterferenceArchive.org).
Patricia Madeja
Associate Professor
B.F.A., Pratt Institute; recipient of an American
Vision Award, AJDC (American Jewelry Design
Council), Saul Bell Award, Jewelry Arts Award, and
Niche Award; featured in a variety of periodicals
and books including Adorn, 500 Necklaces,
Art Jewelry Today, The Art and Craft of Making
Jewelry and American Couture Jewelry, and most
recently The New Jewelers; a strong advocate for
jewelry education, she has been teaching in the
Fine Arts Jewelry Department at Pratt Institute
since 1998, was appointed jewelry coordinator
in 2005, and received a full-time appointment in
2011. www.patriciamadeja.com.
Ann Mandelbaum
Adjunct Professor
M.A. Media Studies, The New School; M.F.A.,
Pratt Institute; photographer, sculptor, and video
artist; exhibitions include The Grey Art Gallery,
New York; Center for Creative Photography,
Tucson, Arizona; 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;
publications include Ann Mandelbaum, New Work
(Edition Stemmle, 1999), and Ann Mandelbaum,
Thin Skin (Hatje Cantz, 2005); lives in Costa Rica
and New York; www.annmandelbaum.net.
Mary Mattingly
Skowhegan School of Painting and Sculpture;
B.F.A., Pacific Northwest College of Art, OR;
Parsons School of Design, N.Y.C.; creates
sculptural ecosystems in urban spaces; currently
working on a floating food forest for New York
called “Swale” and recently completed a twopart sculpture “Pull” for the International Havana
Biennial with the Museo National de Belles Artes
de la Habana and the Bronx Museum of the
Arts; exhibitions include International Center of
Photography, the Seoul Art Center, the Brooklyn
Museum, the New York Public Library, deCordova
Museum and Sculpture Park, and the Palais de
Tokyo; with the U.S. Department of State and
Bronx Museum of the Arts, she participated in
the smARTpower project, traveling to Manila; in
2009, founded the Waterpod Project, a bargebased public space and self-sufficient habitat
that hosted over 200,000 visitors in New York.
J. Martin Mazzora
B.F.A., West Virginia University; M.F.A, American
University, Washington, D.C.; cofounder of
Cannonball Press; coordinator of Printmaking at
Parsons The New School of Design, New York;
curator/coordinator of the cross-institutional
print exchange Swaptropolis.
Dennis McNett
M.F.A., Pratt Institute; designer of board graphics
for Anti-Hero skateboards; collaborates with
Cannonball Press; master printer at Brand X
editions; www.howlingprint.com.
Nat Meade
Assistant Chair, Visiting Instructor
M.F.A., Pratt Institute; B.F.A., University of
Oregon; exhibited at Pierogi Gallery, Brooklyn,
N.Y.; Spike Gallery, N.Y., Rogue Space, N.Y.,
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.
Ann Messner
Adjunct Professor
B.F.A., Pratt Institute; Henry Moore Foundation
Post Graduate Fellow; solo exhibitions: Zilkha
Gallery, Wesleyan University, Connecticut;
Dorsky Gallery, New York; Bath International Arts
Festival, United Kingdom; Fawbush Gallery, New
York; Worcester Art Museum, Massachusetts;
Shoshana Wayne Gallery, Los Angeles; numerous
public projects and installations include Eastern
State Penitentiary, Philadelphia; Grey Art Gallery,
NYU; Skulptur: Koln/Ehrenfeld, Cologne; awards
include NEA Fellowship, New York Foundation
for the Arts, Henry Moore International
Fellowship; John Simon Guggenheim Foundation,
Anonymous Was a Woman Award; Gottlieb
Foundation Fellowship; Bunting Fellowship,
Radcliffe Institute for Advanced Studies, Harvard
University;
www.annmessner.net.
Curtis Mitchell
M.F.A. Sculpture, Yale University School of
Art; M.A. Sculpture, Goddard College; solo
exhibitions: PS1 MoMA Project Room, New
York; Mattress Factory, Pittsburgh; Esso
Gallery, New York; AC Projects, New York; KX
Galerie, Hamburg, Germany; Andrea Rosen
Gallery, New York; Galerie Marc Jancou, Zurich;
White Columns, New York; selected group
exhibitions: Modeling the Photographic: The
End(s) of Photography, McDonough Museum
of Art, Youngstown, Ohio; Leslie Tonkonow
Gallery, New York.; Copilandia, Seville, Spain;
Andrew Kreps Gallery, New York; Paolo Tonin
Arte Contemporanea, Turin, Italy; Feigen
Contemporary, New York; Dorsky Gallery
Curatorial Projects, Long Island City, New York;
Contemporary Museum, Baltimore; essays and
article written for: M/E/A/N/I/N/G and Lusitania;
www.curtismitchellart.com.
Fine Arts Faculty
217
John Monti
Dominique Nahas
Professor
B.S. Painting, Portland State University; M.F.A.,
Pratt Institute; solo exhibitions include: Synthetic
Pleasures, Bentley Projects, Phoenix, Arizona;
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, MetroTech
Center Brooklyn, New York; 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.
B.F.A., School of Visual Arts; M.A. Art History,
Institute of Fine Arts, New York University;
independent curator and critic; contributor:
Art in America, Flash Art, d’art Int’l, Artnet, and
Trans; co-curator with artist Margaret Evangeline
in One-to-One exhibition of contemporary work
at the Rose Art Museum; selected exhibitions
curated include: Inadmissible, HP Garcia Gallery
New York; BROOKLYN!, Palm Beach Institute of
Contemporary Art; ClenchClutchFlinch, Paul
Rodgers, New York; Paradise 8, Exit Art, New
York; Plural Speech, White Box; PopSurrealism,
Aldrich Museum; Open Salvo, White Box, 1998;
Bypass, Kunstmuseum-Bonn, 1997; Nancy Spero:
Retrospective, New Museum of Contemporary
Art; extensive service as resident and guest
critic: RISD, Art OMI, Parsons The New School
of Design; lectures include Reykjavik National
Museum, Iceland, and the Brooklyn Museum;
selection panelist: ArtOmi International
Residency Program and Henry Street Settlement
Residency Program.
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.
Donna Moran Professor
B.A. Art Education, C. W. Post College;
M.F.A. Painting/Printmaking, Pratt Institute;
exhibitions include Instituto Cultural Peruano
Norteamericano, Lima, Peru; Taller Galleria
Forte, Spain; McGraw Gallery; the Rabbet
Gallery; Art Source LA; collections include
Noyes Museum, New Jersey State Museum of
Art, Bristol-Myers Squibb, Hyatt Corporation,
Johnson & Johnson; various solo and group
shows, corporate and private collections;
represented by the Rabbet Gallery, Art Source,
LA; visiting artist: the Victorian College of Art,
Melbourne, Australia; publications include
Monoprinting (Jackie Newell, A & C Black,
Great Britain); Water-Based Screen Printing
(Steve Hoskins & C. Black, Great Britain);
The Complete Printmaker (John Ross & Clare
Romano, Free Press); www.dlmoran.com.
Robert Morgan
Adjunct Professor
B.F.A., University of Redlands; E.D.M.,
Northeastern University; M.F.A., University of
Massachusetts; Ph.D., New York University.
Cyrilla Mozenter
Adjunct Professor
B.F.A., M.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 artistin-residence at Dieu Donné Papermill, the Kohler
Arts Center, and Instituto Municipal de Arte e
Cultura-Rioarte, Rio de Janeiro; recipient of
grants from NYFA and The Fifth Floor Foundation;
represented in collections of the Arkansas Arts
Center, Birmingham Museum of Art, Brooklyn
Museum, Hood Museum of Art, Walker Art
Center, and Yale University Art Gallery;
www.cyrillamozenter.com.
Mario Naves
B.F.A., University of Utah; M.F.A., Pratt
Institute; recipient of grants from the National
Endowment for the Arts, the E.D. Foundation, the
Sugarman Foundation, and the Pollock-Krasner
Foundation; 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;
www.mnaves.wordpress.com.
Ross Neher
Adjunct Professor
B.F.A., Washington University School of Fine
Arts; M.F.A., Pratt Institute; exhibitions include
Mitchell Algus Gallery, New York; Howard
Scott/M-13 Gallery, New York; 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, Delaware; 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 of 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
Thirwell Nolen
B.Arch., Auburn University; M.Arch., Georgia
Institute of Technology; 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; work has been exhibited internationally
and can be found in numerous private and public
collections including the Cooper-Hewitt National
Design Museum (Smithsonian), New York; the
Newark Museum, N.J.; the Everson Museum
of Art, Syracuse, N.Y.; the Museum of Fine
Arts, Houston, and the De Young Museum, San
Francisco; other awards include NYFA Fellowship
and NEA Fellowship; www.nolenstudios.com.
John O’Connor
B.A. Graphic Design, Westfield State College;
M.F.A., Pratt Institute; M.A. Theory, Criticism,
and History of Art, Pratt Institute; Skowhegan
School of Painting and Sculpture; exhibitions
include: Pierogi Gallery, Brooklyn, N.Y.; Sarah
Lawrence College, Bronxville, N.Y.; So Different,
So Appealing, Gramercy Park, N.Y.; curated
by Rachel Churner, The Death Affect, Artblog,
N.Y.; 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.
Catherine Redmond
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, New York; 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.
Max Reinhardt
B.F.A., University of Colorado at Boulder; M.F.A.,
The School of the Art Institute of Chicago;
www.maxreinhardtart.com.
218
Fine Arts Faculty
William Richards
Beverly Semmes
Jean Shin
B.F.A., Pratt Institute; M.F.A., University of New
Mexico; M.A., University of Iowa; selected solo
exhibitions: Nancy Hoffman Gallery, N.Y.; Allen
R. Hite Art Institute, University of Louisville, Ky.;
Tomasulo Gallery, Union County College, Cranford,
N.J.; Moravian College Gallery, Bethlehem, Penn.;
selected group exhibitions: National Academy
Museum, N.Y.; 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, N.Y.; since 1974;
collections include the 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, N.Y.
Visiting Professor
B.F.A., Boston Museum School; B.A., Art History,
Boston Museum School; M.F.A., Yale University
School of Art; 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, North
Carolina and a room-scale work made for the
Institute of Contemporary Art in Philadelphia; by
the mid-1990s, she was exhibiting work across
the United States and in Europe; European
projects at this time included solo shows at
such major venues as the Camden Arts Centre
in London; the Pecci Museum in Prato, Italy; and
the Irish Museum of Modern Art in Dublin; also
included in several important group shows early
in her career, such as Plastic Fantastic Lover at
the Blum Helman Warehouse in New York, Bad
Girls at New York’s New Museum, and Bad Girls
West at the UCLA Art Museum in Los Angeles;
numerous solo museum shows, including major
exhibitions at the Museum of Contemporary Art,
Chicago; the Hirshhorn Museum and Sculpture
Garden, Washington; the Virginia Museum of
Art, Richmond, Virginia; the Whitney Museum
Philip Morris Gallery, New York; and the Wexner
Center for the Arts, Columbus, Ohio; exhibited
large-scale projects in Japan in 1999 and in
2003; more recently, she has been included in
several international shows such as Sonsbeek
9, Arnhem, Holland; Regarding Beauty at the
Hirshhorn Museum, Washington; Rapture at
the Barbican Museum, London, England, New
Material as New Media at the Fabric Workshop
and Museum, Philadelphia, and Dresscodes,
St. Gallen, Switzerland; participated in a major
survey exhibition called Dirt on Delight organized
by the ICA Philadelphia, which traveled to
the Walker Art Center in Minneapolis; www.
beverlysemmesstudio.com.
B.F.A., M.S., Pratt Institute; widely exhibited
in major national and international museums,
including in solo exhibitions at the Scottsdale
Museum of Contemporary Art in Arizona (2010),
Smithsonian American Art Museum in Washington
(2009), the Fabric Workshop and Museum in
Philadelphia (2006), and Projects at MoMA in
New York (2004); other venues include the
New Museum of Contemporary Art and the
Museum of Arts and Design in New York; the
Museum of Fine Arts, Houston; the Museum of
Fine Arts, Boston; Asia Society and Museum, the
Brooklyn Museum, Sculpture Center, Socrates
Sculpture Park, and Frederieke Taylor Gallery in
New York; site-specific permanent installations
have been commissioned by the U.S. General
Services Administration Art in Architecture
Award, New York’s Percent for the Arts, and MTA
Art for Transit; numerous awards, including the
New York Foundation for the Arts Fellowship
in Architecture/ Environmental Structures
(2008) and Sculpture (2003), Pollock-Krasner
Foundation Grant, and Louis Comfort Tiffany
Foundation Biennial Art Award; publications
include Frieze Art, Flash Art, Tema Celeste, Art in
America, Sculpture Magazine, ARTnews, and The
New York Times; www.jeanshin.com.
Mary Beth Rozkewicz
B.F.A., State University of New York; a studio
jeweler working in sterling silver and gold
vermeil, who frequently sandblasts intricate
patterns on the surfaces, adding a subtle but
eye-catching detail.
Stuart Sachs
Works in sculpture with metals and other
materials to create work that is sometimes
environmental, sometimes performance, and
often involves a lyrical dance with steel and
stone; also designs and creates furniture and
architectural metalwork.
Analia Segal
B.A. Graphic Design, University of Buenos
Aires; M.A. Studio Art, New York University;
exhibitions: Gallery Kobo Chika, Tokyo, Japan; PS1
MoMA, Long Island City, New York; DPM Gallery,
Guayaquil, Ecuador; Galleri Tapper-Popermajer,
Teckomatorp, Sweden; Galeria Alberto Sendros,
Buenos Aires, Argentina; Plus Ultra Gallery,
New York; Museo de Arte Moderno, Buenos
Aires; Finesilver Gallery, San Antonio, Texas;
Weatherspoon Art Museum, Greensboro,
North Carolina; Galeria Animal, Santiago, Chile;
White Columns, New York; Dumbo Arts Center,
New York; Centre de Récherche Imaginaire
et Création, Chambery, France; awards:
Guggenheim Foundation, Pollock-Krasner
Foundation, New York Foundation for the Arts;
public collections: El Museo del Barrio, New York;
Blanton Museum of Art, Austin, Texas; Museo
de Arte Moderno de Buenos Aires; 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.
Carla Shapiro
International Center of Photography; B.F.A.,
Syracuse University; Central London Polytechnic,
London, England; exhibitions include: Timeless
Tasks, Texas Tech University, Lubbock, Texas;
Virtual Visits, Delhi Cultural Museum, Delhi,
N.Y.; 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.
Gerald Siciliano
M.S., B.F.A., Pratt Institute; on completion of
his studies at Pratt Institute, he began working
in foundries, marble, and fabrication studios in
New York and Tuscany on both his own work and
that of a broad range of international sculptors;
has maintained an ongoing record of exhibitions,
sales, and commissions as well as pursuing
projects in architecture, design, and sculpture
restoration; has been an honored guest at
international sculpture symposia in Korea and
North Africa; teaching background includes
appointments on all levels of education from
elementary to postgraduate 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 United States,
Canada, South Africa, South Korea, Mexico,
and Europe; collections include 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.
Fine Arts Faculty
219
Joseph Smith
Tim Spelios
Irvin Tepper
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, N.Y.; 1984: Painting,
Richmond College, London; 1987–91: Painting
and Drawing, ATI, Stocton State College, N.J.;
1990: Art Institute of Chicago, Oxbow, Mich.;
1992–98: Painting: MS Art Colony 2000; 2001:
University of Rio Grande, graduate Children’s
Book Illustrating, Visualization, Drawing; 1962
to present: Pratt Institute, Undergraduate:
Painting, Drawing, Figure Drawing, Sculpture,
Illustration and Symbolic Imagery; Sr. Ind. Proj.
Graduate: Drawing Seminar, MFA Thesis Painting.
2007: Walter Gropius Master Artist, Huntington
Museum of Art W. Va.; 22 solo exhibitions and
over 100 group exhibitions around the United
States; 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.
B.F.A., University of Illinois at UrbanaChampaign. 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, cofounded and ran
Flipside Gallery from 1996–2001, showing a wide
range of innovative art forms; www.timspelios.com.
Adjunct Professor
University of Washington; NEA artist fellowship
and Agnes Bourne Fellowship Award in sculpture
from the Djerassi Foundation; exhibitions: St.
Louis Art Museum; Museum of Contemporary
Art, Los Angeles; Los Angeles County Museum of
Art; and Victoria and Albert Museum; collections:
Victoria and Albert Museum; Museum of
Contemporary Art, Los Angeles; Kunstmuseum,
Bern, Switzerland; www.irvintepper.com.
Judith Solodkin
First woman to graduate from the Tamarind
Institute as a master lithographer; 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 of Art, 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.
Laurel Sparks
B.F.A., School of the Museum of Fine Arts,
Boston; M.F.A., Milton Avery Graduate School
of Art, Bard College; M.A., Tufts University;
makes alchemical paintings combining esoteric
language, sacred geometry, and artifice;
exhibitions include Rubedo (italic), Kate Werble
Gallery, NYC; Museum of Fine Arts Boston, CCS
Bard Hessel Museum, DeCordova Museum and
Sculpture Park, and Berman Museum at Ursinus
College; a 2013 Fire Island Artist Resident
and 2014 Fellow at the Robert Blackburn
Printmaking Workshop at Elizabeth Foundation
NYC.
Joseph Stauber
B.F.A., Pratt Institute; M.F.A., SUNY at Purchase;
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.
Jason Stopa
B.F.A., Indiana University; M.F.A., Pratt Institute;
a painter, writer and curator living in Brooklyn,
N.Y.; 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
B.F.A., The University of the Arts; M.F.A., Tyler
School of Art; M.I.D., Domus Academy, Milan; a
new media artist who works at the intersection
of art, design, and craft; work leverages his
expertise with 3-D software and additive
manufacturing processes; 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.
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; www.
christopherverstegen.com.
Emily Weiner
B.A. Studio Art, Barnard College; M.F.A., School
of Visual Arts; 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-sur-Seine, France; www.emilyweiner.com.
Dina Weiss
Assistant Chair, Visiting Instructor
B.S. Studio Art, New York University; M.F.A.,
Parsons The New School for Design; has held
many positions in non profit arts education
and museum education, as well as teaching and
lecturing at universities and museums such as
the Dia Art Foundation, the Drawing Center, the
New Museum, Museum of Arts and Design, and
Parsons The New School for Design; professional
practice is in a variety of media with works in the
Viewing Program slide registry at the Drawing
Center; exhibition venues include the James
Gallery at CUNY Graduate Center, New York;
San Diego Contemporary Museum of Art; Mixed
Greens Gallery, N.Y.; 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, N.Y.;
artworks included in selected public collections
at the Brooklyn Museum and the New York Public
Library; www.dinaweiss.com.
Photography Faculty
221
Ernst Fischer
Peter Kayafas
John Lehr
M.F.A. Visual Arts, Columbia University School
of the Arts, New York; London Film School,
London; Hochschule der Künste, Zürich;
exhibitions include The Photographer’s Gallery,
London; Victoria and Albert Museum, London;
Malraux’s Place, Brooklyn; 247365, Brooklyn;
Wake, Detroit; Brett Wesley Gallery, Las Vegas;
Liangzhou Photo Festival, Liangzhou; Lodz
Photo Festival, Lodz; and Fotografie Forum
Frankfurt, Frankfurt. Publications include
Artforum, Frieze, The Guardian, Colors, Dazed
and Confused, Creative Review, The British
Journal of Photography, and Rhizome.org.
B.F.A., New York University; photographer,
publisher, curator, and teacher; Director of the
Eakins Press Foundation; publisher and coeditor of the book ‘O, Write My Name’: American
Portraits, Harlem Heroes, with photographs
by Carl Van Vechten (Eakins, Feb. 2015); his
photographs have been widely exhibited and
are in the collections of The Museum of Modern
Art, the Brooklyn Museum of Art, the New
Orleans Museum of Art, and the DeCordova
Museum, among others. Kayafas is Vice Chair
of the Board of Directors of The Corporation
of Yaddo. In addition to two other monographs
(The Merry Cemetery of Sapanta and O Public
Roads! Photographs of America), his book
Totems, with an essay by Jed Pearl, is available
from the Purple Martin Press.
Assistant Professor
B.F.A., Maryland Institute College of Art; M.F.A.,
Yale University School of Art; exhibitions include
Kate Werble Gallery, M+B Gallery, Hagedorn
Foundation Gallery, the Morgan Library and
Museum, Walker Art Center, Carnegie Museum of
Art, The Museum of Modern Art, and Corcoran
Gallery of Art; permanent collections include
The Metropolitan Museum of Art, The Museum
of Modern Art, the Morgan Library and Museum,
Corcoran Gallery of Art, and the Yale University
Art Gallery; publications include Artforum, The
New York Times, The New Yorker, Art in America,
ArtInfo, ArtNews, New York Magazine, The
Washington Post, and The New York Photo Review.
220
Byron Westbrook
Chris Wright
B.F.A., University of Texas at Austin School of Fine
Arts; M.F.A., Milton Avery Graduate School of the
Arts at Bard College; artist and musician based
in Brooklyn, N.Y.; works with listening, space,
perception, and awareness, often pursuing
routes with social engagement; his electronic
sound interventions play with dynamics of
perception of space, sometimes manifesting
as multi-channel sound performances or as
small- or large-scale installation work using
video or lighting; has presented work at ICA
London, Clocktower Gallery, ISSUE Project
Room, Abrons Arts Center, Roulette, Diapason
Gallery, Eyebeam, BRICarts, LMAK Projects (NYC),
Human Resources (Los Angeles), The LAB (San
Francisco), International House (Philadelphia),
VIVO MediaArtCenter (Vancouver), Les Voutes
(Paris), Colla+eral Festival (Bologna), O’ (Milan),
Cyberfest (St. Petersburg), among many others.
B.F.A., Pacific NW College of Art; M.F.A., Pratt
Institute; exhibitions: Hunter College; Martin
Art Gallery, Muhlenberg College; New York
University; Phillips de Pury and Company;
Swiss Institute-Contemporary Art; published:
Contemporary American Oil Painting (Jillin Fine
Arts Publishing House, Changchun, China); New
American Paintings (Northeastern Edition) gallery
affiliation: George Billis Gallery, New York;
www.chriswrightpaintings.com.
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, The Metropolitan
Museum of Art; represented by Andre Zarre
Gallery, New York; www.kitwhiteart.com.
Rachel Wiecking
B.A. American Studies, Literature, University of
California, Santa Cruz; B.F.A. Book Arts, Oregon
College of Art and Craft, Portland, Ore.; M.A.
Art History, Purchase College, New York; M.F.A.
Studio Art, Purchase College, New York; www.
rachelwiecking.com/home.html.
Martha Wilson
Wilson is a pioneering feminist artist and gallery
director, who over the past four decades created
innovative photographic and video works that
explore her female subjectivity through roleplaying, costume transformations, and “invasions”
of other people’s personae; she began making
these videos and photo/text works in the early
1970s while in Halifax, Nova Scotia, and further
developed her performative and video-based
practice after moving in 1974 to New York,
embarking on a long career that would see her
gain attention across the United States 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.
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
A.A.S. Jewelry Design, Fashion Institute of
Technology; B.A. Chinese Art and Archaelogy
(Cum Laude), School of Oriental and African
Studies, London, UK; M.A. Chinese Art and Korean
Art, School of Oriental and African Studies,
London, UK; founder and CEO of Ex Ovo Inc.,
a jewelry brand which has been shown at The
Museum of Modern Art, the Guggenheim Museum,
and the Contemporary Museum of Art, Chicago.
Photography Faculty
Nelson Chan
B.F.A., Rhode Island School of Design; M.F.A.,
Hartford Art School, University of Hartford;
exhibitions include the Mariboe Gallery, Museum
of Chinese in America, Mills Gallery, Boston
Center for the Arts, Flash Forward Festival,
Joseloff Gallery, Künstlerhaus Bethanien, The
Wassaic Project Arts Festival, and Backlit Gallery,
Unseen Photography Festival; monographs
include Welcome Home - TIS01; exhibition
catalogs include Our Portraits, Our Families,
Museum of Chinese in America, Mossless
Magazine Issue 3, and Brink - v1, Boston Center
for the Arts.
Tyler Coburn
B.A. Comparative Literature, Yale University; M.F.A.,
University of Southern California, Los Angeles.
New York-based artist and writer; publications
include Frieze, e-flux journal, Art-Agenda, Art &
Education, Metropolis M, Spike, Art Papers, and
Rhizome. Contributing editor to ArtReview. Art
performances, sound works, and installations have
been presented at numerous institutions, including
the Whitney Museum of American Art, New
York; South London Gallery; Objectif Exhibitions,
Antwerp; CCA Glasgow; CAC Vilnius; Kunstverein
Munich; Grazer Kunstverein; LAXART, Los Angeles;
and Sculpture Center, New York.
James Costanzo
M.A., M.F.A., The University of Iowa; his inter
disciplinary, socially engaged artworks have
been shown in the 2012 Berlin Biennale and
the 2006 Whitney Biennial; his photograph Our
Grief Is Not A Cry For War is in the 9/11 Memorial
Museum; NO MORE: A Gallery of Protests and
Demonstrations is a historical compilation from
the Library of Congress’s photographs and
posters; he was part of Occupy Wall Street and
continues to work with groups that emerged
from OWS; he was founding member of the
artist collective REPOhistory and is currently the
founding director of the Aaron Burr Society.
Jen Davis
B.F.A., Columbia College Chicago; M.F.A., Yale
University; publications include Eleven Years
(Kehrer Verlag); exhibitions include International
Photo Festival Ghent, Palm Springs Art Museum,
ClampArt, and Museum of Fine Arts, Boston;
awards include a New York Foundation for the
Arts Fellowship; private collections include
the Art Institute of Chicago, the Sir Elton John
Photography Collection, and The Museum of Fine
Arts, Houston.
Dominica Paige Giglio
B.F.A., Pratt Institute; M.F.A., Parsons The New
School for Design; exhibitions include United
Photo Industries, 25 CPW, Tyler School of Art,
LACDA, Photoville, The Geffen Contemporary at
MOCA, Aronson Gallery, and Mana Contemporary;
publications include Conveyor Magazine, Unless
You Will, PDN, and Monthly Photo.
Patrice Aphrodite Helmar
B.A., Southern Oregon University; M.A.T.,
University of Alaska; M.F.A., Columbia University;
exhibitions include BOSI, Judith Charles Gallery,
the National Museum of Iceland, the Alaska
State Museum, the New York Photo Festival;
publications include VICE Magazine, Quatro
Review, Tidal Echoes; nominations include
the 2015 Rema Hort Mann Prize, the Gordon
Parks Prize.
Robert Kozma
B.F.A., State University of New York at Purchase;
John Simon Guggenheim Fellowship; DCAC
Individual Artist Fellowship; work is included in
numerous private and public collections, includ
ing the permanent collections of The Museum
of Modern Art, The Metropolitan Museum
of Art, and the Brooklyn Museum; published by
Rockport Publications (Manifest Visions).
Justine Kurland
Chair
B.A., M.F.A., Columbia University; participated
in the Whitney Museum of American Art’s
Independent Study Program; exhibited at the
Contemporary Arts Center New Orleans, Los
Angeles Contemporary Exhibitions, and the Muse
Center for Photography and the Moving Image;
work is included in permanent collections at
the Los Angeles County Museum of Art and the
New Orleans Museum of Art; former Director
of Photography at Tulane University’s Newcomb
Art Department.
B.F.A., School of Visual Arts; M.F.A., Yale
University School of Art; solo exhibitions include
Artists’ Space, Institute of Contemporary
Art, Mitchel Innes & Nash, and Museum of
Contemporary Photography; publications include
Art in America, Art on Paper, Artform, ARTnews,
ArtReview, Flash Art, Frieze, New York Magazine,
The New York Times, The Wall Street Journal, The
Washington Post, and Village Voice; monographs
include Black Threads from Meng Chiao in
collaboration with John Yau, Justine Kurland:
Spirit West, Old Joy, Sincere Auto Care, and
This Train Is Bound for Glory; public collections
include Albright Knox Art Gallery, Corcoran
Gallery, International Center of Photography,
Museum of Contemporary Art, National Gallery
of Art, Solomon R. Guggenheim Museum of Art,
and Whitney Museum of American Art.
George Hirose
Christina Labey
Stephen Hilger
B.A., Bard College; M.F.A., Pratt Institute;
exhibited in United States and Japan, including
Lower Manhattan Cultural Council, Henry
Street Settlement, DTW Gallery, Multimedia
Gallery, New-York Historical Society, and Ernden
Fine Art Gallery, Mass.
B.F.A., University of Minnesota at Duluth;
M.F.A., Parsons The New School for Design;
exhibitions include The Museum of Modern
Art, the International Center of Photography,
and the Tokyo Institute of Photography;
recent contributions include The Photobook
Review (Aperture), 10x10 American Photobooks
(bookdummypress), and Publish Your Photography
Book (Princeton Architectural Press); awards
include the New Jersey State Council on the Arts
Artist Fellowship in Photography.
Sophie T. Lvoff
B.F.A., Tisch School of the Arts, New York
University; M.F.A, Tulane University; exhibitions
include Howard Greenberg Gallery; Aperture
Foundation; Contemporary Arts Center New
Orleans; Ogden Museum of Southern Art; Institut
d’art contemporain, Villeurbanne/Rhône-Alpes,
France; Good Children Gallery; Musée de l’Elysée,
Lausanne, Switzerland; Fort Wayne Museum
of Art; MINT Gallery; Grand Central Terminal:
Iziko South African National Gallery, Cape Town;
curatorial projects include Le Magasin – CNAC,
France; Good Children Gallery; St. John’s Church,
New York; permanent collections include New
Orleans Museum of Art, Musée de l’Elysée, The
Do Good Fund; publications include BOMB
Magazine, Artforum, ArtPapers, The New York
Times, Modern Painters, Burnaway, Daily Serving,
and a collaborative chapbook published by
Press Street.
Ann Mandelbaum
Adjunct Professor
M.A., The New School; M.F.A., Pratt Institute.
Three hardcover monographs: Ann Mandelbaum
(1994) and Ann Mandelbaum, New Work (1999),
both published by Edition Stemmle, and Ann
Mandelbaum, Thin Skin (2005), published by
Hatje Cantz. Exhibited internationally, including
solo shows at Grey Art Gallery, New York; Center
for Creative Photogaphy, Tucson; Ubu Gallery;
Galerie Françoise Paviot, Paris; Galerie Anita
Beckers, Frankfurt; Westfälischer Kunstverein,
Münster; Fotomuseum, Munich; Frankfurter
Kunstverein, Frankfurt; Stadtgalerie, Saarbruchen;
Musée de l’Elysée, Lausanne; Canal Isabel II,
Madrid; Kunsthalle, Goeppingen.
Paul McDonough
New England School of Art; exhibited at
Massachusetts Institute of Technology and
Rochester Institute of Technology; staff
photographer for JCOA Records; work held
in Museum of Modern Art permanent collection;
recipient of Guggenheim, Pollock-Krasner,
and NEA awards.
222
Photography Faculty
Sarah Palmer
Aura Rosenberg
Andy Todd
B.A. English and Italian, Vassar College; M.F.A.
Photography, Video and Related Media, School
of Visual Arts; Brooklyn-based artist; exhibitions
include Aperture Gallery, Foam Amsterdam,
Vox Populi Gallery, the Invisible Dog Art Center,
Center for Photography at Woodstock, Irish
Museum of Contemporary Art, SmackMellon
Gallery, among others; in permanent collection
of Foam Amsterdam; publications include
The Photographer’s Playbook, Conveyor Magazine,
Foam Album 11, Culturehall, among others.
Adjunct Professor
B.A., Sarah Lawrence College; M.A., Hunter
College; the Whitney Museum, Independent
Study Program; exhibitions include The European
Month of Photography 2014, Martin-Gropius-Bau,
Berlin; MUSA, Vienna; and Art Center Casino
Luxembourg; Museum der Moderne, Salzburg;
Institute of Contemporary Art, Philadelphia;
KW Institute for Contemporary Art, Berlin;
Deichtorhallen, Hamburg; the Sculpture Center,
Long Island City; Le Magasin, Centre D’art
Contemporain, Grenoble; Musée d’art Moderne
et Contemporain, Geneva; Martos Gallery,
New York; Metro Pictures Gallery, New York;
Meliksetian Briggs Gallery, Los Angeles; OHWOW
Gallery, Los Angeles; public collections include
the Guggenheim Museum; Bard College Center
for Curatorial Studies Museum; Bass Museum
of Art, Miami; Cincinnati Museum of Art; New
Museum, New York; Lhoist Collection, Brussels;
the Norton Foundation, Los Angeles; Kemper
Museum of Contemporary Art and Design, Kansas
City; publications include Head Shots (1996)
Stop Over Press, Berlin Childhood (2002) Steidl,
and Who Am I? What Am I? Where Am I? (2008)
Hatje Cantz.
B.F.A., Paier College of Art; M.F.A, University of
Hartford; exhibitions include Baxter Street at
the Camera Club of New York, Joseloff Gallery,
Greene Art Gallery, Kominek Gallery, The Atrium
Gallery, Willoughby Wallace Memorial Library,
Landau Gallery, Artwell Gallery, Artspace Gallery;
publications include The New York Times; awards
include the Stanley Fellman Book Award.
Julie Pochron
B.F.A., Pratt Institute; exhibitions include Barrett
House, Soho Photography, Peter Madero Gallery,
and Safe-T Gallery, New York City; owner of
Pochron Studios.
Stephanie Powell
B.F.A., University of Oregon; M.F.A., School of
the Art Institute of Chicago; exhibitions include
Primo Piano Livin Gallery, Lecce, Italy; Daniel
Cooney Fine Art, New York; Artists Space, New
York; Raid Projects L.A. for the Armory Show.
Grants and residencies include apexart resident
in Phnom Penh, Cambodia; Jerome Foundation
Research Grant to Yokosuka, Japan; Illinois Arts
Council Arts Assistance Grant; Marion Parry
Foundation for the Arts Grant.
Tori Purcell
Assistant Chair
B.A., Vanderbilt University; M.F.A., Savannah
College of Art and Design; exhibitions include
NARS Foundation, Brooklyn; Leu Center for the
Visual Arts, Nashville; Seigfred Gallery at Ohio
University; and Root Division, San Francisco.
Christopher Rodriguez
B. Arch., Louisiana State University; M.F.A.,
School of Visual Arts; exhibitions include Sasha
Wolf Gallery, Newspace Center for Photography,
Current Space, Field Projects Gallery, CVA Fine
Arts Gallery, Ogden Museum of Southern Art;
publications include Wired, Useful Pictures, The
Huffington Post, Humble Arts Foundation, AintBad Magazine, Conveyor Magazine, Juxtapoz
Magazine, Bushwick Daily, and Booooooom.
Carrie Schneider
B.F.A., Carnegie Mellon University; M.F.A.,
School of the Art Institute of Chicago; part
icipated in the Whitney Museum of American
Art’s Independent Study Program; attended
Skowhegan School of Painting & Sculpture;
attended the Finnish Academy of Fine Arts,
Helsinki, as a Fulbright Fellow; exhibitions include
California Museum of Photography, Museum of
Contemporary Art Chicago, The Andy Warhol
Museum, Finnish Museum of Photography,
Art Institute of Chicago, and Kunsthal
Charlottenborg, Copenhagen; awards include
a Jerome Foundation New York City Film/Video
Grant, Creative Capital Award, Joan Mitchell
Foundation Residency Fellowship; publications
include Modern Painters, The New York Times,
The New Yorker, PHOTO (France), Photograph
Magazine, Chicago Tribune, Artforum, Frieze.
Anna Shteynshleyger
Assistant Professor
Yale University School of Art; exhibitions include
International Center of Photography, New York;
the Renaissance Society at the University of
Chicago; Dvir Gallery, Tel Aviv, Israel; Museum
of Contemporary Art, Chicago; Moti Hasson
Gallery, New York; Murray Guy Gallery, New York;
collections include the Jewish Museum, New
York; Museum of Contemporary Photography,
Chicago; Milwaukee Art Museum; Nelson-Atkins
Museum of Art, Kansas City, Missouri; awards
include John Simon Guggenheim Foundation
Fellowship, Louis Comfort Tiffany Foundation
Award, Blair Dickinson Memorial Prize.
Anne Turyn
Adjunct Professor
B.F.A., Antioch College; M.A., City University of
New York Graduate Center; M.F.A., State University
of New York at Buffalo; photographs in the
collections of The Museum of Modern Art (NYC),
The Metropolitan Museum of Art (NYC), the Walker
Art Center, the George Eastman House, Center for
Creative Photography, Los Angeles County Museum
of Art, the San Francisco Museum of Modern Art,
and others.
Sarah van Ouwerkerk
Professor
B.A., B.S., University of Wisconsin; M.F.A.,
Pratt Institute; Emmy Award recipient; work has
appeared on CNN, Channel 13, National German
TV, and NBC, and in Architectural Digest, Vogue,
and The New York Times; has exhibited at New
Museum, the Brooklyn Museum, and the Whitney
Museum of American Art.
Ellen Wallenstein
Adjunct Professor
B.A., Stony Brook University; M.F.A., Pratt
Institute; NYFA Fellowship, United States Artists
project grant, Women’s Studio Workshop
book grant. Work has been exhibited at Bienal
de Arte Contemporaneo, Madrid; the Brooklyn
Museum; Henry Street Settlement; and
Lenscratch. Writings published in PDNedu
and Fraction magazines.
Ofer Wolberger
B.A., State University of New York at Binghamton;
M.F.A., The School of Visual Arts; exhibitions
include Stene Projects, Stockholm, Sweden;
VU, Quebec, Canada; C/O, Berlin, Germany;
Michael Hoppen Contemporary, London,
England; Printed Matter, New York; the Cleveland
Museum of Art, Ohio; collections include the
Museum of Modern Art Library, the Cleveland
Institute of Art Library, San Francisco Museum
of Modern Art Library, Royal Monceau Hotel,
Paris, France; awards include Light Work Artist
Residency, Printed Matter Award for Artists,
Foundation for Contemporary Arts Grant, AIM:
Artist in the Marketplace Residency.
Faculty
Donn Albright
Professor
The Art Center College of Design, Los Angeles,
CA; illustrator, editor, and teacher who loves
to tell stories with pictures; illustrations have
appeared in Scholastic Books, Boy’s Life,
Scouting, Nation’s Business, Cavalier, Children’s
Digest, Scott Foresman, Allyn & Bacon, Little,
Brown and Company, Macmillan and Company,
Simon & Schuster, Scribner’s, Ginn, Blue Cross/
Blue Shield, Gauntlet Press, and PS Publishing;
has worked with the New York Municipal Bond
Authority and the City of Los Angeles; as Ray
Bradbury’s authorized archivist/bibliographer,
develops, designs, and illustrates limited editions
of Bradbury’s unpublished work; his archive is
the prime authoritative resource for Bradbury
scholars worldwide.
M. Cecilia Almeida
Assistant Chair
B.F.A., University of Florida; M.F.A., Pratt
Institute; a Brooklyn-based artist originally from
São Paulo, Brazil; exhibitions in the US, Italy, and
Mexico; her sculptures, installations, paintings,
and drawings are in permanent collections in the
US, Italy, and Mexico.
Audrey Arbeeny
New York University; Carnegie Hall Vocal
Studies; founder and executive producer of
Audiobrain, a global leader in sonic branding
based in Manhattan; research in the areas of
psychoacoustics, biomusicology, and sensory
branding; clients include Microsoft (including
the Xbox 360 and Unified Communications),
Virgin Mobile USA, IBM, NBC, HBO, and Holland
America Cruise Lines; music supervisor for four
NBC Olympics Broadcasts; awards include Emmy
nomination for 2010 Vancouver Olympic Games,
2008 Emmy AwardTM for NBC Beijing Olympics
Broadcast, Emmy 2008 Communicator Award,
Best Audio Production Corporate Image Virgin
Mobile USA, and Communication Arts Interactive
Annual for IBM Thinklets; professional affiliations
include the National Academy of Television Arts
and Sciences, The Recording Academy, and
Design Management Institute; publications include
Design Management Institute, Vol. 20, No. 4, 2009,
"The Holistic Customer Experience"; featured
in publications including Fast Company, Variety,
The New York Times, Ad Age, Forbes, and Post
Magazine; speaking engagements include Design
Management Institute, Brand ManageCamp,
Manhattan College of Music, Alberta College of
Art and Design, Thunderbird School of Global
Management, and Tribeca Film Institute.
Communications Design Faculty
223
Ricardo Armas
Megan Cash
Visiting Instructor
General Studies Program at the International
Center of Photography; born in Caracas,
Venezuela; lives in Brooklyn, N.Y.; photographer
since 1970 and visual artist; photographic work
includes portraits of visual artists and writers
and personal explorations of urban landscapes;
has been exhibited in the United States, South
America, and Europe; has been included
in several international art collections and
published in catalogs and books.
B.F.A. Communications Design, Pratt Institute;
has designed books for Houghton Mifflin,
Harcourt, and Scholastic; logos for L’Oréal
and Nickelodeon on-air; ads for Elektra
Entertainment and WNYC; identities for retail
stores, restaurants, and performance spaces;
clients include: Disney, Barnes & Noble, Simon
& Schuster, Pfizer, American Express, Fortune,
Connecticut Science Center, Brooklyn Children’s
Museum; illustrations have appeared on toys,
products, packages, and posters, in numerous
magazines, and in children’s museum exhibits;
illustrated a number of children’s books,
including Bow-Wow Bugs a Bug (co-created with
cartoonist Mark Newgarden), which received
many honors, including the Society of Illustrators
Original Gold Medal; authored/co-authored
nine children’s books; designed die-cut cards for
MOMA and paper activities for Nickelodeon.
Pooja Badlani
Visiting Instructor
M.S. Communications Design, Pratt Institute;
worked at Sundance Channel in Digital Media;
lead designer on the network’s home page
rebrand; heavily involved in relaunch of Full
Frontal Fashion as an online magazine; recipient
of Pixel award, twice selected as Webby
Honoree; teaches Typography in GradComD at
Pratt; clients include: Decker Design, Sundance
Channel, Massachusetts General Hospital,
and fashion, food, nonprofit, and science
organizations.
Richard Borge
B.A. Studio Art & Communications, Concordia
College; M.F.A. Visual Communication, University
of Arizona; after living and working in Manhattan
for over 10 years, moved home and studio to
Williamsburg, which is a fun place to be; works
on primarily editorial and corporate/advertising
illustration and animation/motion design;
well-versed in visual consulting and creative
direction; one of his favorite aspects of visual
communication is the conceptual process, be it
selling a product or conveying the intricacies of a
complex article; has been fortunate to teach at
RISD, MASS Art, SVA, Intuit Lab (Paris), and Parsons
The New School for Design.
Christopher Calderhead
B.A. Art History, Princeton University; Certificate
with Merit in Calligraphy and Bookbinding, the
Roehampton Institute, London; M.Div.; editor
and designer of Letter Arts Review, a quarterly
magazine dedicated to typography, original
lettering, calligraphy, and text-based art; created
the book series Letters from New York; author of
The World Encyclopedia of Calligraphy with Holly
Cohen; lives and works in New York City.
Lisa M. Champ
Visiting Instructor
Certificate in Typeface Design, Cooper Union
(Type@Cooper); Co-founder of Untitled Era,
a studio specializing in Web design and develop
ment, design and illustration, and branding;
exhibitions include Type Directors Club; GDUSA;
publications include Uppercase magazine.
Alon Chitayat
Visiting Instructor
Digital artist and founder of Animishmish Creative
Studio, exploring the symbiosis of animation and
interactivity; VFX director, motion designer, and
illustrator on projects for Comedy Central, CocaCola, Google, and others; international exhibitions
include ARS Electronica Festival and Siggraph Art
Gallery; work featured on Vimeo’s Staff Picks, the
Creators Project, Gizmodo, and elsewhere.
Inva Çota
Visiting Instructor
M.F.A. Graphic Design, Yale University; graphic
designer born in Pogradec, Albania, and living in
Brooklyn, N.Y.; started professional practice as
an in-house graphic designer at The Museum of
Modern Art, focusing on all aspects of exhibition
design; other work experiences include
Yale Art Gallery, Yale School of Architecture,
FADER magazine, and artMRKT productions;
work has been recognized by magazines and
organizations including #22 Graphic Magazine
(2012), AIGA 365|Design Effectiveness (2011),
TDC 56 Typographic Excellence (2010), and Print
magazine's Regional Design Annual (2009).
224
Kathleen Creighton
Jakob Daschek
Mark De Pace
Chair, Adjunct Professor
Studied photography and graphic design, Pratt
Institute; has produced work for the editorial,
publishing, and entertainment markets, as well as
exhibiting her work; chair of the Communications
Design Department since 2004; oversees and
develops curricula for Advertising, Graphic
Design, and Illustration; has taught in the
Communications Design Department since 1994;
subjects include Photography for Advertising,
Non-Traditional Images, and Professional
Practices, including extensive research on
copyright law; was formerly Associate Director
of Career Services at Pratt; co-published,
art‑directed, and designed promotion for RSVP,
the Directory of Illustration and Design;
a lifelong resident of Brooklyn, she has recently
published a book of her photographs called
The Synaptic Orchestra.
Visiting Instructor
B.A., Hawaii Pacific University; M.S., Pratt
Institute; cofounder and creative architect
behind the acclaimed, internationally recognized,
NY-based agency Syrup; more than 10 years
as the driving force behind Syrup’s creative
growth, pushing design beyond traditional limits
and challenging the way people interact with
brands, which garnered momentum and cultural
relevance; clients have included David Yurman,
Puma, GE, Nike, Sony, Motorola, Nokia, Bank of
America, Adidas, Polo Ralph Lauren, Speedo,
Bottega Veneta, and Aéropostale; served as
chief creative at David Yurman, leading a team of
approximately 30 people overseeing the visual
look, feel, and style of print, digital, online, and
in-store branding; contributes to philanthropic
causes such as Marcus Samuelsson’s organization
Three Goats, Pencils of Promise (PoP), and
Foundation Rwanda.
Visiting Instructor
B.F.A., New York University, Tisch School of the
Arts; cofounder of Ghost Robot, a Brooklynbased production company creating work across
many industries and platforms; experience
includes all aspects of live action, animation,
and visual effects production; highlights include
music video work for Björk, Grizzly Bear, and Yoko
Ono; commercial production clients include
Pepsi, Ford, and Google.
Pat Cummings
B.A., Pratt Institute; Assistant Professor, Parsons
The New School for Design; creator of over 30
books for children, including titles that have
won the Coretta Scott King Award, the Horn
Book-Boston Globe Award, and the Orbis Pictus
Award for nonfiction; received the NAACP Image
Award for Outstanding Literary Work: Children as
one of the illustrators for Our Children Can Soar
(Bloomsbury, 2009); worked as a producer and
writer for Gullah Gullah Island, a Nickelodeon
children’s show; co-hosts Cover to Cover, a cable
TV talk show about children’s books and the
people who create them that airs on BCAT, a Time
Warner channel; serves as national secretary
of the Authors Guild; sits on the boards of the
Authors Guild Foundation, the Authors League
Fund, the Society of Children’s Book Writers and
Illustrators (SCBWI), and the Eric Carle Museum
of Picture Book Art; member of the Writers
Guild; teaches children’s book illustration at Pratt
and Parsons The New School for Design; wellpublished former students include Julian Hector,
Hiroe Nakata, and David Ezra Stein, recipient of
the 2011 Caldecott Honor Award.
Andy Currie
Visiting Instructor
B.A., Syracuse University; freelance writer and
creative director working primarily in advertising,
with occasional diversions into making the types
of things that get your hands calloused and dirty;
work has won at Cannes, D&AD, the One Show,
the Clios, and even captured a Golden Drum—an
award he neither submitted work for nor knew he
won until he received a fancy watch along with an
esoteric letter written in Polish. More important,
he’s been fortunate enough to befriend and work
with a wonderfully odd and talented assortment
of creative people for the majority of his career.
Despite constantly preaching the value of
simplicity, brevity, and outrageous creativity in
advertising, he isn’t convinced that any person
can be summed up in a paragraph.
Frank Derose
225
Lee Epstein
Frank Franca
Michael Gerbino
Adjunct Professor
B.B.A., City University of New York; B.F.A.,
The Cooper Union; worked at legendary Doyle
Dane Bernbach for 20 years creating awardwinning ads and campaigns for major clients;
president and creative director, Epstein & Walker
Advertising; won over 100 creative awards; judged
over 50 advertising events; wrote or featured
in many industry magazine articles; has been
teaching his approach to conceptual advertising
and art direction at Pratt since 1975.
B.F.A. Filmmaking, NYU Tisch School of the Arts;
photographer; published in ArtForum, Art in
America, Vogue, Details, W, The New York Times
Magazine, The Village Voice, Le Monde (Paris), The
African Sun (Cairo), The Guardian (London), Photo
(Japan), Die Ziet (Germany); exhibitions: Royal
Festival Hall (London), Studio Galleria (Budapest),
Institutes for Contemporary Art: Kaliningrad and
Ekaterinberg (Russia), The International Center
of Photography, Hamburg House of Photography;
was a member of the Visual AIDS Artist Caucus—
creators of The Red Ribbon international symbol
of AIDS awareness, and Electric Blanket, a
public art installation displayed throughout the
world (MoMA, High Museum of Art in Atlanta,
Philadelphia Museum of Art, and others);
faculty member at the International Center of
Photography; founding faculty of ICP @ The
Point; recipient of the President’s Committee
on the Arts Award presented by first lady Laura
Bush at the White House in 2006; grants:
Citizen Exchange Council, Arts Link, The British
Council; lectured at the School of Visual Arts, the
Cooper Union, the Studio (Moscow), Dumb Type
(Japan), and Milch (London); formerly London
correspondent for Fairchild; a native of Havana,
Cuba, he grew up there, in Spain, and in the U.S.;
fluent in Spanish.
Adjunct Professor, CCE
Studied Graphic Design and Photography at
Pratt Institute; was director of publications
at Graphis; principal and creative director of
Archigrafika Inc, whose many prominent projects
include the branding and signage of Willis Tower
(formerly the Sears Tower) and the architectural
graphics programs for Trinity Church Wall
Street and Myrtle Hall at Pratt Institute; his
images and design programs are known for their
simplicity and clarity and are typically influenced
by Modernism and Pop Art, but have a hard
graphic twist; designs are large and playful while
discreetly blending into the urban landscape
and architecture; work encompasses a wide
variety of assignments and media, including
identities, environmental graphics, exhibitions,
and communications design for a broad range of
international clients, institutions, public agencies,
and cultural organizations; has taught Graphic
Design and Senior Project at Pratt since 1985.
Visiting Instructor
B.A. English, Skidmore College; M.A.
Communications Design, Pratt Institute; native
of Douglaston, Queens; formerly worked at
karlssonwilker studio; principal and founder of
Zut Alors! studio; clients include The New York
Times, Microsoft, and Christie’s; essays published
in Never Sleep; work featured in I.D. magazine
and Creative Review.
Crissy Fetcher
Illustration and Graphic Design, Pratt Institute;
worked for 10 years in the music industry
designing CD packaging and related materials
for Island Records, Sony Music, and Elektra
Entertainment; projects included recording
artists Branford Marsalis, Pantera, Bob Dylan,
AC/DC, Better Than Ezra, Mercury Rev, and
many others; formerly senior art director at
Elektra Entertainment; worked at RDA Int’l,
a boutique advertising agency whose clients
included Korg, Sony, Acclaim Entertainment,
and Infogrames Entertainment; worked at MTV
on the annual Video Music Awards promotional
campaign for 2000; served as VP of Off Air
Creative and oversaw event projects such as
Movie Awards, series campaigns for Hard Times,
SKINS, The Buried Life, and the launch of sister
channels MTV2, mtvU, and MTV Tr3s; personal
interests include watercolor painting, Japanese
culture, and comic books; received awards from
Communication Arts and Print.
Manuel Dilone
Gary Fogelson
Visiting Instructor
B.A., School of Visual Arts; M.F.A., School of
Visual Arts; award-winning multidisciplinary
design thinker and practitioner. Combining
technology and design thinking, Manuel builds
brands and systems with an interface-first
approach. As Creative Director of R/GA’s brand
development group, he led and shaped the
design vision for many global companies. He
founded a brand and product design practice at
HavasWW, co-founded an independent design
studio focusing on open-source hard/software
and ideas for local communities, and co-founded
Arts in Bushwick, which hosts Open Bushwick
Studio Festival, New York’s largest open-studio
event. He began his career in the experimental
film industry; his installation art has toured
the US, Europe and Asia; when not working, he
teaches classes at Pratt and SVA, developing
future creative mindsets in photography
and brand.
Visiting Instructor
B.F.A., Pratt Institute; born and raised in New
Jersey; partner at Other Means, an independent
graphic design firm; clients include The New
York Times, Bloomberg View, ICA Philadelphia,
Emeco, Creative Capital, Columbia University,
Richard Nash, and Good magazine; formerly a
partner at Fogelson-Lubliner and designer at
Open; co-runs Primetime, a noncommercial
project space in Carroll Gardens; pursues selfinitiated research and publishing projects.
Kelly Denato
Daisuke Endo
Jim Debarros
Visiting Instructor
B.F.A., Pratt Institute; works in animation,
illustration, and design; illustrations for Alfred
Hitchcock’s Mystery Magazine, Little Brown
Publishing, Clinique, and Nickelodeon; created
animations, character designs, and background
designs for San Francisco-based gaming
company Present Creative; working with
advertising agencies such as Dorian Orange,
MRM, Euro RSCG, and R/GA; has created
illustrations, storyboards, animatics, and motion
design for companies including Nokia, Timex,
Starbucks, InStyle Magazine, and American
Eagle Outfitters; regularly shows paintings,
drawings, and sculptures in galleries across the
United States.
Visiting Instructor
B.F.A. Graphic Design, School of Visual Arts;
student portfolio received awards from Art
Directors Club, Type Directors Club, and
Graphis; earned his first job at Pentagram
Design, where he worked with a variety of highprofile clients, such as Amnesty International,
Callaway Golf, Harley-Davidson, Herman
Miller, Neiman Marcus, and TGI Friday’s, and
was selected as a New Visual Artist by Print
magazine; joined Flying Machine as design
director in 2004 and helped numerous branding
projects in traditional and emerging media;
publications include Graphis, Print magazine,
Creative Review, Communication Arts, Art
Directors Club Annual, Type Directors Club
Annual, and AIGA Design Annual.
Visiting Instructor
graphic designer currently living in Brooklyn,
N.Y.; worked at Apple on the Retail Design Team
in California, freelanced at Collins and Etsy in
New York; now associate art director at BBH;
enjoys going to concerts and updating her class
Tumblr.
Lynne Foster
B.F.A., Pratt Institute; M.F.A., School of Visual
Arts; painter and illustrator; solo and group
exhibitions at galleries including the Williamsburg
Cultural Center, Holland Tunnel, Ben Shaun
Galleries, and The Gallery of South Orange;
illustration clients include Delaware Today,
Congregations, Main Line Today, and other
publications; teaches part time at Pratt Institute
and City College, NYC. “I create work that
approaches transformation through process. An
internal investigation and its relationship to color,
texture, and surface opens up new possibilities
in order to achieve emotional content. This
combination of surface building allows me to
translate raw emotion into a visual image. The
process of layering and blending gradually yields
a final composition. Being an artist based in New
York, I find I cannot help being influenced by the
raw energy permeating the streets. My work is
inspired by the environment I live in, an interest
in portraying the emotional depth of human
existence, and my documentation of the city.”
Andrew Freeman
Visiting Instructor
B.F.A., B.G.D., Rhode Island School of Design
David Frisco
B.F.A. Graphic Design, University of Illinois,
Chicago; M.F.A. Graphic Design, Yale University;
treasurer, Board of Directors, AIGANY; Design
Fellow, Public Policy Lab; founding partner,
IntraCollaborative; co-creative director, Design
Corps, Pratt Institute.
Lawrence Gendron
Visiting Instructor
Attended Windham College, Putney, Vermont;
born in Claremont, New Hampshire; lives in
Tribeca; studied painting, printmaking, and art
history; spent a year painting on the Connecticut
coast; joined Rodgers Studio, a small graphic
design firm where he worked directly with
advertising agencies on large accounts, including
Goodyear, 7-Up, DuPont, and Eastman Kodak;
moved to Sports Illustrated to design the annual
Year in Sports issue; remained with SI as an
art director for eight years, building a close
relationship with scores of illustrators; served as
Art Director and Creative Director at Financial
World; founding Art and Design Director of The
Deal LLC; has worked with hundreds of illustrators
and photographers; commissioned work has
won awards from the Society of Illustrators, Art
Direction, Print, Creativity, and Folio; he has a
painting studio in Washington, Conn.
Christine Gignac
Visiting Instructor
Freelance art director; lifelong New Yorker;
throughout her advertising career, has created
a diverse portfolio of work, including TV, print,
outdoor, and digital campaigns, fashion shows,
documentaries, paintings, and t-shirt designs;
five years at Mother New York; her work for K-Y,
Target, and Stella Artois was awarded by every
major award show and secured her place as an
Art Directors Club Young Gun in 2010; personal
interests include doing nothing and watching
pretty much everything on TV.
Tom Graham
Professor
B.F.A. Illustration, School of Visual Arts, CUNY;
M.F.A. Painting, Pratt Institute; contributed to
The New York Times for 10 years, as well as many
other national and regional publications; active in
publishing; has written and illustrated many books
for children; Mr. Bear’s Chair (Dutton Children’s
Books), his first, was one of the top Children’s
Choices by the International Reading Council and
Children’s Book Council; Day Breaks, written by
Bethea VerDorn (Arcade), was selected by the
Society of Illustrators for inclusion in Originals: The
Best of Children’s Book Illustration; his latest book
is Five Little Firefighters (Henry Holt & Co.).
Philip Graziano
Assistant Chair for Academic Operations
“Well, Art is Art, isn’t it? Still, on the other hand,
water is water. And east is east and west is west
and if you take cranberries and stew them like
applesauce they taste much more like prunes
than rhubarb does. Now you tell me what you
know.”—Groucho Marx, 1930
226
Rich Greco
Illustrators, Art News, American Artist and Art
Direction magazine; exhibited internationally,
including at the World Conference Against
Racism in South Africa; performed as a guest
artist with Def Dance Jam Workshop doing live
“painting performances” with the company
that featured hearing-impaired and physically
challenged kids; also “performed” with Dance,
Music, and Kids on stage with performers of the
Broadway shows The Lion King and Bring in da
Noise, Bring in da Funk; believes that the highest
honor is to inspire and uplift; lectured at various
colleges and institutions, including workshops
on the Rosebud Reservation in South Dakota
and UNIVA (Universidad del Valle de Atemajac),
Guadalajara, Mexico.
Visiting Instructor
B.F.A., Pratt Institute; New York-based designer;
cited as one of Forbes 30 Under 30 in Marketing
and Advertising and Business Insider’s 30 Most
Creative People in Advertising Under 30; work
has been featured in Creativity, Advertising Age,
Communication Arts, For Print Only, Brand New,
and the New York Observer; has lectured for
AIGA; panelist at the International Advertising
Awards; created a holiday called the Feast
of St. Pizza.
Brendan Griffiths
Visiting Instructor
M.F.A. Graphic Design, Yale University; a graphic
and interaction designer living and working in
New York City; a partner in the design practice
Zut Alors!, where he has worked with various
clients including Bloomberg View, Creative Time,
The New York Times, Time Magazine, Condé Nast,
Performa, Print magazine, Socrates Sculpture
Park, and Johnson & Johnson; selected as one
of Print magazine's New Visual Artists in 2012;
included in the exhibition Graphic Design: Now in
Production at the Walker Art Center.
Cheryl Gross
B.F.A. Communications Design, M.F.A. New
Forms/Fine Art, Pratt Institute; “When asked
about my work, I always equate it with creating an
environment transforming my inner thoughts into
reality. Much like an architect or urban planner,
that reality and humor becomes the foundation
of the work. Beginning with the physical process,
I work in layers. I am involved in solving visual
and verbal complexities such as design and
narrative. The result: mini documentaries that
are based on the absurdities of life. I was born
and raised in Brooklyn, New York, and my urban
influence has indeed added an ‘edge’ to my work.”
Currently working on a large project titled The
Z Factor, which includes text and hundreds of
drawings depicting a new race of people who
are being persecuted, which will eventually spark
the third civil rights movement; although it is
metaphorically induced, the influence behind the
work is authentic, straightforward, and poignant.
Rudy Gutierrez
Professor
B.F.A., Pratt Institute; born in the Bronx, New
York, grew up in Teaneck, NJ; his work for various
periodicals, book covers, CDs, and children’s
books, as well as his paintings, has appeared
worldwide; honors include the Dean Cornwell
Hall of Fame Award, Distinguished Educator in the
Arts Award, and a Gold Medal from the NY Society
of Illustrators; his children’s books have garnered
a Pura Belpré Honor, Américas Book Award, and
a New York Book Award; work has been featured
by Communication Arts, Step by Step, Society of
Duncan Hamilton
Assistant Professor
B.F.A., University of Hull, U.K.; M.A., Manchester
University, U.K.; designer, publisher, and editor
based in NYC; senior art director at Urban
Outfitters; works with regular collaborators on
art, design, and print projects under the title
“The Uses of Literacy”; lectures and discussion
panels at the Tate Gallery (Liverpool), Center of
Contemporary Arts (Glasgow), and the Youth
Salon (Zagreb, Croatia); organized art projects
and exhibitions for the Arts Council of England,
Frieze Art Fair, Cubitt Gallery in London, the
Musée d’Art Moderne de Ville de Paris, and the
Liverpool Biennial.
Jon Han
Visiting Instructor
B.F.A., Art Center College of Design; artist,
illustrator born and raised in California; now
works out of his studio at the Pencil Factory in
Brooklyn, N.Y.; publications include The New
York Times, The New Yorker, GQ, The Atlantic,
the cover of American Illustration 32, and many
others; recognized by the Society of Illustrators,
American Illustration, Communication Arts,
Juxtapoz, and others; his work makes use of the
abstract and the familiar to help convey an image
that is both understandable and new.
Jennifer Heuer
Visiting Instructor
B.F.A., Pratt Institute; freelance graphic
designer working out of the Pencil Factory in
Brooklyn; worked in-house at HarperCollins
and Simon & Schuster, and now runs her own
studio designing and illustrating for a variety of
publishers; clients include The New York Times;
Riverhead; Ecco; Little, Brown; Knopf; W.W.
Norton; Scribner; Penguin; Simon & Schuster;
Vintage; HarperCollins; Grand Central; Time Out;
Random House; Columbia University Press; and
Harvard Business Review Press; publications
include Print magazine, Casual Optimist blog,
Faceout blog; awarded Type Directors Club
Honorable Mention.
227
Rob Hewitt
Floyd Hughes
Sebastian Kaupert
Ely Kim
Visiting Instructor
Diploma, Emily Carr Institute of Art and Design;
Diploma, University College of the Fraser Valley;
design director of Popular Mechanics, where
he is responsible for overseeing both the print
and digital assets of the brand; principal of
Curious Outsider Design Studio, a boutique
studio specializing in branding and the creative
direction of magazines, books, and various
digital platforms; held director positions at
Condé Nast Traveler, Play: The New York Times
Sports Magazine, and Premiere Magazine as
well as design positions at GQ and New York
Magazine; recognized by the Type Directors Club,
Communication Arts magazine, Print magazine,
and the Art Directors Club of Canada; awards
include the Society of Publication Designers
(SPD), the Ozzies (Best use of Typography),
Custom Publishing Pearl Awards, Davey Awards,
and the Gamma Awards (Magazine Association
of the Southeast); served as a judge for Society
of Publication Design, American Society of
Illustrators, and American Illustration.
Adjunct Associate Professor, CCE
Attended William Morris School, London; born
in the Twilight Zone (London’s East End) to
Guyanese parents, now based in New York; a
comic book artist, special effects technician,
and film and television storyboard/production
illustrator; worked on such films as Highlander
and Hellraiser (and his Sweetheart); works for
British and American comic publishers such
as Marvel, DC, Image, and Heavy Metal; has
produced graphic novels; designed for MTV’s
“Celebrity Death Match” and “Downtown,”
and produced storyboards for Arm & Hammer,
T-Mobile, Burger King, The NBA, MSNBC and
R. Kelly; produced CD art for rock icons AC/
DC and for movies including Anti-Trust and I Am
Legend; serving as visual consultant for the Spike
Lee movie Nagasaki Deadline (in production
for James Cameron’s Alcon Entertainment);
published writer; has exhibited his fine art
paintings in several galleries.
B.F.A., M.S., Hochschule Pforzheim University,
Germany; Executive Program, Business for
Design Leaders, Harvard Business School; has
worked across media and practices, with a
focus on branding and business; developed
identities, consumer advertising, editorial design,
online advertising, corporate sites, application
interfaces, and intranets for brands such as
American Express, BMW, Condé Nast, Evian,
IBM, MasterCard, MSNBC, Nickelodeon, Novartis,
Pfizer, Simon & Schuster, Verizon, Viacom, Volvo,
and UPS; formerly creative director at Interactive
Bureau, Euro RSCG Worldwide, and Condé Nast;
partner at theoandsebastian; served on the
board of AIGA’s New York Chapter; teaching at
Pratt for over 13 years, including classes on social
media and design practice.
Visiting Instructor
B.F.A., Art Center College of Design, Pasadena,
CA; M.F.A., Yale University School of Art; born
in Los Angeles, raised in Las Vegas, now an art
director/dancer/healer (Reiki-certified) in New
York; has worked with Wieden and Kennedy,
Saatchi & Saatchi, Kate Spade, Chandelier
Creative, Partners and Spade, and MTV; served as
design director of MAC Cosmetics; currently is a
creative at Mother New York; greatest influences
include: Christmas, puppies, crystals, fireworks,
laser light shows, art that makes him laugh, the
seminal film Clueless, and positive vibes!
Kenichi Hoshine
Visiting Instructor
B.F.A., School of Visual Arts, New York, N.Y.;
exhibited and collected worldwide; selected by
London’s Saatchi Gallery to show at its booth at
the Pulse Art Fair in New York City; semifinalist
in the Outwin Boochever Portrait Competition
for the Smithsonian Institution’s National Portrait
Gallery; commercial clients include: Barnes &
Noble, Chase Bank, Ford Motors, Prevention,
and More; lectures and critiques at the School
of Visual Arts and Parsons The New School for
Design; represented by J. Cacciola Gallery in
New York City; lives and works in Brooklyn.
Jim Hoston
B.F.A. Illustration, Pratt Institute; M.F.A., New
York Academy of Art; adjunct professor in the
Graduate Program of figurative art at the New
York Academy; exhibitions at the Hirschl &
Adler Modern gallery in Manhattan, The Studio
Museum in Harlem, the Copley Society in Boston
and the Grenning Gallery in Sag Harbor, Long
Island; illustrations exhibited at the Society
of Illustrators, the Pennsylvania Academy of
Art, and venues all across the United States;
extensive work experience with the fine
artist Jeff Koons, the Marvel Entertainment
Group, and the Evergreene Painting Studios in
Manhattan; illustration clients include Sony Music
Entertainment, UniWorld Advertising Group, the
Sands Casino and Hotels, Macmillan publishing,
McGraw-Hill publishing, the Weekly Reader, and
Scholastic, Inc.; he resides and maintains a studio
in Brooklyn, New York.
Margaret Hurst
Adjunct Professor
B.A. Literature, Boston University; B.F.A.
Illustration, Parsons School of Design; a native
of the Virgin Islands; professor at Parsons
School of Design; conducted an illustration
reportage workshop at the University of Alaska;
member and vice president of Studio 1482;
cofounder of live2lime; correspondent on
the blog Urban Sketchers, member of Studio
1482’s blog, onedrawingaday.com; author/
illustrator of award-winning book Grannie
and the Jumbie; featured in Teaching Artist
Journal with Eric Carle, Faith Ringgold, and
David Myers; artwork has been featured in
New York Living and Latitudes; work is cited
in the book Early Childhood Education Today
by George S. Morrison; clients include AT&T,
Neurex, Anthology/Preface, Roche, DuPont,
E&J Gallo, Knorr, DDB Canada, MasterCard,
Stuart Tabori and Chang, HarperCollins (Laura
Geringer Books), St. Martin’s Press, MedicusNY,
and Thomas Nelson Publishing; exhibitions:
the Society of Illustrators, the Rx Club, AT&T
headquarters, Neurex headquarters, Messiah
College, Montserrat College of Art Galleries,
Shafler Gallery, Tres Gallery, the Puck Gallery,
and private collections.
Jordin Isip
Visiting Instructor
B.F.A., Rhode Island School of Design; native
of Queens, N.Y.; lives in Brooklyn; exhibited
internationally in galleries in Boston, Los
Angeles, New York, Philadelphia, San Francisco,
Berlin, Kilkenny, London, Manila, Paris, and
Rome; illustrations have appeared in numerous
publications, including The Atlantic Monthly,
BusinessWeek, The Los Angeles Times, The
New York Times, Newsweek, Rolling Stone, and Time,
and on book covers, posters, records and CDs;
also teaches at Parsons The New School for Design.
Andrew Kay
Visiting Instructor
Brooklyn-based graphic designer, originally hail
ing from Washington, D.C.; art director at MRY,
an integrated advertising agency; clients in
clude Burton Snowboards, Taco Bell, Coca-Cola,
Kraft, Dos Equis, Jaguar, Volvo, Toyota Scion,
Prismacolor, and Sharpie; work has been featured
in I.D. magazine, Print magazine’s Regional
Design Annual, CMYK Magazine, and the HOW
International Design Awards; personal interests
include fried chicken and maintaining homeostasis.
Elizabeth Kellogg
B.F.A., Pratt Institute; award-winning SVP
Creative Director with an extensive global
advertising and marketing background; has
worked for the past 25 years at renowned
agencies such as BBDO, Deutsch, Lowe,
and JWT on a wide range of major brands
from Mitsubishi, to Tommy Hilfiger, to IKEA;
developed and designed launch campaigns for
Mercedes-Benz, Snapple, The Neighborhood
for MCI; created successful, unique, and
breakthrough relationship-marketing programs
for clients such as Pfizer, American Express,
and Sprint; her concepts and designs have won
dozens of advertising and marketing awards;
currently working in the industry, primarily on
TV assignments; married to Robert Kellogg, a
principal at HOK, also a Pratt graduate.
Michael Kelly
B.F.A., Pratt Institute; balances his teaching with
design work for clients such as Weleda North
America, Pratt Institute, M&M Environmental, and
Art Off the Main; published writings on design and
other topics; recipient of the Pratt Distinguished
Teacher Award.
Gregory Kletsel
Visiting Instructor
Degree, Graphic Design, Univeristy of Florida;
illustrator based in Brooklyn, N.Y.; has worked
with boutique design firms and large branding
agencies for Fortune 500 companies, including
AT&T, Intel, and Humana; as an illustrator, has
worked with a wide range of clients, including
The New York Times, Playboy, Entertainment
Weekly, Nickelodeon, Bloomberg and BuzzFeed;
recognized by The Society of Illustrators,
Communication Arts, American Illustration, and
The Museum of Comic and Cartoon Art.
Bill Kontzias
Kontzias has specialized in location corporate
photography for over 25 years; commissioned by
corporations, graphic designers and magazines;
travels throughout the USA and Europe
photographing people, places, and products;
formerly a studio assistant for Francesco
Scavullo; expertise in celebrity portraiture
and fashion photography, lighting, and studio
operations; clients include Gretchen Bellinger
Inc., Bronx Museum, DuPont, DUX, Emigrant
Savings Bank, Portland Seadogs Baseball, Formica
Corporation, Gilbert Paper, Guilford of Maine,
Brazilian Consulate, Rizzoli Publications/Michael
Graves, SunarHauserman, Vignelli Associates.
Milton Ladd
Visiting Instructor
B.F.A. Film and Video Production, Savannah College of Art and Design, Savannah, GA;
designer and animator living in Brooklyn; career in
animation began in Boston at the National Ministry
of Design, serving clients such as Subway, Acura,
StrideRite, and New Balance; since moving to
New York in 2007, has worked for Nickelodeon’s
Nicktoons Network, BBC America, and CNBC;
other work includes writing, filming, and animating
music videos and animated shorts; currently an
independent designer and animator working with
a range of clients in advertising and creative fields.
228
Tom La Padula
Luba Lukova
B.F.A., Parsons The New School for Design;
M.F.A., Syracuse University; illustrations
for national and international magazines,
advertising agencies, and publishing houses;
lectures nationwide on the history of
illustration; exhibited in numerous group shows
throughout the country; paintings and drawings
included in many private collections; joined
the Communications Design faculty in 1986;
Illustration Coordinator for Pratt ComD.
Doctor of Fine Arts (honorary), Lesley University;
internationally recognized, New York-based, one
of the most distinctive image-makers working
today; awards include Grand Prix Savignac at
the International Poster Salon, Paris, France; the
Golden Pencil Award at the One Club, New York;
ICOGRADA Excellence Award at the Poster Festival
in Chaumont, France; and Honor Laureate at the
International Poster Exhibition in Fort Collins, CO;
solo exhibitions at UNESCO, Paris; DDD Gallery,
Osaka, Japan; La MaMa, New York, and the Art
Institute of Boston; received commissions from
Adobe Systems, Sony Music, Canon, The New
York Times, Time, Harvard University, the Cultural
Ministry of France, and the War Resisters
League; her evocative theatre posters have
graced numerous stage productions in the U.S.
and Europe; work is included in the permanent
collections of The Museum of Modern Art, New
York; the Library of Congress; and Bibliothèque
Nationale de France; author of the critically
acclaimed Social Justice poster portfolio,
which has been exhibited around the world
and at the inauguration of President Obama in
Washington, DC.
Veronica Lawlor
Adjunct Professor
B.A., Parsons School of Design; M.A., The New
School; native New Yorker; illustrator for a diverse
group of editorial, publishing, and corporate
clients, including the 3M Corporation, for which
she completed a reportage mural of New York
City; fashion illustration includes advertising
for Lord & Taylor and editorial work; freelance
illustrator with Studio 1482; assistant editor,
Marvel Comics; art director, DC Comics; honors
and exhibits: Society of Illustrators, Art of Digital
Show; American Illustration, the Rx Club, United
Nations, 9/11 reportage in Newseum permanent
collection; books: I Was Dreaming to Come to
America: Memories of the Ellis Island Oral History
Project (Viking Press), One Drawing A Day: A SixWeek Course Exploring Creativity with Illustration
and Mixed Media (Quarry Books); articles: Stepby-Step, Communication Arts, World Association
of Newspapers; correspondent on the Urban
Sketchers international blog; believes in drawing
as the primary tool of the graphic communicator.
Phil Lubliner
Visiting Instructor
Partner at Other Means, an independent graphic
design studio; print, animation, and digital work
primarily for cultural and non-profit clients,
such as Bloomberg, The New York Times, Good
Magazine, Emeco, The Van Alen Institute,
Recyclebank; formerly a partner in design studio
Fogelson-Lubliner; honors and publications
include; Graphic magazine—small studios
feature, Print magazine—2008 New Visual Artists,
2009 Sappi “Ideas that Matter” grant, 2011
DesigNYC participant; worked as an art director,
designer, and illustrator at R/GA, FraM.F.A.b
Copenhagen, Honest, and Brand New School;
awards include Cannes Lions, One Show, Clio,
and AIGA Design Archives.
Richard Luna
B.A., The City College of New York; formerly a
medical and technical writer/editor; worked in
book, magazine, and advertising typesetting;
perfected his typographic skills at PhotoLettering, the finest type studio in its day;
began his electronic publishing career when he
bought his first computer, a MacPlus, in 1985
while working as a CSR in a type shop; in 1987
he produced the largest product created in
QuarkXPress in the country, a history of the First
Unitarian Church of Brooklyn; was manager of
Mac applications at a large prepress organization,
where he advised and trained company staff
and customers on how to take advantage of
the electronic publishing revolution; founded
LunaGraphics Associates, a consulting and training
company working with magazines, ad agencies,
and design firms; he estimates that he has taught
Quark, InDesign, Photoshop and electronic
typography to more than 2,000 people.
Jamie Massam
Visiting Instructor
B.A. Graphic Design and Advertising, the
University of Salford, Manchester, UK; after
growing up in the most uncreative town in
the north of England, worked in London as a
junior designer; joined M&C Saatchi in Sydney,
Australia, as an art director from 2001–2006;
moved to New York City to join Y&R as a senior
art director; now Associate Creative Director
at McGarryBowen; created global campaigns
for clients such as Audi, British Airways, Virgin,
Chevron, and Martini; awards include a Cannes
Lion, ADMA Gold, Asia AdFest Silver; has worked
at McCann’s, Nitro, The Brooklyn Brothers, and
most recently R/GA, helping to win the $40MM
Centrum business; holds three passports.
Lorraine McNeill-Popper
B.A., Wagner College; has worked more than
30 years in advertising; work has included Pepsi
commercials with artists ranging from Michael
Jackson to Wyclef Jean, Life cereal’s beloved
“Mikey” campaign, commercials for Gardasil—
Merck’s vaccine against human papilloma virus—
innovative anti-drug PSAs for the White House’s
Office of National Drug-Control Policy (ONDCP), a
new recruitment campaign for the Marine Special
Operations Command, and the 2010 Census;
serves as a leading member of The Partnership
at drugfree.org’s national Parent Advisory Board,
a group of parents from around the country
who—in collaboration with the top research and
medical scientists in their field—help develop,
evaluate, and expand the information, tools and
support for parents available through drugfree.
org; serves on The Partnership’s Creative Review
Committee, which oversees and reviews all
advertising and PSAs created by advertising
agencies around the country.
Scott Menchin
Art Students League; B.F.A. Communications
Design, Pratt Institute; authored publications
include Grandma In Blue With Red Hat (2016),
Goodnight Selfie (2010); authored and illustrated
publications include Taking a Bath with the Dog
and Other Things That Make Me Happy (2007),
What If Everything Had Legs? (2010), Harry Goes
To Dog School (2012); illustrated publications
include The Day the Whale Came (Harcourt,
1998), Bob Dylan, Man Gave Names to All the
Animals, (Harcourt, 1999), Plenty of Pockets
(2000), Wiggle (Atheneum, 2005), Bounce
(Atheneum, 2007), Stretch (2009), Song of
Middle C (2009), Rescue Bunnies (2010), Chicken
Scratches: Poultry Poetry and Rooster Rhymes
(2010), and Riding In My Car (2012); illustration
clients include Sports Illustrated, Rolling Stone,
Time, Esquire, Details, The Atlantic, Wired, The
New Yorker, New York Times, Washington Post,
Pepsi, Microsoft, Intel, Toyota, Ford, Pfizer,
Barneys, Dartmouth, the New York Philharmonic,
David Byrne, Jacob Dylan; awards include the Art
Directors Club, SPD, AIGA, American Illustration,
The Society of Illustrators, Communication Arts,
Print magazine.
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Anita Merk
Audra Nebolini
B.F.A. Hon., Fashion Institute of Technology;
owner of Flyleaf Creative, Inc.; clients include
arts presenters, theaters, festivals, member
organizations, and foundations; branding efforts
have encompassed all print media and awardwinning websites that cultivate a client’s memberdriven community needs, grantees, and/or
distinct ticket-buying public; her firm has been
recognized by Adobe in 2008 and by the Council
on Foundations in 2009; Herzog Award finalist for
her design of My Life in the Gulag, a hand-sewn,
letterpress memoir of World War II, archived in the
Marshall Military History Collection at the University
of Texas at El Paso; at Pratt she has taught
Communications Design, Graphic Design 1 and
2, and Senior Project; founding partner in Beam
Camp, a summer camp in New Hampshire where
young people acquire and refine their problemsolving skills through a creative education.
Visiting Instructor
B.F.A. Marketing and Design, SUNY Oneonta;
B.F.A. Packaging Design, Fashion Institute of
Technology; a native New Yorker and working
graphic designer who instills the creative process
in her classroom based on the real-world studio
environment; brings more than 10 years of
experience working for brand agencies CBX and
Landor Associates, where she conducts design
explorations for brand identity, packaging, retail,
and activation projects with a foundation in
design strategy; leads creative teams, mentors
designers, and runs an internship program to
prepare young designers for a successful design
career; notable clients include Kimberly-Clark,
Pepsi-Co, LVMH, Diageo, P&G, Philip Morris,
826NYC, Hood, General Mills, and Hain Celestial.
tablet games, available in the Apple App Store;
frequently featured by the Society of Illustrators
and American Illustration, her designs and
products have graced the shelves of local comics
shops and major retailers.
Mark Newgarden
Co-founder, president, and creative leader
at PLUM Agency, a New York City-based fullservice advertising and entertainment agency;
successfully led and managed award-winning
campaigns for a broad range of government and
global clients, including award-winning work for
the largest-ever campaign—the U.S. 2010 Census;
as executive producer of PLUM’s entertainment
division—PLUMP—leads the development of
entertainment content for clients and a scripted
TV drama; Mouhteros is most proud of work that
benefits the lives of Americans, from campaigns
recruiting our military (Marines Special Ops), to
curbing teen drug use (Above the Influence/
Partnership at Drugfree.org), to health improve
ment (Merck); awards include: two David Ogilvy
Gold Awards, American Association of National
Advertisers Award, DTC Award.
Visiting Instructor
B.F.A., The School of Visual Arts; cartoonist;
creator of novelties (Garbage Pail Kids); graphic
artist (from Raw magazine to The New York
Times); writer and idea machine for TV, film, and
multimedia projects (from Microsoft to Cartoon
Network), among various and sundry careers;
author of Cheap Laffs, a picture history of the
novelty item (Abrams), and We All Die Alone, a
collection of his comics (Fantagraphics Books);
children’s book with Megan Montague Cash,
Bow-Wow Bugs a Bug (Harcourt Books, 2007),
won numerous awards and spawned an ongoing
series, most recently Bow-Wow’s Nightmare
Neighbors; the eagerly anticipated How to Read
Nancy (with Paul Karasik), an expansion of their
influential 1988 essay on Ernie Bushmiller and the
syntax of comics language, is forthcoming from
Fantagraphics Books; exhibitions include the
Smithsonian Institution, Cooper-Hewitt, Brooklyn
Museum, Art Institute of Chicago, ICA (London)
and Picasso Museum (Lucerne, Switzerland).
Christopher Silas Neal
Gina Niespodziani
Visiting Instructor
B.S., University of Colorado; born in Texas and
raised in Florida and Colorado; work has been
published by a variety of magazines and book
publishers; recognized by Communication Arts,
American Illustration, AIGA, Society of Illustrators,
Society of Publication Designers, Type Directors
Club, Print magazine, and Society of News
Designers; exhibits drawings at various galleries
across the country; shares a studio in an old
pencil factory in Greenpoint, Brooklyn.
Visiting Instructor
B.F.A., Savannah College of Art and Design; chief
creative officer and owner of Hey Beautiful Jerk,
an NYC-based visual effects and design boutique;
started HBJ with partner Mark Szumski in 2013
so they could tell stories together full time;
Niespodziani and Szumski also direct together as
a directing team under the name “Gina and Mark”
and are represented by Honor Society Films.
Niespodziani has a passion for animation and film
as well as her toy poodle, Charlie Murphy.
Taso Mouhteros
Tory Novikova
Visiting Instructor
NYC-based art director and illustrator; her
background is as diverse as her success, with a
special focus on children’s products, including
expertise in picture books, comics, apparel
and accessories, games, and applications; she
heads Torynova LLC, a design studio specializing
in striking illustrated apparel and accessory
products; as an art director, Novikova seeks
to create exceptional interactive experiences
for students; under her belt is a portfolio of
25+ award-winning ELA and STEM educational
Tim O’Brien
Visiting Professor
B.A., Paier College of Art; awards and
recognitions from the Society of Illustrators
in New York and Los Angeles, Graphis, Print,
Communication Arts Magazine, the Society of
Publication Designers, American Illustration, and
the Art Directors Club; has over a dozen paintings
in the National Gallery, Washington, D.C.; winner
of the 2009 Hamilton King Award from the
Society of Illustrators; executive VP and museum
chairman at the Society of Illustrators; numerous
speaking engagements, including The Norman
Rockwell Museum, the Society of Illustrators,
Syracuse University, SVA, Pratt, RISD, CCA, and the
University of the Arts; professor at the University
of the Arts in Philadelphia; lectures frequently
across the country.
Marjorie Oetting
Visiting Instructor
B.S. Journalism, University of Colorado; studied
at School of Visual Arts; a freelance associate
creative director, Oetting has worked for many
notable and well-respected creative agencies,
including DDB, Arnold, The Concept Farm, and
The Martin Agency; she has run multimilliondollar brands like Hershey’s Kisses, Payday, and
Nicorette Gum, and created memorable, awardwinning campaigns for Payday and Reese’s Peanut
Butter Cups; as a copywriter who is very talented
at writing very short sentences, she has worked
on brands including Bud Light, Diet Pepsi, Dixie,
McDonald’s, the New York Lottery, Spike TV,
Subaru, and too many more to mention; she grew
up just outside of Boulder, Colorado, where she
wasn’t as interested in the breathtaking mountain
views or world-class skiing as she was in writing
and watching TV.
Kyle Olmon
Visiting Instructor
B.F.A. Painting, Art History, University of Illinois
at Urbana-Champaign; children’s pop-up book
creator and author; born outside Chicago,
Illinois; first major project was Celebration, a
collaborative pop-up book sponsored by the
Movable Book Society; worked with Robert
Sabuda and Matthew Reinhart for eight years;
author and designer of the New York Times
best-selling pop-up book Castle: Medieval Days
and Knights (Sabuda and Reinhart) and Baby
Signs: A Pop-Up Book (Sabuda and Reinhart),
which focuses on teaching sign language to
preverbal children; partners with individuals
and organizations on pop-up projects and
exhibitions, both artistic and commercial; board
member of the Movable Book Society; has taught
at Pratt since 2005.
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Jesse Packer
Merce Cunningham Dance Company, RedTop
Architects, Duce Construction, The Carpenter
Group, and Outdoor Life; designs clocks for Soho
ClockWorks. “Between thinking about graphic
design solutions, my enthusiastic students, and my
burgeoning new business, my work life is very full
and very satisfying.”
Visiting Instructor
freelance creative director with over a decade
of experience as a designer and art director
throughout New York; clients include Chase,
Chevron, Hershey’s, Reebok, The Wall Street
Journal, Crayola and Fab.com; when not
working, he escapes up mountains, into oceans
and behind a camera.
Isaac Paris
B.F.A. Hon., Parsons The New School for Design;
principal at I Paris Design; clients include Alvin
Ailey American Dance Theater, Amistad Press,
Inc., Anti-Violence Project, NYC, Brooklyn
Academy of Music, Authentic Hair Care Systems,
Harlingen Veterinary Clinic, Essence, Foscarini
Lighting, Italiana Luce International, Juilliard
University of Music, Dance, and Drama, the New
York Law School BLSA New Journal, RCA Records,
Shang Records, Rory Sparrow Foundation, and
Shaka King Menswear; works as a senior art
director/designer at SGNET Solutions, LLC;
clients include CAREGAIN Management of Health
Care Benefits, The Diversity Advancement
Project, Focustream, Global Business
Intelligence, Harlem Community Development
Corporation, Heavy Hitters Music, The New
England Journal of Medicine, Thinking Planet
Productions, TIAA-CREF’s College Savings Plans,
1199 SEIU’s Child Care Fund, and the Greater
New York Child Care Fund; featured in The Artist
Magazine, Rockport’s Letterhead & Logo Design
7, Rockport’s Letterhead & Logo Design 8 (Top
Design Studios), and several Carter’s Corporate
Identity Books.
Chang Park
Attended Art Center College of Design, Los
Angeles; freelance illustrator and painter based
in New York; clients include Time, The New York
Times, BusinessWeek, The Village Voice, Warner
Bros. Records, Elektra Records, Penguin Books
and the Criterion Collection; paintings have
been exhibited in numerous group shows on the
East Coast; teaches at Parsons The New School
for Design in New York City.
Alexander Polakov
Visiting Instructor
Furniture designer, a journalist writing primarily
about design-related subjects, and a graphic
designer; furniture designs have been featured
in publications such as The New York Times,
Vogue, Metropolitan Home, and Elle Decor;
profiles and articles about architecture, interior
design, and graphic design, the occasional
movie star, and film directors have appeared in
Advertising Age, Child, Details, Elle, Elle Decor,
How, Harper’s Bazaar, Metropolitan Home, The
Daily News, and The New York Post; graphic
design portfolio includes work for clients
such as Interior Design, DesignTex, Bernhardt
Furniture, Metropolitan Life, Ameriprize,
Strathmore Paper, Independent Curators Inc.,
Rudy Pospisil
Visiting Instructor
B.A., Ohio State University
Cynthia Pratomo
Visiting Instructor
B.A., Wesleyan University; M.F.A., Hunter College
Joe Roberts
Professor
Fashion Illustration, School of Visual Arts; principal
of Klauber/Roberts; work has included corporate identification programs, annual reports and
financial literature, retail store visual merchandising,
trade advertising, publication design, and publicity
campaigns for AT&T, Ortho Pharmaceuticals, CIGNA,
AIG, SuperStructures, Abrams Publishers, Aperture,
Yale University Press, and the Josef and Anne Albers
Foundation; leads courses at all levels of the Undergraduate Communications Design program; served
as chair of the department from 1994 to 2005, and as
President of the Academic Senate from 1997 to 2001.
Cindy Rodriguez
B.F.A. Communications Design, Parsons The New
School for Design; designer and cofounder at
Lockstep Studio in Brooklyn, N.Y.; experience
across print, branding, and digital design, as
well as packaging and design for environments
and exhibitions; freelance clients include the
Solomon R. Guggenheim Museum, MTV, Parsons,
Cubanica, Nickelodeon, and the International
Studio and Curatorial Program; work has a strong
typographic focus, and a deep love for systematic
organization of content and ideas; previously
taught design at Shillington School in New
York; has now shifted her focus to running her
design studio; daily pursuits involve typographic
enthusiasm, community betterment, woodshop
skills, and design for good.
Edel Rodriguez
Visiting Instructor
B.F.A., Pratt Institute; M.F.A. Painting, Hunter
College; born in Havana, Cuba; in 1980,
Rodriguez and his family boarded a boat and
left for America; they settled in Miami, where
Rodriguez was introduced to and influenced
by American pop culture for the first time.
Publications include Time, Newsweek, The
New Yorker, Rolling Stone, book covers, and ad
campaigns; work is in a variety of institutional and
private collections, including the Smithsonian
Museum in Washington, D.C.; has written and
illustrated many books for children, and exhibits
and lectures internationally; awards include six
medals from the Society of Illustrators and three
Cubes from the Art Directors Club.
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overseeing and creating season identities for
the New York Knicks, the New York Rangers, and
Radio City Music Hall; previously worked at SME
Branding, establishing a prominent print division
to complement the identity side of the company;
clients included the NBA, NFL, MLB, NHL, and
NCAA sports teams.
Scott Santoro
Samuel Shenova
Claudia Sohrens
M.F.A., Cranbrook Academy of Art; principal
of the graphic design studio Worksight; in a
live-and-work loft on Great Jones Street in
Manhattan, he has crafted designs for large and
small companies for over 20 years; has served
as vice president of the AIGA NY, and as design
committee member for the Fulbright program;
speaks internationally on design; taught at NYU,
Parsons, SVA, and The Cooper Union; at Pratt
Institute, teaches Graphic Design 1 and 2 and
Graphic Design Senior Project.
M.F.A. Painting, New York Academy of Art; B.F.A.
Graphic Design, Pratt Institute; teaching at Pratt
since 2006; a lover of all kinds of visual arts;
brings to his classrooms his diverse experiences
as a graphic designer, illustrator, and painter;
as a designer, has worked with such agencies as
C&G Partners and Ralph Appelbaum Associates on
large-scale exhibition projects; works freelance
on a variety of Web and print projects for special
clients and friends; as an illustrator and painter,
he explores new and traditional media, from
comics and graphic novels to figure painting and
drawing; his classes are hands-on and real-world
relevant; projects are focused on technical
proficiency, conceptual development, and growth
of each student’s individual style and creative
point of view.
B.F.A. Communications Design, IN.D, Hamburg,
Germany; M.A., Ph.D. candidate, Media and
Communications, European Graduate School,
Saas-Fee, Switzerland; a German-born visual artist
and educator who lives and works in New York;
recipient of several artist grants, such as the 2010
NYFA fellowship in Photography; artist residencies
include the Bronx Museum in New York; work has
been included in exhibitions at the Bronx Museum,
the Brooklyn Museum, and the Artists Space in
New York, as well as international art venues and
festivals, such as the Electronic Language Festival
in São Paulo, the Project Space at Kunsthalle
Wien, KW–the Institute for Contemporary Art
in Berlin, as well as Kampnagel KX in Hamburg;
teaches in the Full-Time General Studies Program
at the International Center of Photography and in
the Photography Department at Parsons The New
School for Design.
Jon Santos
Visiting Instructor
B.F.A., California College of the Arts; principal
of Common Space, a multidisciplinary design
and art studio based in NYC; each project is
a collaborative effort with equal emphasis on
concept and design; frequently partners with Web
developers, creative agencies, and artists to create
print, Web, and video media; a visiting artist and
lecturer at Sint-Lukas Academy in Brussels, the
American Institute of Graphic Arts in Washington,
DC, Cesun Universidad in Tijuana, Mexico, and
Third Ward in Brooklyn; work has appeared in
Paper, Casa Vogue, City Magazine, Tokion, Bidoun,
FADER, Casa Brutus, Communication Arts, +81, I.D.,
and Nylon; personal interests include creating
video and installation art.
Haggai Shamir
Studied at Bezalel Academy of Art and Design,
Jerusalem; a graphic designer and typographer
for 25 years; original member of the independent
firm Dsn°Provisions, which specializes in branding,
typeface design, and academic publications;
companies and organizations that have sought
his services include the manufacturer LP
Percussions, the Columbia University music
department, many filmmakers, members of
the music industry, coffee producers, jewelry
distributors and small businesses; Shamir values
clarity in the service of flights of imagination;
his work is both clean and resonant: crisp in
line and layered with association; at the heart
of the work is the play of type and image—at
times, type as image; influences include the
early 20th-century political designs of John
Heartfield and the culture production of Gert
Dumbar—in both cases, provocative work marked
by ingenuity; hired by the Michael Peters Group
of London, the firm responsible for rebranding
Shell, Tropicana, Phillips, Seagram’s, and Knoll;
worked with Chermayeff & Geismar Associates
designing corporate identity systems; taught
graphic design and typography in New York and
abroad for 15 years; his purpose as a teacher is to
encourage students' independence and initiative
in exploring, in a workshop setting, their creative
ideas, providing the tools and inspiration to best
realize them.
Max Shuppert
Child of a family of painters, photographers, and
musicians, Shuppert has pursued his career
as both a photographer and director of
photography (DoP)/director since 1987, creating
imagery, both still and moving, for Fortune
500 companies, major retailers, and charitable
organizations throughout the United States; DoP
on four recent feature-length films; directed
and/or worked as DoP on a dozen short films
and two branding films for major corporations;
in 2007, his short film True Love was an official
selection in the Woodstock Film Festival, the
Miami Short Film Festival, and the New York
Independent Film and Video Festival; as a DoP
he was awarded two 2008 Telly Awards for
Cinematography for the short film Bulletproof;
recent projects include working as director,
DoP, and editor on a series of videos for a major
premium vodka brand, as art director/editor
of an online psychology course, and as DoP/
associate producer on two television projects;
background includes working as type director of
a major advertising agency in Dallas, Texas, and
16 years of experience working as a professional
advertising photographer; was first assistant to
Art Center College of Design 1982 magna cum
laude graduate Stephen E. Seeger; lectured at
Texas A&M from 1988-1990.
Alexander Smith
Visiting Instructor
B.F.A. Communications Design, M.I.D., Pratt
Institute; was CEO of Graphient, a software
startup working on data visualization products;
prior to founding Graphient, he worked as a
freelance designer, animator and illustrator on a
wide variety of print, television and Web projects
for clients ranging from MTV to Walmart; he
believes that there are identifiable intellectual
methods in the practice of graphic design, and
that by identifying those methods the students
can synthesize their own theories of what it means
to be a designer; experience has led him to define
how these methods can be applied as broadly as
possible, often crossing traditional boundaries
between disciplines.
Erik Spooner
Visiting Instructor
B.F.A., Pratt Institute; freelance creative director
based with digital startup Nomad; publications
include UsWeekly, InTouch, Life&Style, Closer,
Rolling Stone, and The New York Observer;
previously he had been art or design director
for Discover (overseeing the 30th anniversary
redesign), Elmore magazine, and NYO’s Home
Observer and Scooter; at Nomad, produced digital
content products for big pharmaceutical brands
as well as an array of weekly digital editorial
magazines; currently he is working in creative
and strategy with the editorial and dev teams
to launch a forthcoming project with the James
Beard Foundation; clients include Columbia
University’s Teachers College; Spooner compares
magazines to “hosts of a great private party...the
stories they pick up to tell and the reaction of
those who read them are never really predictable,
but the experience of the exchange is shaped by
the very act of putting the two together.”
Lindsay Stadig
Visiting Instructor
manages the Display Production studio at
Barneys New York, where she oversees the
production of display elements for Barneys
stores nationwide and manages the installation
in its landmark Madison Avenue store; she also
runs a freelance letterpress and design business,
Acme Letterpress, out of her Brooklyn studio;
clients include NBC, Girl Scouts of America,
Agent Provocateur, and Brooklyn Underground
Film Festival; illustrated the book How to Make
Books (Random House, 2007).
Matthew Strong
B.A., B.F.A. Hon. Communications Design, Pratt
Institute; principal of Strong Studio NYC LLC;
creates identities, branding, editorial, packaging,
environmental and Web design for a variety of
clients, including The New York Times, ESPN,
NYU, Starwood Hotels, American Express and
Hasbro; formerly served as the Creative Director
for Madison Square Garden, which involved
Samuel Stroube
Visiting Instructor
B.F.A., Pratt Institute
Thaddeus Szumilas
Graphic Design, Parsons The New School for
Design; attended Haaren High School; came to
the US in 1966, became a U.S. citizen in 1975;
typographer, type designer, teacher, corporate
identity consultant; practical experience under
John Pistilli at the Sudler & Hennessey ad agency
and Tom Carnase at Lubalin, Smith and Carnase
prepared him for the real world of typographic
design in a wide range of projects, including
book jackets, packaging, corporate identity,
entertainment, and television; his experience
and portfolio gained him popularity among art
directors, whose inspirations and suggestions
resulted in creating text and display typefaces.
Mike Tabie
Visiting Instructor
B.F.A., University of Florida; graphic designer
living and working in NYC; partner and principal
designer at Two Arms Inc., a small but mighty
design agency in Brooklyn, N.Y., specializing in
branding, custom illustration and packaging.
“We believe in craftsmanship, an attention to
detail, and that sweet spot between concept and
execution.” Notable clients include: MoMA Design
Store, ESPN Magazine, Men’s Health, Jack Daniels,
Jameson, Hollywood Reporter, Coors Banquet,
Nike SB, Rebel Eight, Rachael Ray Magazine, Bath
and Body Works, Time Out New York, Fortune
Magazine, Dave Matthews Band, Talib Kweli,
Fonts.com, Boston Magazine, Sony, and Warner
Music Group. Awards and publications include:
Communication Arts, Graphis, Image of the
Studio, Vox Graphis, Gigposters Volume 1 and 2,
Low Tech Print, Classic Rock Posters, Adventures
in Design.
K.C. Tagliarini
Visiting Instructor
Partner in digital branding agency Shadow
Works, offering clients solutions through
use of information, motion, and interactive
design; having worked with some of the
industry’s leading talent and clients, he will
share his experience through approaches that
are grounded in strategy and branding; this
awareness has become more important as the
marketing communications field has evolved
over the past 10 years.
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Matt Tragesser
Silver Lions at the Cannes Film Festival for his
commercial work; in 1999 he was awarded the
Pratt Institute Alumni Achievement Award for
professional accomplishment and leadership in
communications design; teaching Advertising
Design and Concept classes at Pratt Institute
for the past eight years; also taught at School of
Visual Arts for 18 years.
Visiting Instructor
Artist and designer based in New York; currently
exploring various illustrated and animated
projects while working as a freelance creative
director; one of two founding creative directors
of Convert, where he redesigned the graphic
identity for TNT and co-directed the video
for Common’s single “Go”; spent five years at
Imaginary Forces, where he created the Marvel
theatrical logo as well as the main title sequence
for One Hour Photo; work has been recognized
by the Type Directors Club, Promax/BDA, Adobe,
Stash, Step, Creative Review, and Émigré; was
included in Print magazine’s New Visual Artists
Review 2004; his work has received gold and
silver awards from the Art Directors Club.
Emeric Trahand
Visiting Instructor
B.A., M.A., Jean Monnet University; illustrator,
art director and artist based in New York City;
clients include Nike, Sony, MTV, the Grammy
Awards, the Dubai World Expo 2020 and National
Geographic; contributes regularly to specialized
illustration magazines and publications and has
representation in agencies in the US, Europe, and
Southeast Asia; he started his creative career
in France in 2005, where he was featured and
acclaimed by specialized blogs and magazines
of digital creation; today, he shares his time
between positions of senior designer and art
director with motion studios in the city, such as
The Mill, Brand New School and Logan, and an
independent illustrator; if in the past his work
was mainly digital, he has refined his approach
to visual arts through the years, and now focuses
on collage and a more traditional approach to
illustration. He has a personal interest in the
use of simple materials (cutouts, newspapers,
old books, and magazines), the exercise of
composition, and symmetries or the use of
patterns to create vibrant pieces of work,
whether figurative or abstract.
Ron Travisano
Visiting Instructor
B.A. Advertising Design, Pratt Institute; he
started his career at Young & Rubicam in the
supply room; within two years he became an
assistant art director; in 1963 he moved to
Marschalk Advertising as an art director, then to
Delehanty Kurnit and Geller as an art supervisor;
in 1966, was mentioned on the front page of the
Wall Street Newspaper as one of the “rich kids
making it big” in the advertising world; in 1967,
along with Jerry Della Femina, he started his
own agency, which became one of the bestknown creative agencies for the next 18 years;
in 1985 he sold his half of the agency back to
his partner and started his own film production
company called Travisano DiGiacomo Films;
spent the next 18 years producing and directing
TV commercials and documentaries; awards
as an art director include 15 Clios and several
Gold and Silver awards at the One Show; as a
DGA Film Director he was awarded the Gold &
Joel Tretin
Former stand-up comedian, a copywriter by
trade, and an amateur developer—an unlikely
combination, but hey, that’s life; clients include:
Microsoft, IBM, HP, Citibank, Chase, Panasonic,
Samsung, Xerox, Pfizer Drugs, Wyeth, General
Foods, Wonder Bread, and Twinkies; specializes
in the interactive channel; certified Flash
Actionscript Developer; has taken numerous
courses in IA, user experience, and heuristics;
also a student of computer gaming and viral
marketing; worked for numerous interactive
agencies, some with strange names like Wavelink
21 (what were they thinking?), Modem Media,
Wunderman Interactive; currently Group
Creative Director at Ogilvy handling MetLife,
Mount Gay Rum, and International Hotel Group.
James Tung
Visiting Instructor
Graduated from School of Visual Arts with
honors; completed an internship at Pentagram,
NY, under Paula Scher; worked with notable
companies and firms including Sony Music
Entertainment, Arnell Group, Eric Baker Design
Associates, and Indika Entertainment Advertising;
in 2002 partnered with Dai Ushiyama to form
First Person Singular to offer boutique design
solutions for companies in New York and Tokyo,
including Mazda Japan, Brooklyn Industries, the
Criterion Collection, the Friedmutter Group,
Domini Social Investments, and the Asia Society;
previously with the advertising agency BBH
N.Y., where he worked on accounts for Google,
Unilever Axe and Vaseline, Miller Brewing Co.,
NYC & Co., Johnnie Walker, Levis, Ally Bank,
Vitaminwater, Sprite, Westin, LG, and British
Airways; currently a senior graphic designer with
Y&R, where he oversees the design department;
accounts include Dell Computers, Goldman
Sachs, Accenture, MPA, Office Depot, Conrad
Hotels, LG, The Pit, and Bayer Group.
Jan Uretsky
Visiting Instructor
B.A., Vassar Collage; B.F.A., Parsons The New
School for Design; born and raised in New
York City; principal of Uretsky & Co., a small
multidisciplinary graphic design studio based
in Hoboken with over 20 years of experience
helping corporate and individual clients create
a full range of graphic design—everything from
complete brand identity, packaging, logos,
stationery and brochures to websites, book
covers, and publication design; clients include
AIGA/NY, Columbia University Press, Def
Jam Records, HarperCollins, Hope & Heroes
Children’s Cancer Fund, Human Rights Watch,
KPMG Peat Marwick, March of Dimes, The New
School, New York University, Strickman-Ripps
Inc., Screentalk Magazine, and Tor Books;
teaches Graphic Design Senior Project; honored
by awards from AGFA, PDN, Print, and How;
published in Print, How, Graphis, PDN Identity,
Business Cards 7, American Corporate Identity,
and 1000 Music Graphics.
Victor Vina
Assistant Professor
M.A. Computer-Related Design, Royal College
of Art, London; born in La Palma, Canary
Islands, Vina has been working as a designer,
researcher, and educator in Europe, Latin
America, and Asia; both his research work and
his pedagogical methodology investigate not
only the applications, but also the implications
of emergent technologies in diverse sociocultural contexts; his practice spans interaction
design, product and interface design, visual
communication, architecture, and digital
fabrication; he enjoys developing projects of
different natures, such as interactive data
visualizations, networked objects, light
installations for public space, open frameworks
for parametric design or DIY environmental
artifacts; he consults for Fortune 500 clients
and startups on human-computer interaction,
design thinking, and service design; he likes
helping students tell stories through design and
technology; he currently lives in Brooklyn, NY.
Gavin Wassung
Visiting Instructor
B.F.A., Pratt Institute; German-American
designer living and working in New York City;
serving clients in New York, Connecticut,
Tokyo, and Paris; previously was art director for
advertising agencies including Arnold Worldwide
and Grey Group; publications include Crain’s New
York Business; clients include Clinique, Colgate,
Diageo, DHL, Hanes, Harry Winston, Hershey’s,
HTC, McDonald's, Nine West, Powerade, Subway,
and Timex; exhibitions include Art Directors Club,
One Club, Pratt Show, Connecticut Art Directors
Club, and the Advertising Club of Connecticut;
specializes in identity design and works closely
with brand strategy and innovation teams to
bring thoughts and ideas into the visual and
interactive space.
Jing Wei
Visiting Instructor
B.F.A., Rhode Island School of Design; Chineseborn, California-raised illustrator and printmaker;
has created artwork for numerous publications
and galleries; clients include Adobe, Chronicle
Books, The New York Times, The New Yorker,
Bloomberg, NPR, Lucky Peach, and the Wythe
Hotel; recognized by The Society of Illustrators,
American Illustration, Communication Arts,
named one of Print magazine’s 20 Under 30 in
2012; based in Brooklyn, working out of a shared
studio in the Pencil Factory building; she is also
the brand illustrator for Etsy.
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Jon Weiman
Anthony Williams
Eric Wrenn
Adjunct Professor
B.F.A. Graphic Design, Tyler School of Art;
a graphic designer/illustrator/Web designer;
owner/principal of Weiman Design, located in
Randolph, NJ; serves on the Board of Directors
of the Art Directors Club of New Jersey and as
chair of the Education Council; formerly national
vice president of the Graphic Artists Guild;
served on the Board of Directors of the Society
of Illustrators as the Chair of Professional
Practices and Legislation, Fund Development,
and editor-in-chief of The Bulletin; designed
and illustrated over 400 book covers and four
children’s books; awards include 2010 and 2007
American Graphic Design Awards and a 2010
Award of Design Excellence from the ADCNJ;
exhibited internationally; work is in the perma
nent collection of the United States Air Force.
B.F.A., Tyler School of Art, Temple University;
over 24 years of experience in identity
and communications design; from 1989 to 1991
he honed his skills at Chermayeff & Geismar
Associates, where he was principal designer
on signage projects that included the
JFK International Airport 2000 Redevelopment
Program, the Times Square Redevelopment
Project, and the Tempozan Marketplace
in Osaka, Japan; as a senior designer he
also worked on the identity standards for
HarperCollins and Merck Pharmaceuticals;
launched Williams & Short Associates, where he
developed numerous projects, such as a new
logotype and comprehensive usage standards for
The Switzer Group, Inc., an award-winning
interior design firm, and design of a marketable
graphic symbol and accompanying graphic
standards for the Babies and Children’s Hospital
of New York; another notable identity project
was research and development of both the
name and corporate brand for Orissa, Inc.,
an expanding company specializing in custom
computer networking and applications software
development; at the helm of The Williams
Group, he produced advertising and collateral
material for a wide range of clients such as
Price Waterhouse Corporate Recovery Group
and Lifetime Television Studios; currently the
Creative Director of Zko, LLC.
Visiting Instructor
B.F.A., Pratt Institute; New York-based art
director; clients include Bernadette Corporation,
Eckhaus Latta, Gagosian Gallery, Microsoft,
Real Fine Arts and the Venice Biennale; worked
as a consultant at An Art Service, Mother New
York and Wolff Olins; as the art director of ’Sup
Magazine he collaborated with Bless, Diesel, Nike,
Opening Ceremony and Wood Wood; recognized
by the Type Directors Club and the Society of
Publication Designers; exhibitions include
Graphic Design: Now in Production at the Walker
Art Center; Ommu, Athens, Greece.
David Weinstock
Visiting Instructor
Studied Anthropology at the University of Chicago;
“neither fish nor fowl” due to the circuitous route
he took into advertising via programming, writing,
and finally being a creative director; has worked
for clients including Dos Equis, Wendy’s, Kohl’s,
the Ad Council, Frank’s RedHot Sauce, Guinness,
and Maybelline; recognized by the Cannes
Advertising Festival, the One Show, the Andys,
AICP, D&AD, and many others.
Parker Weintz
Visiting Instructor
B.A., Cornell University; a graphic designer
and art director who specializes in both print
and online media; clients include Y&R Brands,
Wunderman, Dell, Reebok, AT&T, Nat Nast,
North American Power, AIG, Blue Cross/Blue
Shield, and many others
Vance Wellenstein
Visiting Instructor
M.F.A., Yale University; partner at Other Means,
a graphic design studio in New York City that
works with clients in the cultural sector, designing
identities, websites, exhibitions, and publications,
and illustrating editorial content; in addition to
their client work, they produce their own projects
that investigate their fascination with language
and design’s relationship with popular culture;
formerly a Walker Art Center Design Fellow and
Designer-in-Residence at Art in General; serves
on the Education Committee at the Museum
of Arts and Design, and has served as guest critic
at FIT, Parsons The New School for Design,
SVA, and Yale University.
Pirco Wolfframm
Diplom Design Visuelle Kommunikation,
Hochschule für Gestaltung, Offenbach; M.F.A.
Graphic Design, CalArts; clients include R&D
Bayer Diabetes Healthcare, Johnson&Johnson
Healthcare, Saul Steinberg Foundation, DTGO
Bangkok, MIX: the New York Gay & Lesbian
Experimental Film/Video Festival; exhibitions
include Earthquakes & Aftershocks, France;
Goldstein Museum of Design, St. Paul, Minn.;
Rebellion Acceptance Overdrive, CalArts; Arosa
2000 Gallerie, Frankfurt; publications include Eva
Zeisel: Life, Design, and Beauty (Chronicle Books);
Design School Wisdom (Chronicle Books); Form,
Design magazine, and Tweak.
Kristopher Wong
Visiting Instructor
B.F.A. Graphic Design, Art Center College
of Design, Pasadena, CA; B.A. Interdisciplinary
Visual Arts, University of Washington, Seattle;
Hawaiian-born freelance art director and graphic
designer specializing in motion graphics; worked
at production companies and agencies including
Brand New School, The Mill+, Media Arts Lab,
and Logan, leading multidisciplinary teams
of artists, animators, designers and fabricators
on large-scale campaigns; clients include Ford
F-150, Oreo, Coca-Cola, Nike SB, and Nasdaq
OMX; he initially got into design as a grom
obsessed with surf culture, inspired by magazines
influenced by David Carson.
Christopher Zaccone
Visiting Instructor
Freelance illustrator and graphic designer with
a focus on youth, culture, and education; clients
include several cultural institutions; illustrations
have been featured at the New-York Historical
Society, most recently in the exhibition Lincoln
and New York; designed and illustrated numerous
educational materials for the New York Hall of
Science; illustrated educational books including
First Black Autos and Learning to Swim; he is the
illustrator behind the comic book After School
Agent, created with his friend and collaborator
Scott Weinstein.
Ping Zhu
Visiting Instructor
B.F.A., Art Center College of Design; Seattleborn, L.A.-raised, London-ripened, Brooklynbased illustrator; clients include The New
York Times, The New Yorker, GOOD Magazine,
Heineken, Marriott, Coach, The Wall Street
Journal, GQ, The Independent, Pushkin Press,
Instagram and others; publications include
Swan Lake (Nobrow Press, 2012). Awards include
Selected Artist for Somerset House’s Pick Me Up
Exhibition, London, 2012, named a Young Gun
by the Art Directors Club; recognized by American
Illustration and Communication Arts; exhibitions
in the U.S. and abroad; shares a studio in the
Pencil Factory and has a shiba inu named Uma.
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Fashion Design Faculty
Susan Cianciolo
Assistant Professor
B.F.A., Parsons The New School for Design; an
accomplished illustrator and fashion designer;
designs are regularly shown on the New York
fashion calendar and in galleries and museums
around the world; after studying fashion design
at Parsons The New School for Design and
painting at Winchester School of Art, she interned
at Geoffrey Beene under Alber Elbaz; worked
as a production manager for Kim Gordon’s
line X-Girl, and then moved on as an assistant
collection designer at Badgley Mischka; produced
her critically and commercially successful
RUN Collection from 1995–2001; other credits
include a collaboration with Cone Denim in 2005,
the 2007 film 1960s Butterfly Girl (which featured
many of her designs), and teaching positions
at both Pratt and Parsons The New School
for Design.
Rose DePasquale
Professor
Owner/designer; yoga wear and accessories line;
OM SWEET OM LLC; member: Fashion Group and
Underfashion Association.
Olivia Eaton
Visiting Instructor
B.F.A., Rhode Island School of Design;
Fashion Institute of Technology; more than
20 years’ experience in the knitwear market
as both a designer and production manager;
currently teaching courses in knitwear in the
Fashion department.
Roxanne Eklund
B.A., Iowa State University; M.S., University
of Kentucky; over 25 years in the footwear
and accessory industry as a designer and
entrepreneur; companies include Timberland,
Genesco, Rockport, Coach, LB Evans, Dan
Post, Acme Boot, Sperry, Rocky Boot, Eureka
Outdoors, Hanes and others; owner/designer of
a national jewelry company for 15 years; owner/
designer of national brand companies including
Beadz sneakers and Ruff Hewn footwear and
accessories; three industrial patents and
publications in textiles and footwear.
Gabriela Galvan
B.F.A., Fashion Design, California College of the
Arts; a patternmaker for contemporary ready-towear and connection designers, background in
design, production, and development has included
projects and practice with such brands as Carlton
Hall, Axiom Apparel, Uluru, Velasco Couture,
Cushnie et Ochs, Ralph Lauren Collection, Derek
Lam, Rogan, Laila Azhar, and ADAM; presently
the head patternmaker for Foley + Corinna; has
been an educator and curriculum developer at
the Glassell Junior School: Museum of Fine Arts in
Houston, Texas, and ArtEsteem School in Oakland,
California.
Liz Goldberg
B.F.A. with Honors, York University, Toronto;
M.F.A. Painting and Drawing, Pratt Institute;
post-graduate study: Film, Temple University;
teaches Fashion Design and Illustration at
Pratt Institute, Drexel University, Philadelphia
University; Architecture Drawing, Foundation Art
and Design, and Figure Drawing II at Philadelphia
University; 2003 fellowship recipient of the
Pennsylvania Council on the Arts and Media
Arts; animated films include Drumba, Puppets’
Cabal, Strings, Beatbox Philly (exhibited on
public television), Cocktail Couture, and Devils’
Waltz; paintings and graphic work represented
by Amsterdam Whitney Gallery, N.Y.C.; Gallerie
Chiz, Pittsburgh; Intimate/Inanimate—The Art
of Contemporary Puppet Theater showcased in
exhibition at the Katonah Museum of Art, 2010.
Kelly Horrigan
B.F.A., Fashion Design, Pratt Institute; fashion
designer and educator; owner/designer of
Kelly Horrigan Handmade, creating one-of-akind leather designs that combine old-world
techniques with a modern aesthetic; work
has been featured in the pages of the Fader,
Surface, and Velvetpark Magazine, Style.com,
and The New York Times and seen on Here! and
Bravo TV; design consultant for J. Crew, Old
Navy, Aeropostale, American Eagle Outfitters,
Playboy, and Fila USA; her costume designs
have been featured at Dance Theater Workshop,
Context Studios, and Galapagos Art Space.
Specializes in leather, textile print design, and
handmade commissions.
W. Christopher Hunte
A.A.S., LaGuardia Community College; B.F.A.
Fashion Design, Pratt Institute; started career
in Men’s Furnishing Saks Fifth Avenue before
venturing into custom couture design; designed
for diplomats, former Governor of Barbados,
Consul Generals to Barbados and Jamaica; talk
show host Rolonda Watts, As the World Turns,
All My Children, and the Metropolitan Opera;
recipient of the Black Retailers Action Group
Entrepreneurs Award, Outstanding Young Men of
America, and a New York State Assembly Citation
for Community Service.
Elmaz Huseyin
Kim Jenkins
Gene Lakin
B.A., Cultural Anthropology and Art History,
University of Texas at Arlington; M.A., Fashion
Studies, Parsons; as a graduate of the emerging
field of Fashion Studies, analyzes fashion
as both object and theory in the shaping
of culture and identity; while at Parsons,
co-curated New York’s first-ever fashion
exhibition on the work of designer Giorgio di
Sant’Angelo and co-founded a student-run
fashion publication entitled BIAS: The Journal
of Dress Practice; in May 2013, presented her
master’s thesis, “That Was My Veil”: Sartorial
and Cosmetic Constructions of Resilience in
Divorced Women, which investigated the role
clothing and cosmetics play in transforming the
self in efforts to attain the psychological trait of
resilience.
B.F.A., University of North Carolina at WinstonSalem; M.F.A., Yale University; Certification in
Arts Therapies, The New School; taught summer
program in Johannesburg, South Africa with the
Parsons School of Design; started the high school
fashion studies program at Studio Place Arts in
Barre, Vt.; mentored Pratt ’09 Junior class for
CFDA and Geoffrey Beene competitions with one
student receiving an honorable mention.
Adrienne A. Jones
Professor
A.A., Fashion Design, Fashion Institute of
Technology; B.S., Art Education, College of New
Rochelle; M.S., Art Therapy; instructor at Pratt
for over 20 years; also teaches adult education
and pre-college for the School of Professional
Studies; serves as the faculty advisor for the
Fashion Society and volunteers with America
Reads; designs sportswear and leatherwear for
private clientele as well as producing fashion
events and providing fashion styling services.
Rose M. Kampert
B.F.A., Pratt Institute; Drawing and Painting
with Honors, Fashion Institute of Technology;
continuing education courses in technical
apparel; from 1990–2000, headed LOVE
NYC, specializing in contemporary juniors’
sportswear; currently designs and makes
patterns for scores of companies while
teaching at several New York institutions;
in addition to her connection to the current
industry through freelance work, she
continues to be active and inspired by fine
art, music, and film and consistently brings
this into her classroom.
David J. Krause
Visiting Instructor
B.F.A., Fashion Design, Pratt Institute; co-owner
and co-designer of the new brand label Alder,
which crafts responsibly made ready-to-wear
accessories and beauty products produced in
New York City; work has been featured in several
notable publications, such as Women’s Wear
Daily, Surface, Essence, and Elle; member of the
Pratt Design Incubator for Sustainable Innovation.
Jacqueline Lamont
A.A.S., Fashion Institute of Technology, Fashion
Design, couture specialization; studied couture
millinery under Janine Galimard; owner/designer
Jacqueline Lamont LLC specializing in hats that are
sold nationally and internationally in upscale stores
and boutiques such as Barneys, Fred Segal, and
Estination, Japan; her private labels have inclu
ded J. Crew and Burberry; a special selection of
her couture hats was available at the Philadelphia
Museum of Art in honor of the retrospective
Ahead of Fashion: Hats of the 20th Century.
Van Lupu
Professor
B.F.A., Rhode Island School of Design; owner and
designer of Van Lupu, Ltd., a freelance design
consultancy with over 30 years experience in
fashion; full-time professor conducting classes
for students of all levels; supervises the CFDA
and YMA/ FSF student scholarship competitions;
member of the Fashion Group International and
the Fashion/Trends Workshop.
Emily Mader
B.A., Comparative Literature and Romance
Languages, University of Oregon; after years in
the publishing industry handling marketing and PR
management for independent, design-focused
publishing houses, segued into managing publicity
and events for touring authors both as an events
director and a publicity liaison for authors such
as Joyce Carol Oates, Garrison Keillor, Alice
Walker and other literary giants; upon moving
to New York City in 2010, transitioned from the
book world to the world of design academia;
joined the Pratt Fashion administration to
provide support for the program’s students,
faculty and the writing, management and imple
mentation of core curriculum; oversees the
annual fashion show operations and planning as
well as workshops, lectures, industry outreach
and other major departmental events.
Jennifer Minniti
Chair
B.S. Fashion Design, Philadelphia University; M.A.
Costume Studies, New York University; designer,
curator, scholar, and academic administrator;
formerly associate chair and associate dean,
California College of the Arts, where she taught
in the Fashion Design department (1997–2011);
235
other recent teaching appointments have
included visiting professorships in Fashion at
CEDIM University in Monterrey, Mexico, and
at the School of the Art Institute of Chicago;
industry experience includes working for Donna
Karan in Manhattan, and helping to launch
a sustainable collection, titled Clothespin;
curatorial work includes appointments as a
research consultant in ethnographic textiles and
modern fashion at the DeYoung Museum and as a
curatorial consultant to the Wattis Institute,
both in San Francisco, California.
Martin Price
Alnea Miskiv
A.A. Business Administration, University of San
Francisco; B.F.A. Fashion Design, California
College of the Arts; lectures on fashion design
across Asia, in countries including Japan,
Malaysia, and Vietnam; as many artists and
designers use their environment to feed their
cravings, she uses her time as a design lecturer
overseas as part of her fashion research and
gained new expertise on an international scale;
worked with various garment manufacturers
from India, Japan, Italy, Korea, China, and Hong
Kong, and consulted for designers from Asia to
Europe; experience abroad includes launching
her contemporary women’s brand, Farahbella,
in Japan.
Robin Mollicone
Visiting Instructor
B.F.A. Fine Arts/Fibers, Syracuse University; artist
and jewelry designer with more than 20 years
in the fashion jewelry industry; since 2006 has
taught Pratt classes in fashion jewelry design,
sustainable practices, and served as an internship
advisor for fashion students; currently exhibits
her work in galleries in New York City.
Luigi Montesano
Fashion Institute of Technology; Parsons
The New School for Design; Kingsborough
Community College; over 30 years’ experience
in the handbag and leather goods accessory
market; currently works at Coach Leatherware
as a senior product engineering manager.
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 USA; accessories designer for Liz Claiborne,
art director, Everlast, BUM Equipment, and
Nautica kids; freelance product, graphic,
and interior designer; has taught fashion and
industrial design at Pratt
since 1998.
Primary assistant to legendary American fashion
designer Giorgio di Sant’Angelo for more than
11 years, acting as the designer’s liaison with
fashion editors and journalists, communicating
design ideas to the sample room director, and
orchestrating runway presentations; after Sant’
Angelo’s death (1989), continued as designer
for the house until its closure (1992); in the
late 1990s, donated the extensive Sant’Angelo
Archive to the Metropolitan Museum of Art’s
Costume Institute; remains devoted to the
historical documentation of the designer’s work
as a consultant to museums and libraries across
the country; since 2004, assistant professor at
top art and design colleges; mentors junior and
senior-year classes in collection and design
philosophy development, fostering the students’
discovery of their individual point of view and
unique creative vision, while drawing upon his
extensive experience in the fashion industry to
guide them towards understanding the many
roles of the 21st-century fashion designer.
Shannon Price
Assistant Chair
B.A. Anthropology, University of California,
Berkeley; M.A. Visual Culture, New York
University; M.Phil. Decorative Arts, Design
History, Material Culture, Bard Graduate Center.
After a decade in music industry management,
costume design, and fashion styling, entered
academia through the Costume Institute at
the Metropolitan Museum of Art; as Associate
Research Curator, collaborated with Harold
Koda, Curator in Charge, and Andrew Bolton,
Curator, on exhibitions, publications, acquisitions,
and education; in addition to co-authoring Wild:
Fashion Untamed, she has contributed to the
Encyclopedia of Clothing and Fashion (2004) and
the Met’s award-winning Timeline of Art History;
she served as co-editor for the inaugural issue of
the journal Luxury: History, Culture, Consumption,
published by Bloomsbury in 2014, and serves as
an editorial board member for the Fashion, Style
and Popular Culture Journal (PCA/ACA, Intellect
Books); has taught and lectured at New York
University and Parsons, with research interest
areas that include 20th-century avant-garde
fashion and sub-cultural style, non-western
costume as it relates to contemporary fashion
practice, issues of sustainability and diversity,
and postwar decorative arts and design history.
Karen Pritchett-Neuman
Adjunct Professor
A.A.S. Fashion Illustration, Art Institute of
Pittsburgh; freelance illustrator; clients
include Bill Blass, major department stores,
and children’s books.
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Emily Putterman Handler
Beverly Semmes
Drake Stutesman
Visiting Instructor
A.A.S., Fashion Institute of Technology; Certificate
1989, Cordwainers Technical College, England;
assistant adjunct professor at FIT for 21 years;
teaches shoe design and shoemaking also at
Hunter College; started a shoemaking program
at the Jewish Community Center of Manhattan;
taught at Make workshop, Craft Student League,
Nippon Club; has appeared on NY1 News, Fox
5 Eyewitness News, Japanese television; Daily
Candy; articles in The Sun, Village Voice.
B.A. Art History/B.F.A. Fine Art, Boston Museum
School/Skowhegan; M.F.A. Sculpture, Yale
University; an internationally recognized artist
who has been showing her work since 1990;
solo exhibitions at the Hirshhorn Museum and
Sculpture Garden (Washington, D.C.), the
Kunsthallen Brandts (Odense, Denmark), the
Kunstverein Ulm (Ulm, Germany), the Camden
Arts Centre (London), the Neuberger Museum
of Art (Purchase, N.Y.), P.S.1/MoMA (Long Island
City, N.Y.), Sculpture Center (New York City), the
Institute of Contemporary Art (Philadelphia),
and the Museum of Contemporary Art (Chicago);
received numerous grants and awards, including
an Alice Kimball English Award from Yale (1997),
a grant from Art Matters (1998), an Artist’s Space
Grant (1989), an NEA Fellowship (1994–95), a New
York Foundation for the Arts Fellowship (1997),
and the Art Critics International Association
(AICA USA, 2001); work is held in the permanent
collections of many important museums, such
as the Albright Knox Art Gallery (Buffalo, NY)
the Hirshhorn Museum and Sculpture Garden
(Washington D.C.), the Whitney Museum of
American Art (New York, NY), the Denver Art
Museum (Denver, Colo.) and the Los Angeles
Museum of Contemporary Art (Calif.); has
completed three major commissioned works for
public lobby spaces: an installation for Microsoft
Corp. headquarters in Redmond, Wash., a large
wall work for the Progressive Corp. in Mayfield
Village, Ohio, and a grand entry sculpture for
Musachino Art University Library in Tokyo, Japan.
B.A. Literature, Bard College; M.A. Cultural
Studies, University of London; Ph.D. American
Studies, University of Sussex; teaches Film
Costume Design at New York University; writing
a cultural history of hats (Reaktion Press),
biography of milliner/couturier, Mr. John, and
a screenplay of Djuna Barnes’s Nightwood.
She writes experimental fiction; since 2000,
edits the peer-reviewed journal Framework;
on the board of Central Saint Martins–based
Fashion in Film Festival and PEN Prison Writing
committee; she taught Literature and Cinema
Studies in London colleges/universities for a
decade and Creative Writing in Holloway Prison;
her work has been published by, among others,
the British Film Institute, the Museum of Modern
Art and Bookforum.
Karen Rippy
B.F.A., Fashion Institute of Technology; Assistant
Professor at F.I.T.; The New School; Freelance
intimate apparel designer; teaches classes in
draping, patternmaking, sewing, body contour,
knitwear design, lingerie design.
Dean Sidaway
Assistant Professor
M.A., Central St Martins, London; breakthrough
collection grabbed the industry’s attention; a
designer and consultant with experience gained
from working internationally with Calvin Klein and
Clements Ribeiro, among others; “The Revenge”
collection (2011) was shown at the London
Fashion Week’s official fall runway presentations;
recent publications to feature the collections
have included Vogue Italia, W magazine, and i-D
magazine, with commissions photographed by
Sebastian Feana and Sarah Moon; previously
taught at Central Saint Martins and University for
the Creative Arts, relocating in 2011 to the U.S. to
teach at Savannah College of Art and Design.
Melanie Schmidt
Adjunct Professor
B.F.A. Fashion Design, Pratt Institute; M.F.A.
Costume Design, Brooklyn College; more than
15 years of experience as a costume designer,
specializing in theater and dance performances;
costume design work has appeared in shows for
Disney, Alces Productions, The Sackett Group,
and choreographer Katie Langan; costume
production work in dance performances for
Juilliard, Alvin Ailey, and the Radio City Rockettes;
in television for the CBS Evening News with Katie
Couric, The Sopranos, One Life to Live, Guiding
Light, and Fashion Rocks; and for numerous
Broadway shows including Memphis, Wonderland,
The Wedding Singer, and Cat on a Hot Tin Roof as
well as the New York Philharmonic’s productions
of Camelot and Company; member of I.A.T.S.E.;
custom jewelry designer for private clients; judge
for Daytime Emmy Awards; work listed in The New
York Times.
Erica Simon
Visiting Instructor
B.F.A., Reed College; works as a designer in
New York City for two accomplished jewelry
companies; simultaneously, she is happily growing
her company to get her jewelry out to the
fabulous women of the world who are missing
that one commanding item from their wardrobe.
Emily Spivack
Work spans culture, fashion, and social
innovation; spent five years collecting stories
about clothing and memory from eBay posts
for a website she curates, Sentimental Value;
in 2010, launched Worn Stories, a collection
of stories she edits from interesting people
about clothing and memory (Princeton
Architectural Press, 2014); creator and writer
of the Smithsonian’s only blog about fashion
history called Threaded; currently consults for
SustainAbility, a think tank focused on the future
of sustainable development; work has been
featured in The New York Times, The Wall Street
Journal, The Washington Post, Fast Company’s
Co.Design, Brain Pickings, Lucky, Glamour, and
Ecouterre, among other publications.
237
Karin S. Yngvesdotter
Studentexamen Science, Polhem, Sweden;
A.A., Fashion Institute of Technology;
owner: K.Yngvesdotter, Inc., bridal; head
designer: Wondermaid, Christian Dior Daywear;
design manager: GJM, V.S. sleep- and daywear,
Lane Bryant Sleepwear; designer: Natori;
freelance: Leigh Bantivoglio, Passion Bait,
Christina Stott, Aerin Rose, Lisa Marie Fernandez,
Studio Rouge, Juliara.
Foundation Faculty
Luis Alonso
B.F.A. Illustration, Rhode Island School of Design;
European Honors Program, RISD, Rome, Italy;
M.F.A. Painting, Skowhegan School of Painting
and Sculpture; Mason Gross School of the Arts,
Rutgers University at New Brunswick.
Philip Ayers
Assistant Professor
B.F.A., Massachusetts College of Art and Design;
summer, Skowhegan School of Painting and
Sculpture; M.F.A., Rutgers University, New
Brunswick; exhibitions include the Queens
Museum of Art, Chrysler Museum of Art,
Indianapolis Museum of Art, New Jersey State
Museum of Art, Indiana University Art Museum,
Florida International University Art Museum,
Koplin Gallery, Los Angeles, Semaphore Gallery,
New York, Ruth Segal Gallery, New York; grants
and fellowships include National Endowment for
the Arts, the Pollack-Krasner Foundation, New
Jersey Council on the Arts; collections include
Chrysler Museum of Art, Norfolk, Va., Chase
Manhattan Collection, New York, Museum of
Fine Arts, Boston; publications include Arts
Magazine, The New York Times, Artforum, Los
Angeles Times.
Todd Ayoung
B.F.A., School of Visual Arts; M.F.A., Yale
University; exhibited in museums and galleries
in Denmark, Austria, Belgium, England, Holland,
The Netherlands, Colombia, Costa Rica, and
throughout the United States; work has been
published in Third Text, Bomb Magazine, New
Observations.
Cathey Billian
Adjunct Professor
M.F.A., Pratt Institute; large-scale projects, at
the intersection of public art and environmental
interpretation, for the National Park Service,
the California Rivers and Trails Div., the City
of Phoenix, the Whitney Museum Sculpture
Court, Art Omi, et al; collections: Smithsonian,
Library of Congress, Philadelphia Museum of
Art, Norton Simon Inc., Chase Manhattan Bank,
former Vice President Al Gore; awards: National
Endowment for the Arts Fellowship, Mid-Atlantic
Arts Foundation, New Jersey State Arts Council,
National Park Service Residencies (six), the N.Y.
Experimental Glass Workshop, N.Y. State Council
on the Arts (four). Writer/Board: Public Art
Review.
Brian Brooks
B.F.A, Pratt Institute; M.S.E., Queens College;
M.F.A., Brooklyn College.
David Brown
Aaron Davidson
Professor
B.F.A., North Carolina State College School of
Design; M.F.A. Sculpture and Design, Cranbrook
Academy of Art; José de Rivera Apprenticeship;
exhibitions include Grace Borgenicht Gallery,
New York, N.Y.; Guild Hall, East Hampton, N.Y.;
DeCordova Museum, Lincoln, Mass; Detroit
Institute of Arts, Mich; Hirshhorn Museum,
Washington, D.C.; commissions include Xerox
Corporation World Headquarters, Stamford,
Conn; Johns Hopkins University, Baltimore, Md.;
Fort Lauderdale Airport, Fla; Yanbu Medical
Center, Yanbu, Saudi Arabia; consulting clients
include Walt Disney Imagineering; ABC Television
Times Square Studio, Museum of Modern Art.
Adjunct Instructor
B.F.A., University of New Mexico.
Kye Carbone
Adjunct Professor
B.F.A., School of Visual Arts; M.F.A., Brooklyn
College; an illustrator from 1979 to 1992, work
appeared on The New York Times op-ed page,
on the covers of many book jackets, in national
magazines, and was featured in major advertising
campaigns; in 1992 he returned to his first
passion: painting; abstract works have been
exhibited widely and are held in many private and
corporate collections.
Nancy Cohen
Visiting Instructor
B.F.A. Ceramics, Rochester Institute of
Technology; M.F.A. Sculpture, Columbia
University; exhibitions include Accola Griefen
Gallery, N.Y.; Noyes Museum of Art, Oceanville,
N.J.: Textile Museum, Washington, D.C.; CODA
Museum, Apeldoorn, NL: selected publications
include The New York Times, ARTnews, Sculpture,
Hand Papermaking, The New Yorker; awards and
honors include ISE Foundation Grant, 2015;
Collaborative Residency, Corning Museum of Art,
2013.
Pier Luigi Consagra
Associate Adjunct Professor
Exhibitions include the Jamie Wolff Gallery,
Barbara Toll Gallery, and the Holly Solomon
Gallery as well as numerous group exhibitions
both nationally and internationally; selected
publications and reviews include The New Yorker,
The New York Times, The Paris Review, Art in
America, Town & Country, and Sports Illustrated;
Awards include NEA 1995; NYFA awards (1985–
1995); 2014 John Simon Guggenheim Fellowship
for Fine Art; teaching experience includes
Columbia University, Bard College, Bennington
College, The Cooper Union, and Pratt Institute;
a drawing workshop at the Metropolitan Museum
of Art from 2005 to 2009, where he also
lectured on the museum’s permanent collection;
served on panels on varying subjects including:
American Folk Art Museum: Discussions on Adolf
Wolfli, CAA (New York) on drawing, the New York
Academy of Art.
Maria de Los Angeles Cornejo
Visiting Professor
A.F.A. Painting, Santa Rosa Junior College;
B.F.A Painting and Drawing, Pratt Institute;
M.F.A. Painting and Printmaking, Yale University;
exhibitions include Garis and Hahn, New York;
The Imaginists, Santa Rosa, CA; Front Art Space,
New York; Pratt President’s Office Gallery, New
York; The Study Hotel, New Haven, CT; Awards
and honors include Community Engagement
Award 2014; Blair Dickinson Memorial Prize, 2015;
Mana Contemporary Art Residency 2015; and
Director Plus Founder of One City Arts program
in Santa Rosa, California.
Hank DeRicco
Adjunct Professor
B.F.A., SUNY/Empire State College; M.F.A.,
School of Visual Arts.
Carol Diamond
B.F.A., Cornell University; Purchase Prize,
American Academy of Arts and Letters; Edwin
Palmer Prize, National Academy Museum;
collection of Portland, Oregon Museum of
Art; Instructor Chautauqua Institute, and City
University of New York.
William Fasolino
Associate Professor
B.F.A., M.F.A., Pratt Institute; Title III Grant,
Mellon Grant, Communication Arts Magazine,
Society of Illustrators; acting dean 1992–1996,
School of Design, Pratt Institute; chair
Foundation Art and Design 1996–2011.
Deryck Fraser
B.F.A., M.F.A., Pratt Institute.
Iona Fromboluti
Associate Professor
Yechiam Gal
Professor
B.F.A., School of Visual Art; B.Eng., Haddassah
College of Technology, Photography and
Animation, Jerusalem, Israel; studied philosophy,
Hebrew University, Israel; studied creative writing
and poetry under Yehuda Hamichi, Jerusalem
Writer House, Israel; experienced artist/edu
cator with more than 40 years’ leadership,
commitment, and dedication to teaching, with
substantial experience in the area of higher
education; taught in different educational
environments, instructing students with varying
degrees of competency, in community colleges,
private institutions, and state universities.
238
Foundation Faculty
Celia Gerard
Andrew Lenaghan
Natalie Moore
Leslie Roberts
Rebecca Welz
B.A., with honors, Art and Art History, Colgate
University; Ed.M. Art in Education, Harvard
University; M.F.A. Sculpture, New York Studio
School of Drawing, Painting, and Sculpture;
solo exhibitions include Sears-Peyton Gallery,
New York, N.Y.; and Tayloe Piggott Gallery,
Jackson, Wy.; Group exhibitions include the
National Academy Museum, New York, N.Y.;
Lori Bookstein Gallery, New York, N.Y.; Sideshow
Gallery, Brooklyn, N.Y.; Lohin-Geduld Gallery, New
York, N.Y.; Gutman Library, Harvard University,
Mass.; Coolidge Center for the Arts, Portsmouth,
N.H.; ISA Gallery, Montecastello di Vibio, Italy;
selected publications include ARTNews, CityArts,
the Daily Beast, ArtSlant, works&conversations;
awards and grants include the S.J. Wallace
Truman Fund Award for graphics from the
National Academy Museum; Artist-in-residence,
the New York Studio School; LCU foundation
grant; Cathedral of St. John the Divine Sculpture
Fellowship.
Visiting Instructor
B.F.A., Cornell University; M.F.A.,
Brooklyn College.
Assistant Chair, Adjunct Associate Professor
B.A. Fine Art, University of California, Santa Cruz;
M.A. Studio Art, New York University; exhibitions
include Lesley Heller Workspace, NYC; Textile
Arts Center, Brooklyn, N.Y.; Wassaic Project,
Wassaic, N.Y.; Galeria de Arte Mexicano, Mexico
City, Mexico; Islip Art Museum, Islip, N.Y.;
publications include The New York Times, New
York Newsday, CNN; honors and awards include
Artist in the Marketplace, Bronx Museum, 1992;
Pollock Krasner Foundation Grant, 2009; Artist
in Residence, Textile Arts Center, 2012.
Professor
B.A. Art, Yale University; M.F.A. Painting, Queens
College, CUNY; solo exhibitions include Eyewash
Gallery, New York; PPOW Gallery, New York;
Holiday Gallery, New York; group exhibitions
include Pierogi Gallery, New York; Davidson
Contemporary, New York; Brooklyn Museum;
awards and honors include residencies at the
Virginia Center for the Creative Arts, Yaddo,
and Skowhegan; Yale’s John Courtney Murray
Fellowship for independent work abroad; and
Pratt’s Faculty Research Grant.
Adjunct Professor
B.F.A., School of the Museum of Fine Art, Boston.
Sung No
Molly J. Roberts
Technician, Visiting Instructor
A.A., Monroe Community College; B.F.A., M.F.A.,
Pratt Institute.
B.A. Business with minor in Art History, Western
Michigan University; M.I.D. with honors, Pratt
Institute; Art History and Design, Syracuse
University International Program, Florence, Italy.
Jane Haimes
B.F.A. Painting, Cornell University; selected
exhibitions include Nancy Hoffman Gallery,
Red Dot Chicago, Art Miami, Art L.A., Artists’
Space, O’Hara Gallery, Robert Steele Gallery,
The Painting Center, Interchurch Center,
Provincetown Museum of Art; former adver
tising art director, San Francisco, and senior art
director, Grey Advertising, New York; awards
for print and TV: New York Art Directors Club
“Effie’ award, Andy Award, and One Show.
Elisa Jensen
Visiting Instructor
B.A. Art, Smith College; certificate in painting,
New York Studio School; awards include
2015 New York State Foundation for the Arts
Fellowship; 2010 National Academy Prize for
Painting; John Koch Award in Art; 2009 American
Academy of Arts and Letters; 1993 Revson
Foundation Fellowship; elected a member
of the Corner artists’ group, Denmark, 2015;
exhibitions include John Davis Gallery, 2015; The
Painting Center, 2014; Kimmel Gallery, NYU, 2014;
New York Studio School Gallery, 2014; group
shows include Life on Mars Gallery, Bushwick,
2014; Leslie Heller Gallery, New York, 2014;
Sophienholm Museum, Denmark, 2014; Sideshow
Gallery, Brooklyn, 2014; publications include
Artcritical.com, Tilted-Arc.com, Hyperallergic,
The New York Times, Artinterviewsny.com, New
York Sun, New York Daily News.
Mimi Kim
B.A., Smith College; M.F.A., University
of Pennsylvania.
James Lipovac
B.F.A., Maryland Institute College of Art;
M.F.A., Indiana University.
Dik Liu
M.F.A. Painting,, Yale University School of Art;
has taught at Fairleigh Dickinson University, the
School of Visual Arts, Pratt Institute, Cooper
Union, The New School for Social Research, and
the New York Academy of Art; solo exhibitions
include Allen Sheppard Gallery, New York, N.Y.
and Art Moving, New York, N.Y., among others;
has also exhibited at the National Academy of
Design, New York, N.Y.; White Columns, New
York, N.Y.; BlumHelman Warehouse, New York,
N.Y.; and Yale University, CT; curatorial projects
include exhibits at Tweed Gallery, Mayor’s Office
of the City of New York; work has been reviewed
in Zing Magazine, The New York Times, American
Artist Magazine, and artsMEDIA; included in the
book 100 New York Painters, and 100 Boston
Artists, (both Schiffer Publishing); has written
articles for Zing Magazine, Godzilla Newsletter,
Artfaces.com.
Jennifer Logun
B.A. Political Science, Gettysburg College;
M.Arch., University of Florida; exhibitions include
Universidad de Monterrey; selected publications
include Interior Design Magazine, New York
Construction Magazine, and Interiors Magazine.
Sabrina Lovell
Jennifer McNutt
M.F.A., Yale School of Art.
Andrea Merkx
B.F.A. Studio Art/Film, University of New
Mexico; M.F.A. Fine Art, Hunter College, City
University of New York; international exhibitions
and performances include Or Gallery, BC,
Circuit, CH; New York venues such as Ramiken
Crucible, Swiss Institute Contemporary Art, PS1,
Bowery Ballroom, Irving Plaza, and Terminal 5;
as part of Merkx&Gwynne, a collaborative
framework for interdisciplinary experimentation
in group-exhibition-cum-music-video-set
production formalized in 2012, she has curated
and designed exhibitions at Shoot the Lobster,
Bureau N.Y., BRIC Arts Media, and NADA
N.Y.; she continues working in traditional and
experimental opera in both scenic and video
design and as an associate director.
239
Linnea Paskow
B.A. Fine Arts, Haverford College; M.F.A Painting,
University of Pennsylvania; exhibitions include
John Davis Gallery, Hudson, N.Y.; Honey Ramka,
Brooklyn, N.Y.; Michael Steinberg Fine Art,
New York, N.Y.; Kunstoffice, Berlin, Germany;
selected publications include Time Out New York,
Hyperallergic, NY Arts Magazine.
Jonathan Peck
Visiting Instructor
Yale University; in 2010, participated at the
Skowhegan School of Painting and Sculpture in
Skowhegan, ME; exhibitions nationwide include
the Museum of Contemporary Art, Miami, FL.;
the Bemis Center for Contemporary Art, Omaha,
Neb.; and the New Museum, New York, N.Y.;
Work has been featured in publications including
Miami Contemporary Artists and 21st-Century
Visions (both Rizzoli); adjunct professor in the
Humanities, LaGuardia Community College, Long
Island City, N.Y.
Reeva Potoff
Adjunct Professor
B.F.A., Pratt Institute; M.F.A., Yale University.
Peter T Ragonetti
Visiting Assistant Instructor
B.I.D., Pratt Institute; more than 100 patents
awarded; publications include The New York
Times T Magazine, In-Style Magazine; mentor
for the Pratt Refinery; cofounder of Pettag+,
FLEKS3D, and Formtap3d.
Christopher Sanderson
Associate Professor
B.F.A, Leeds College of Art; M.F.A., Slade School
of Fine Art.
Kimberly Sloane
Acting Chair
B.A., Yale University; M.F.A., Parsons The New
School for Design; has shown drawings and
paintings at the National Academy, New York
Studio School, Maurice Arlos Fine Arts, and
Dartmouth College, among other places;
received both the Mikhail and Ekateryna Shatalov
Prize and the Samuel F. B. Morse Medal for
Drawing in 2002 from the National Academy and
received an Ingram-Merrill Foundation Award.
Micki (Migiwa) Spiller
B.F.A. Sculpture, Kansas City Art Institute; M.F.A.
Sculpture, Ohio State University; M.L.S. Queens
College CUNY expected spring 2016; exhibitions
include: Brooklyn Public Library, Center for
Book Arts, Brooklyn Museum, and Evergreen
House Museum; awards and honors include
Pollock-Krasner Foundation Grant, Art Matters
Fellowship Grant, Queens Arts Fund Recipient
and Printed Matter.
Beth Warshafsky
B.F.A., Antioch College; M.F.A., Columbia
University.
Patrick Webb
Associate Professor
Yale University; exhibitions in numerous venues
throughout the United States; work is repesented
in many museums and corporate collections;
grants and awards include National Endowment
for the Arts, The Ingram Merrill Foundation, Art
Matters, and the National Academy of Art; has
taught at numerous art schools and universities.
Doug Wirls
Associate Professor
B.F.A., Tyler College of Fine Art; awards include;
Laufman Award for Drawing and the Isador Medal
for Painting, both from the National Academy of
Design, Distinguished Professor, Pratt institute,
2007; work is represented in the collections
of the Pennsylvania State Museum, the Butler
Institute of American Art and the New Jersey
State Museum.
Christopher Wynter
B.F.A., Empire State College; Certificate, National
Academy of Design; solo exhibitions include
Barbara Greene, Studio Museum in Harlem,
Goebelkunst, Luz Verde, and others; public
works include MTA/New York City; Hualein,
Taiwan; Aibetsu, Japan; La Romana, Dominican
Republic; University of Connecticut, and others;
collections include Merrill-Lynch, Studio Museum
in Harlem, Mitsubishi, SBA America, others;
awards include Arts International/Lila-Wallace,
West Africa; Asian Cultural Council, Taiwan and
Japan; Altos de Chavon, Dominican Republic.
Alice Zinnes
Adjunct Associate Professor with CCE
B.A. Art History, Swarthmore College; M.F.A.
Painting, Queens College, CUNY; Certificate of
Merit, Painting, Drawing and Sculpture, New York
Studio School; solo exhibitions include Causey
Contemporary Fine Art, Williamsburg, N.Y.; Janet
Kurnatowski Gallery, Greenpoint, N.Y.; Tribes
Gallery, New York, N.Y., the Art Center at Queens
College, CUNY, Queens, N.Y.; Alliance Gallery,
Narrowsburg, N.Y.; Cummington Community for
the Arts; reviewed in Revolt Magazine, Art News,
The Indypendent, Abstract Art Online, From The
Mayor’s Doorstep; radio interviews on WJFF (NPR
affiliate); fellowships: the Virginia Center for the
Creative Arts.
Industrial Design Faculty
Laurence Au
Visiting Instructor
B.I.D., Pratt Institute.
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.
Jobe Bobee
B.F.A., University of Michigan; M.I.D., Pratt
Institute; worked at IMG-Mercedes Fashion
Week in New York for several years, and also
has worked with leather products at BBDW in
Brooklyn; participated in various exhibitions,
including Model Citizens at the Chelsea Museum;
currently teaches the 3-D Design course for
sophomore students.
Constantin Boym
Professor, Chair
B.Arch., Moscow Architectural Institute, Moscow,
Russia; M.Design, Domus Academy, Milan.
Evan Clabots
B.F.A., Rhode Island School of Design.
Linda Celentano
B.I.D., Pratt Institute; studies in Denmark;
awards: IDEA Award was featured in BusinessWeek
magazine, the ID Annual Design Review Awards,
the Chicago Athenaeum Good Design Awards,
and the Metropolitan Home 2003 and 2004
Modernism Award; publications include Crain’s
NY Business, the cover of I.D. Magazine’s Annual
Design Review, The New York Times, Time Out New
York and internationally acclaimed design books;
work includes designing table top, eyewear,
housewares, consumer products, cosmetic and
surgical devices and instrumentation for Nambe,
Rosenthal, Alessi, Salton, Corning, Dansk, Copco,
Estée Lauder, Knoll, Oxo, Prescriptives, Donna
Karan, Black and Decker, Stryker Corporation,
and Ace Orthopedics; holds numerous patents
and was instrumental in creating The Rowena
Reed Kostellow Fund as well as the book,
Elements of Design (2002) by Gail Greet Hannah;
prior to becoming an independent designer,
employed by Smart Design in NYC; currently
teaches 3-D Design.
240
Gihyun Cho
Kate Hixon
Robert Langhorn
Adjunct Professor
M.I.D., Syracuse University; industrial design
educator, professional, and writer; has held the
position of chief industrial designer at Bell Labs
and Lucent Technologies and has served as a
design consultant for Goldstar, Samsung America,
Ken Carter, Loveland Toy, and the Kohl Group;
during his time at Bell Labs, he was awarded the
AT Excellence Award, Distinguished Member of
Technical Staff, Quality Award, and the Golden
Thread Award; Cho has been a visiting professor
and lecturer at Korea National University of Art,
Pratt Institute, CIDA in Taiwan, and The New
School; holds seven design patents.
Design principal of Hixon Design Consultants,
Hixon teaches 3-D design fundamentals and
studio classes at Pratt; her consultancy speciali
zes 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.
Middlesex Polytechnic; Royal College of Art,
London (Design Products); lectured in the
Industrial Design Department of the Arts Insti
tute of Bournemouth before moving to New
York in 2003; currently teaches Senior Studio
as well as Portfolio and Professional Practice
to undergraduates; as design director to the
Center for Sustainable Design Studies, he leads
interdisciplinary teams of students and alumni
on live, industry-led projects developing
sustainable products and systems.
Dana D’Amico
B.F.A., Rhode Island School of Design.
Lucia DeRespinis
B.I.D., Pratt Institute; academic appoint
ments: adjunct professor, since 1995; selected
awards, recognition, and published works:
Metropolis magazine, Vitra Design Book Cold
War Confrontations, Women Designers in the USA
1900–2000, ID Magazine Annual Review, Pratt
Manhattan and Schafler Gallery, 20 Women in
Design; Rowena Reed Kostellow Award (2007)
for excellence in teaching; Three-Dimensional
Design, Vitra Museum exhibition on George
Nelson Office; Women Designers in the USA
Exhibition, High Style: 20th Century American
Designers in the USA; and High Style: 20th Century
American Design, the Whitney Museum Exhibition
(aluminum clock).
Doremy Diatta
B.F.A., Syracuse University; M.F.A., Parsons The
New School.
Peter Erickson
Visiting Instructor
A professional prop builder who lives in New
York City, Erickson works out of a garage work
space in Brooklyn; is a professional maker of all
sorts; freelance work includes the fabrication
of custom furniture and props for advertising;
teaches model-making processes at Pratt.
Kathryn Filla
B.I.D., M.I.D., Pratt Institute; post-graduate
work, Bank Street College Graduate School of
Education, M.I.T. Advanced Visual Design Center;
educator, artist, designer with professional work
in museum education, exhibit, interior, and
architectural design; student of Rowena Reed
Kostellow, founder of the Industrial Design
Department, and Dr. William Fogler, recipient
of the Distinguished Teacher Award.
Beautiful, Dwell, Interior Design, Forbes Life,
and CNBC; Certified SolidWorks Professional
and a Certified SolidWorks Instructor.
Matthew Hoey
B.Arch., Temple University.
Yen Yu (Gary) Hou
B.S. Industrial Design, Wentworth Institute of
Technology; served as wood shop technician at
Pratt Institute since 2007; experience managing
carpentry projects, brings a comfort and fluency
with shop machines and model construction;
helps students with modeling techniques and
design solutions; teaches required shop safety
course to train students on machines and tools,
and to follow safe procedures when working
in the shops; during free time, designs and
fabricates furniture.
Jeffrey Kapec
B.I.D., Pratt Institute; School of Visual Arts
(studied space analysis, wire problem, relation
ships in abstraction); principal and executive
vice president of Tanaka Kapec Design Group,
Inc.; from 1980 to present, his work focused
on surgical instruments, medical diagnostic
equipment, pharmaceutical packaging, drug
delivery systems, technical instruments, office
equipment, office furniture, and consumer
products; he logged hundreds of hours in the
OR, viewing surgery with the most renowned
surgeons in neuro, ENT, gastro, orthopedic,
cardio, open heart, OBGYN laparoscopic,
minimally invasive, and coronary interventional;
engaged in new product development and
industrial design for over 35 years; responsible
for design and development of more than 500
products of which 60 percent are medical/surgi
cal; experience also includes extensive work on
new consumer products and equipment design;
primary inventor and co-inventor on 35 U.S.
utility patents, six patents currently pending, 10
international utility patents; recipient of inter
national design awards and publications; primary
goals are: identifying new opportunities for
clients; developing new technology, design, and
features that enable the product to perform
admirably, benefit the user, and connect with
realistic manufacturing technology that makes
production feasible and cost effective; perso
nal goal is to make beautiful objects that are a
joy to look at, touch, and use.
Jong S. (Mark) Lim
B.F.A., Seoul National University; M.F.A. with
distinction, Pratt Institute; “Glomar Explorer”
ship project; First Place Award, Orange County
Engineering Council (1977/1978); engineering
specialist at Holmes and Narver Inc.; manager of
industrial design research and development and
author of design patents (U.S. and Europe) at the
Conair Corporation; has exhibited at Gallery
Korea; Hyundai Art Gallery.
Scott Lundberg
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.
Bethany Martin
B.A., Smith College; M.I.D., Pratt Institute.
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
Timothy Richartz
Kyle Sola
Professor
Dipl Des, Industrial Design, Hochschule für
Bildende Künste Hamburg, Germany; has
practiced with Hoberman Associates as a design
director, working on the Hoberman Sphere
toy line, on educational applications; and as a
consultant collaborating on foldable products
for a major children‘s product manufacturer;
in 1997, she founded Specific Objects Inc.,
an interdisciplinary, sustainability-oriented
design practice in New York; her work has
been exhibited internationally and her awards
include the Ideas Competition Design Plus at
the Frankfurt International Fair Ambiente for her
hearing aid design; with her partner, she was
chosen as a finalist for the Newark Visitors Center
competition in 2009.
B.I.D., Pratt Institute; professional career
includes design for award-winning seating, tables,
and case goods, as well as several conceptual
design programs; has collaborated with a wide
range of contract furniture companies, including
Herman Miller, ICF, and Bernhardt; along with
his manufactured work, his portfolio contains
custom design and fabrication for corporate and
private clients, including conceptual seating for
Ford Motor Co.’s THINK vehicle and set design for
the Sci-Fi Channel.
Visiting Instructor
B.I.D. with Honors, Pratt Institute.
William Niemeier
Michael Schafler
A.A.S., Fashion Institute of Technology.
Judith Nylen
B.A., Scripps College; M.L.S., M.F.A., Pratt
Institute; has taught Portfolio and Professional
Practices since 2005; has more than 30 years’
experience reviewing industrial design portfolios
in her capacity as director of career services,
in which she has helped launch and track the
successful careers of hundreds of students and
alumni; exhibiting photographer and printmaker
who has worked in the field of educational
exhibition design.
Rebeccah Pailes-Friedman
B.F.A. Fashion Design; M.I.D., Pratt Institute;
Computer Graphics and Graphic Design, School
of Visual Arts; Millinery Design, Fashion Institute
of Technology; experience as design director of
Starter for Nike; Champion Athletic Apparel; C-9
by Champion for Target; Fila U.S.A.; accessories
designer for Liz Claiborne, art director, Everlast,
BUM Equipment, and Nautica kids; freelance
product, graphic, and interior designer; has taught
fashion and industrial design at Pratt since 1998.
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.
Peter Ragonetti
Visiting Instructor
B.F.A., University of Colorado at Denver; B.I.D.,
Pratt Institute.
Juhi Solanki
B.F.A., B.S., University of Illinois at UrbanaChampaign; M.I.D., Pratt Institute.
Kimberly Snyder
B.A., The Johns Hopkins University; M.I.D.,
Pratt Institute.
B.F.A., B.S. Art Education, Indiana University
of Pennsylvania; M.F.A., Rhode Island School
of Design; has taught in the undergraduate
department in both Prototypes/Drafting and
Furniture Design at Pratt since 2001; her fine
art studio work blends furniture with sculpture;
exhibitions and awards include Carnegie Museum,
Leon Arkus Award for Outstanding Emerging
Artist, Erie Museum, Long Gallery at West
Chester University, Madelon Powers Gallery at
East Stroudsburg University, Harrisburg Galleries
Sculpture and Crafts.
Alex Schweder
Karen Stone
B.Arch., Pratt Institute; M.F.A., M.Arch.,
Princeton University; Fellow of Architecture,
American Academy in Rome; PhD., University
of Cambridge.
B.S., Ohio State University; M.I.D., Pratt Institute;
studied at Oxford University, England; director
of design for Knoll, Inc., with responsibility for
the design of Knoll Showrooms, exhibits, and
trade shows worldwide; brought sustainable
design, new materials, and technologies to Knoll
product design and established direction for
new finishes for Knoll products, where she began
her career in 1991; her award-winning work with
Knoll has been noted in ID, Domus, Interiors,
Inside Design Now, and other publications;
previously senior designer at Bonnell Design
Associates (New York) where she worked on
showroom designs, exhibits, interiors, and
signage for clients, including Interface, Guilford,
Teknion, Steelcase, Design Tex, ModernAge,
Shearson Lehman Hutton Plaza, and Mellon Bank;
showroom designer for SunarHauserman (1984
to 1988), working with consultants such as Frank
Gehry, Sottsass Associati, and Michael Graves
Architects; began her career as an interior
designer with Dyer/Brown (Boston) and Symmes,
Maini and McKee (Cambridge, Mass.); has worked
on the design of stage sets for regional theater
and enjoys abstract painting; her formal training
in music and music performance throughout
her childhood has had a tremendous influence
on her current work in design; her passion for
experimenting with spatial relationships and
objects in space developed at an early age.
Molly Roberts
B.A., Western Michigan University; M.I.D.,
Pratt Institute.
Willy Schwenzfeier
Visiting Instructor
B.S., Stanford, Product Design; partner at
Swayspace, who anchors his design process by
lending organizational and conceptual clarity to
the projects that come through the studio.
Arthur Sempliner
B.S. Industrial Design; M.B.A. Marketing,
University of Michigan at Ann Arbor; has taught
the Production Methods classes in the Industrial
Design Department for more than 15 years;
varied work experiences early on in his career
include being a designer at Dorwin Teague and
later rising to the position of vice president;
president of Construciones Sempliner in Spain
for three years, before founding Chelsea Design
Associates in New York; relationship with Pratt
Institute began in 1969 when he was the assistant
to Professor Gerald Gulotta, a visual literacy
instructor; in 1995 developed and taught two
Production Methods courses for the Industrial
Design department; is recognized for his vast
knowledge and experience in all areas of design
and manufacturing; holds over 35 U.S. patents;
winner of several awards including first prize at
the Popai Show for his Vacuum Coffee Dispensing
System; has worked on a large variety of projects
in several different fields, including architecture,
packaging design, exhibit design, point of
purchase, and industrial design.
Brian Sullivan
B.F.A., University of Michigan; E.D.X., Harvard.
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Irvin Tepper
agencies; in the late 1980s worked at the
prestigious Brazilian Laboratory of Industrial
Design on Florianopolis Island where he had
the opportunity to work on many different and
diverse product design projects, as well as
support his passion of surfing the waves; in 1999,
while living in Caracas, he co-founded Metaplug,
a multidisciplinary design firm and workshop;
worked as an industrial designer in the foundation
of La Estancia Art Center in Venezuela and the
Andean Amazon Pavilion at the Aichi World Expo
2005 in Japan; formerly associate professor
and director of Prodiseño, School of Visual
Communication and Design in Caracas, where he
was involved in academic projects and research in
minimal structures, consumer products, interface
and information design, and thesis projects;
co-publisher of Objetual, a website focusing on
design issues in Venezuela, he has published
design articles in both national newspapers and
specialized magazines; participates in projects
and activities as advisor member of the IberoAmerican Design Biennial in Madrid.
B.F.A., Kansas City Art Institute; M.F.A., University
of Washington; works held in many museum
collections around the world including the
Victoria and Albert Museum, London Museum
of Contemporary Art, Kunstmuseum Bern,
Switzerland, and the Los Angeles County Museum
of Art; his work is the subject of a book, When
Cups Speak: Life with the Cup—A Twenty-Five Year
Survey (San Jose State University, 2002).
Jonathan Thayer
Associate Professor
B.I.D., Pratt Institute; in his professional design
work, he has developed projects in lighting,
furniture, and housewares but remains focused
in the field of structural packaging, where he
has been awarded nine U.S. utility patents for
technology developed on behalf of the New
Venture Packaging Department of the Estée
Lauder Corporation, where he has held a position
for well over a decade and is the recipient of
international awards for innovation in cosmetic
packaging; in his capacity as full-time professor,
he has taught a range of classes including Drafting
and Prototypes, Production Methods, 3-D
Abstraction, Solidworks, and Sophomore, Junior,
and Senior Studio; named one of the country’s
most admired educators by DesignIntelligence
magazine (2006); has stewarded numerous
industry projects at Pratt and is currently
developing collaborative internship opportunities
between corporations and the ID Department.
William Jeffrey Tolbert
B.S. Biology, Millsaps College; B.F.A., Museum Art
School; M.F.A., Yale University; a visual artist living
in Brooklyn, N.Y. who has taught at Marylhurst
College, Yale University, Parsons The New School
For Design, Pratt Institute, and The Cooper
Union; from 1993–2000, was the president and
owner of ArtPanel Inc., which manufactured
high-quality wood supports for fine artists; since
2006, has been project manager for the Way2Go
tandem car project, a revolutionary, lightweight,
fuel-efficient vehicle for the transportation
industry; has exhibited his work in New York and
across the country; in 2010, worked with Philip
Riley at Skink Ink Editions to create a portfolio
of Giclée prints, which were featured in a group
exhibition at Skink Ink Editions.
Ignacio Urbina Polo
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
Alvaro Uribe
B.I.D., Pratt Institute; current student,
New York University.
Scott VanderVoort
B.I.D., Pratt Institute; teaches IND 3-D I, II, III,
IV and Space Analysis I and II courses to both
undergraduate and graduate students; has
served as a guest lecturer on 3-D abstraction at
the Samsung Art and Design Institute in Seoul,
South Korea, and given presentations on the
benefits and applications of this design theory;
his professional experience is complemented by
senior design director positions with clients like
Coca-Cola, FAO Schwarz, Mercedes-Benz, Ernst
& Young, and Pfizer Pharmaceuticals; founded
LIFTnewyork project, which closely collaborates
with architects, developers, artists, and designers
to engage viewers in a larger dialogue about our
sense of space, motion, and meaning.
Kevin Walz
B.F.A., Pratt Institute.
Rebecca Welz
Boston Museum School; B.A., Empire State
College; Welz is a sculptor represented by June
Kelly Gallery in New York and galleries on the
west coast; recipient of Pollock Krasner and ED
Foundation grants; recipient of a fellowship at
Urban Glass; founder of Association of Women
Industrial Designers (AWID), mounted first
exhibition of product design by women in the
U.S., Goddess in the Details; published book
on exhibition.
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Julia Wheeler
B.S. Industrial Design, Pratt Institute; has
worked with students, staff, and faculty at Pratt
since 2002; supervises the ID Furniture Shop;
teaches shop safety for industrial and interior
design students; previously taught sophomore
Prototypes course; has an interest in lighting
design, ceramics, and jewelry making; design
inspiration comes from global travels, the natural
environment, and forms and objects found in our
modern world; favorite tool is the table saw.
Gregg Woodcock
Visiting Instructor
B.I.D., Pratt Institute.
Henry Yoo
B.B.A., University of Wisconsin at Madison; M.I.D.,
Pratt Institute; has worked for BMW, Boeing,
Chrysler, Pepsi, Proctor and Gamble, General
Mills, Gucci, Herman Miller, McNeil Associates,
Philip-Morris, Samsung, Timex, Victoria’s Secret,
Warner Brothers, YSL, and Zegna.
Interior Design Faculty
Virna Abraham
B.S. Interior Architecture, University of California;
M.F.A. Lighting Design, Parsons The New School.
Severino Alfonso
Superior Degree, Arch., Universidad Politecnica,
Madrid, Spain; M.S. Advanced Architecture,
Columbia University; cofounder of PLB Studio
and Fabula & Syuzhet, based in New York, two
research-based platforms with a common
objective: how body, architecture, and city space
coexist in contemporary thought; has been
employed in various well-known international
architectural studios such as Carme Pinos,
Angel Fernandez Alba, and Federico Soriano in
Spain, Lomar Arkitekter in Sweden, Per-forma
Studio in Poland, and KDF Architecture and the
Environmental Health Clinic in the United States;
has taught studio, construction documents,
fabrication, and advanced visual studies courses
at Barnard College, Pratt Institute, Parsons The
New School, New York Institute of Technology,
and New York City College of Technology.
awarded the American Institute of Architects
Eleanor Allwork Scholarship and the Pratt
Institute award of Excellence; has conducted
research with not-for-profit organizations in
São Paulo and Rio de Janeiro, Brazil, regarding
the housing crises, social/political inclusivity,
and urban agricultural initiatives; founder of
bN-studio, where she continues to collaborate
internationally with various studios producing
traveling art installations, fabrication workshops,
and parametric methodology consulting.
Mary Burke
B.A. Architectural History, Fordham University;
B.Arch., City College School of Architecture;
M.S. Historic Preservation, Columbia University;
has practiced architecture and interior design
for over 40 years, founding Burke Design
and Architecture in 2004, which focuses on
residential, hospitality, and commercial projects
worldwide; has held lead roles on projects
from the relaunch of Peter Cooper Village and
Stuyvesant Town for Tishman Speyer and offices
for former president Bill Clinton with Gruzen
Samton to international commercial projects
as the lead designer for KPF Interior Architects’
Singapore office; has long been a leader in her
profession—she was 2013 Chair of the Interior
Architecture Committee of the AIA, VP for Public
Advocacy of AIA NY State Board of Directors.
Furniture A+D, Journal of Architectural Education,
design*sponge, and Remodelista, as well as
A Public Space and e-oculus; in 2010, was an
artist in residence at the Textile Arts Center
in Brooklyn.
Jim Conti
B.F.A. Printmaking and Sculpture, Youngstown
University; M.F.A. Expanded Arts, Art and
Technology, Ohio State University; founder of
Jim Conti Lighting Design, providing lighting
design services for a wide range of project types
with emphasis on architecturally integrated
solutions and the relationships between form,
surface finish and illumination; projects include
Achievement Endeavor Charter Schools,
Robinhood Library Initiatives, and Westchester
Reform Temple and Religious School with
Rogers Marvel Architects; art projects include
interactive building façades, a series of
environmentally activated light towers along the
Gowanus Canal, and a Glowing Topiary Garden;
has been featured in Domus, House & Garden,
Interior Design, Interiors Magazine, Architectural
Record, and The New York Times, among others;
recipient of a Lumen Award.
James Counts
B.A. Linguistics, University of Chicago; M.S.
Interior Design, Pratt Institute; has been
practicing interior design since 2005; is currently
a freelance designer providing design services
directly to clients, as well as consulting with
architecture firms on a variety of high-end
residential, commercial, and retail projects;
professional experience includes custom
furniture, fixture, and material design, as well as
construction administration and management.
B. Arch., Kansas State University; M.S. Advanced
Architectural Design, Columbia University;
member of the American Institute of Architects
and licensed to practice in New York and
California; has over 17 years’ experience working
on institutional, commercial, and residential
projects; as a LEED Accredited Professional, he
possesses an active interest in sustainability; has
worked with Gluckman Mayner Architects in New
York (acting as project architect for the Museum
of Contemporary Art in San Diego) and Tanner
Leddy Maytum Stacy Architects in San Francisco;
currently serves as a consultant to several New
York architectural firms.
Der Sean Chou
Wendy Cronk
Visiting Instructor
B.A. Theatre and Psychology, Smith College;
M.A. Counseling Psychology, Lesley University;
M.F.A. Architectural Lighting, Parsons.
Bachelor of Business Administration in
Information Management, Fujen Catholic
University, Taiwan; M.S. Information Systems,
New York University; M.S. Interior Design, Pratt
Institute; an interior designer with experience in
hospitality and high-end residential design; past
experience includes Computer Animation, Film,
and Visual Effects.
David Black
Annie Coggan
B.A. Architecture and Economics, Washington
University; M.Arch., Harvard University Graduate
School of Design; as a licensed architect in New
York, established her Brooklyn-based practice in
2006; work of Wendy Cronk Architect includes
new construction, interior design, custom
furniture design, and graphic design; awardwinning graphic design work was published in
HOW magazine and Two-Color Graphics, and her
design for a lighting fixture made out of a reused
industrial object was featured in the exhibition
Artists Create Light; prior to establishing her
own practice, worked predominantly in the
offices of Tsao & McKown and Toshiko Mori
Architect; design contributions were most
notably recognized in A+U, for the Taghkanic
Residence for Toshiko Mori Architect; was a
teaching assistant for freehand drawing courses
throughout her design education, and upon
graduation from Harvard, she was selected to
teach a Career Discovery architecture studio at
Harvard’s Graduate School of Design.
Eric Ansel
B.F.A. Painting and Drawing, Rhode Island School
of Design; M.Arch., Pratt Institute; M.F.A. Painting
and Drawing, School of the Art Institute of
Chicago; an architect and artist who has over 15
years’ experience in high-end residential design
and construction; 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; paintings
have been exhibited in New York and Atlanta.
Tarek Ashkar
B.Arch., Berkeley; M.Arch., Harvard University
Graduate School of Design.
Francesca Bastianini
B.Sc. Arch., Georgia Institute of Technology;
M.Arch., University of Illinois, Chicago.
Tania Branquinho
B.F.A. Interior Design, New York School of
Interior Design; M.Arch., Pratt Institute;
architect and interior designer based in New
York City with 14 years of experience ranging
from residential and retail design to large
institutional and transportation projects;
Tania Chau
B.A. Art and History, Bennington College;
M.Arch., Southern California Institute of
Architecture; designer, artist, educator, founder
of Chairs and Buildings, and a principal at
Coggan + Crawford Architecture and Design,
based in Brooklyn, New York; has exhibited at
A D/B Project Space, Gestarc Gallery, Barbara
Toll Fine Art, the Textile Arts Center, Mississippi
CAAD Visual Arts Center, and more; has curated
exhibitions at TODA and Irondale Center for
the Arts, among others; has been featured in
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Asli Erdem
Randi Halpern
B.A. Interior Architecture and Environmental
Design, Bilkent University; M.Arch., Rensselaer
Polytechnic Institute.
B.F.A. Interior Design, New York Institute of
Technology; Graduate Studies, Parsons Lighting;
has been designing commercial and residential
spaces in the New York City area for more than
26 years; founded Randi Halpern Interior Design
in 2006, using color, patterns, and textures to
form a harmonious relationship between her
clients, their needs, and their environments; a
certified interior designer and NCIDQ certified
in New York State since 1993; was Director
of Interior Design with Bogdanow Partners
Architects from 1990 to 2005, with projects that
included IFC Film Center at the former Waverly
Theater, City Hall Restaurant, Cub Room, and
Union Pacific; work has appeared in numerous
trade publications; also teaches at the New York
School of Interior Design.
Kim Farrah
B.A. Fine Art, Western Michigan University;
M.S. Interior Design, Pratt Institute.
Phil Farrell
Adjunct Professor
B.F.A. Interior Design, Pratt Institute; M.S.
Environmental Design; has had an active
practice since 1978; his firm has offered a
broad range of professional services in both
the residential and commercial design; a
partial list of major organizations who have
commissioned his firm include: Citibank, Warner/
Amex Communications, MCTV, Intelligent Office
Franchise, Air France, Sony, Revlon, and AT&T;
has illustrated or contributed to a number of
books including Construction Materials For
Interior Design (Whitney Library), Commonsense
Design (Charles Scribner), Interiors For The
Handicapped (Pantheon Press), Putting It All
Together (Charles Scribner), and Space Planning
Basics, (John Wiley and Sons); has also taught at
the New York Institute of Technology, on Long
Island, and Laboratory Institute of Merchandising
and Hans Krieks Master Class, both located
in Manhattan. David Foley
Visiting Professor
B.A. Architectural Studies, University of Pittsburg;
M.Arch., University of Illinois; M.Arch. Urban
Design, University of Notre Dame; registered
architect providing architectural services for the
luxury retail and residential markets with broad
experience in the Americas, Europe, and Asia;
specific interests include color, material, and
light studies; iterative methodology; narrative
architecture; and the architecture of death; also
interested in the landscape as an architectural
imprint and landscape stewardship as the first
step toward creating sustainable environments.
Thom Forsythe
B.S. Psychology, Wheaton College; M.S. Interior
Design, Pratt Institute.
Andrew Freeman
Visiting Instructor
B.F.A., B.G.D., Rhode Island School of Design.
Pavlina Gantcheva
B.Arch., Pratt Institute; Bachelor in Civil
Engineering, University of Geodesy, Bulgaria; M.S.
Architecture, Columbia University.
resolutions for private clients and companies;
work is characterized by thoughtful ideas and
sustainable practices that emphasize the client’s
perspective, with projects that range from new
residential construction, brownstone, row house,
and apartment renovations, and interiors for
restaurants and businesses; has worked for AJS/
Designs, a boutique firm specializing in high-end
custom residential and furniture design; her
graduate thesis, based on emerging and new
ideas for suburban residential interventions, was
published in Designing Suburban Futures by June
Williamson in 2013.
Lindsay Homer
B.Sc,. Architecture, University of Bath;
M.S. Advanced Architectural Design, GSAPP,
B.A. Studio Art, Bates College; M.S. Interior
Design, Pratt Institute; has worked as an interior
designer at Perkins+Will, West Chin Architect,
and currently works at Studios Architecture;
has worked in the design of projects of varying
sizes and scopes, including exhibitions, high-end
residential, workplace, healthcare, and higher
education facilities for international and New
York City-based clients.
Adam Hayes
Benjamin Howes
Dalia Hamati
Visiting Instructor
B.Arch., Rice University.
John Heida
B.A. Architecture, Rice University; B.A.
Microbiology, University of Montana; owner and
principal designer at John Heida Studio, a nimble
interdisciplinary studio that fetishizes details
and fabrication techniques; works have included
community parks, residences, wine bars, and
public sculptures; teaching experience includes
School of Visual Arts and New York School of
Interior Design; besides being well-versed in
design theory and construction technologies
and methodologies, Heida is also fluent in
many digital fabrication techniques including
3-D printing, CNC milling, waterjet cutting, and
laser cutting.
Claudia Hernandez
B.Arch., California Polytechnic State University;
M.S. Advanced Architectural Design, GSAPP,
Columbia University; for the past 10 years has
worked in several design-oriented architecture
firms in San Francisco and New York; work
has focused on residential, institutional,
and commercial project types; presently
collaborating with AH Design, a California-based
automotive research, development, and design
firm whose research focuses on the use and
adaptation of automotive fabrication technology
and materials for architectural and interior
design applications.
Sarah Hill
B.F.A. Fashion Design, Parsons School of Design;
M.S. Interior Design, Pratt Institute; Principal
Interior Designer and cofounder of Urban
Pioneering Architecture, a design firm in New
York City that concentrates on integrated design
B.Arch., Pratt Institute; Masters of Engineering
in Product Architecture, Stevens Institute
of Technology; has been working as a design
professional and entrepreneur in New York
City since 2002, and has extensive design,
construction, fabrication, and project
management experience; his work as both
a designer and a builder is pursuant to an
understanding of the relationships between
design, high-quality craft, sustainability, and
profitability in the AEC industries, and the
role these relationships play in contemporary
design practice.
Sheryl Kasak
B.Arch., Rhode Island School of Design; M.S.
in Advanced Architectural Design, Columbia
University; founded Interim Design, an
architectural and interior design practice
based on her undergraduate thesis “An Interim
Architecture” that addressed the 15-Year War
in Lebanon and the proceeding redevelopment
of the center of Beirut, that 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, Rafael
Vigñoly, and 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 Lightninghouse design in 1994; has been
published several times in Abstract, the Columbia
University annual design publication; also teaches
at Columbia University.
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Ted Kilcommons
Jason Livingston
William Mangold
Visiting Instructor
B.A. English Literature, University of Texas;
designer, builder, and teacher in New York City;
founded Ted K Design in 2008 as a platform
for thought-provoking design and timeless
craftsmanship; work has appeared in Interior
Design and Popular Mechanics magazines, where
he was a contributing writer; currently works as
project manager for MG and Company, a designsavvy construction firm that has served the New
York City hospitality industry since 1918.
B.F.A. Theatre Arts, University of Miami; M.F.A.
Theatre Lighting Design, New York University;
has over a decade of theatrical and architectural
lighting design experience; theatrical lighting
designs include over 125 off-Broadway, regional,
industrial, and university productions for theatre,
opera, and dance; architectural lighting designs
include Bergdorf-Goodman, USA Interactive,
The Comedy Garden at Madison Square
Garden, several private residences, and others;
cofounder and director of Big Apple Institute,
which provides free seminars and product
showcases to professional and student lighting
designers in New York; member of IALD, IES, and
United Scenic Artists Local 829.
B.F.A. Studio and Liberal Arts, Rhode Island
School of Design; B.Arch. Design and Engineering,
Rhode Island School of design; M.Phil. Social
Science and Theory, Graduate Center of the
City University of New York; an educator; runs
a design practice based in Philadelphia; a Ph.D.
candidate in the Environmental Psychology
program at The Graduate Center, CUNY; trained
as an architect, his research looks at social
responsibility in design and utopian visions for
transforming the social and spatial environment;
recently completed an edited volume bringing
together scholarship from across disciplines:
The People, Place, and Space Reader.
Margaret Kirk
B.Arch., Syracuse University of Architecture;
M.Arch. II, Pratt Institute; architect, artist,
inventor, and writer; has experience in a vast
array of built projects, from small exhibitions
to large eco-resorts, both domestically and
internationally; heads her own studio, s.341-b,
and concurrently manages her start-up,
Symasign, which explores the relationship
between art, social media, media theory,
technology, and digital design in architecture
and urban design; Symasign’s seminal project is
a three-dimensional wind energy generator, in
development, to be a ubiquitous appendage to
power individual city units.
Eugene Kwak
B.Arch., Carnegie Mellon University; M.S.
Architecture and Urban Design, Columbia
University; educator, architect, and an urban
designer; as a student at Columbia, earned
the Lucille Smyser Lowenfish Memorial Prize;
working for Cookfox Architects and Dattner
Architects, focuses 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
Intersection: Grand Concourse 100 also earned
an Honorable Mention.
Chelsea Limbird
B.A. Economics, B.A. Architectural Studies,
M.Arch., Rhode Island School of Design;
architectural designer, artist, writer, and
educator based in New York City; has
contributed to curriculum development, media
and publication, architectural archiving, and
sustainable and resiliency development research;
her design work focuses on narrative as a
generator for line, word, image, and experience;
at the Rhode Island School of Design, she was
awarded the Henry Adams AIA Silver Medal; has
taught in architecture, history of art and visual
culture, foundation, and English language studies;
has exhibited drawing, photography, and artist
books in Rhode Island, New York City, and Tokyo,
and has published prose, poetry, and design
projects internationally.
Cam Lorendo
Certificate of Design/Environmental Design,
Parsons School of Design; began design career
as a carpenter and a contractor, bringing an
extensive working knowledge of methods and
materials to his practice; principal work has
been in the furniture industry working with Knoll,
Herman Miller, Steelcase, Vecta, and DesignTex,
designing office systems display, showrooms,
market events, new product introductions,
and trade shows; has extensive experience in
commercial, hospitality, and residential projects,
as well as a business providing comprehensive
design control drawings for other interior
designers; has been published in Interiors,
Interiors Design, VM+SD, Sign of the Times, and
The New York Times.
Addy Madorsky
B.F.A. Film and Television Production, New York
University Tisch School of the Arts; M.S. Interior
Design, Pratt Institute.
Michael Maggio
B.P.S. Architecture, SUNY Buffalo; M.A.
Architecture, SUNY Buffalo; work emphasizes the
relationship between storytelling and the design
of spaces; he believes that successful design
is a thoughtful response to the culture and spirit
of each place; at Ralph Appelbaum Associates,
Maggio regularly leads teams in a collaborative
design process to achieve award-winning
museum interiors, visitor centers, corporate
headquarters, and entertainment spaces across
national and international projects; Maggio’s
passion for storytelling and design comes from
a lifelong interest in drawing and architecture;
a characteristic feature of his approach is
to link content with architectural elements,
marrying complex narratives with spatial
planning to transform spaces into emotionally
moving experiences.
William McLoughlin
Visiting Instructor
B.Arch., Rhode Island School of Design/Brown
University.
Anthony Mekel
B.Arch. Pratt Institute; passion is the world
of corporate interior design. From dot-com
projects to traditional workspaces to corporate
headquarters design, his contributions as a
senior designer and project architect at ManciniDuffy, The Phillips Group, and most recently
at HOK, give him the valuable perspective of
using a digital design skill set in the professional
practice; after several years as a meticulous
and disciplined traditional hand-draftsman,
focused on software applications such as
AutoCAD, 3-D Studio MAX, and Photoshop;
always remembering that the computer is merely
a tool for design, and that the ultimate use for
this tool is in more effectively communicating
the design intent to the client, production team,
and the agent of construction, his knowledge
and use of these applications have led to many
successful projects. Francine Monaco
B.Arch., University of Cincinnati; a registered
architect for over 25 years, Monaco’s work
includes projects in the United States and
Europe in architecture and interior design, a
mixture of residential and non-residential work;
early work as a project architect for a highly
respected architectural firm designing homes
and apartments was followed in 1989 as project
architect for the in-house design department of
the Guggenheim Museum, where her focus was
in orchestrating several design projects of the
museum’s expansion in New York City; designed
and supervised the creation of administrative
office space within newly excavated space at the
original Frank Lloyd Wright Museum building; her
increasing focus on the intersection between
architecture and interior design lead her to
establish D’Aquino Monaco in 1997 with Carl
D’Aquino to allow and create more opportunity
for the dialogue between ‘the container’ and
the ‘contained.’ Monaco was inducted into the
Interior Design Hall of Fame in 2007.
246
Marius Myking
Tetsu Ohara
B.A. Interior Architecture, Spatial, and Furniture
Design, National Academy of The Arts (Norway);
M.S. Interior Design, Pratt Institute; awardwinning strategist, industrial designer, and
interior architect with multiple products in
production internationally; experienced in
international design and strategic consulting with
a background in complex engineering projects
and market driven executions; maintains a strong
interest in holistic business strategy and bringing
strategic goals into communicative executions
and fulfillment; cofounder of Everything
Elevated, an Oslo and New York-based creative
studio offering the tailored strategic design of
products, installations, interiors, brand identities,
and creative direction; the studio received the
international iF Award, as well as numerous
international appraisals and publications on their
conceptual work.
Computer Science, University of California, Los
Angeles; Architecture, University of California,
Berkeley; Harvard University Graduate School of
Design: Intensive Program; has engaged in design
projects in both the East and West spanning
from product design, exhibition design, interior
design, to architectural services; principal
designer at SpatialDesignStudio in New York
City; as a FIPSE grant recipient, he serves as a
coordinator for Sustainable Pratt (greenweek);
recently published project includes Japan Brand
Unfolding exhibition with Japanese Ministry of
Trade at Felissimo Design House; “Good design
reflects successful combination of collaborating
imaginations from diverse disciplines and
challenging the constraints of physical/financial
limitations while providing an environmentally
suitable solutions.”
John Nafziger
B.A. Middle Eastern Studies, Franklin and Marshall
College; M. Arch., Yale University; principal
and cofounder of Bigprototype (since 2004),
a Brooklyn-based design firm dedicated to
testing, research, and play that operates at the
intersection of design and building; cofounder
of Littleprototype, a design studio focused on
product and furniture design; 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’s Emerging Designer’s Exhibition.
Robert Nassar
B.F.A. Interior Design, Syracuse University.
Latoya Nelson
B.S. Business Administration, Georgetown
University; M.F.A., George Washington University;
M.Arch., University of Pennsylvania (specialty
in Real Estate Development); 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 United States embassies overseas,
National Museum of African American History
and Culture, and Marc Jacobs international
retail stores; is an intermediate architect for
Jaklitsch Gardner Architects PC; is a Certified
Interior Designer (CID), NCIDQ Certified, and
LEED AP BD+C.
Joseph Nocella
B.S. Environmental Design, University of Missouri;
M.Arch., University of Kansas; has been working
as an architect, focusing on BIM technologies,
since 1996; has worked for firms such as SOM,
HOK, NBBJ, and FXFowle; is a licensed architect
in New York, and LEED Accredited.
Jon Otis
Professor
B.A. English/Journalism, Moravian College;
M.S. Interior Design and Architectural Studies,
University of Massachusetts; founder and
principal of OlA - Object Agency, a multi
disciplinary design studio and design strategy
agency whose work ranges from interior
architecture and design, exhibition design,
branding and visual communications, product
design, web/media design, and strategic
consulting; clients include Sundance Channel,
Nike, General Motors, Mercedes NA, Corning
Museum of Glass, Vitra Design Museum, Tandus
l Centiva, George Nakashima Woodworker,
American Seating Company, Edelman Leather,
Scotts Inc. TBS Shipping, and various residences
for private clients; awards include a Fulbright, a
Lusk Fellowship to Italy, and Design Intelligence’s
Most Admired Educator in 2009; was guest
editor/curator for Phaidon Press’ Room (2014);
is active in the AAM, IDEC, IIDA, IDSA, and
AIGA, and has lectured at American universities,
at industry conferences (Neocon), as well as in
Canada, Singapore, Finland, and France.
Régis Péan
B.A. of Architecture and Engineering, Technical
University Vienna, Austria; Masters Degree in
Architecture, Technical University Vienna, Austria;
LEED certified; founding principal of omni//form,
inc. a creative agency for retail and brand design
in New York; began his architectural career in the
offices of Coop Himmelb(l)au, where he designed
competition entries, prepared drawings, and
administered construction for residential and
commercial projects; worked for Peter Marino
Architect in high-end residential, public, and
retail work, for clients like Louis Vuitton, Chanel,
Fratelli Rossetti, the New York Arts and Crafts
museum, and the Nassau County Museum of Art;
at Estée Lauder Companies, his clients included
M.A.C Cosmetics, developing global branding
strategies, brand development guidelines,
in-store presentations, fixture sets, lighting
standards, architectural retail concepts and an
annual design source book; led Studio Red at the
Rockwell Group, a branding design studio with
clients such as Coca-Cola, P&G, McDonalds, and
Mauboussin; as a creative director for the natural
lifestyle brand Carol’s Daughter, he oversaw all
creative aspects of the brand; work has been
published in North and South America, Europe
and Asia, and his photography has been shown in
galleries in New York City and London.
Sal Raffone
B.S. Architecture, Northeastern University;
M.Arch., Harvard University Graduate School
of Design; M.B.A., Columbia Business School;
associate and project manager at Skidmore,
Owings & Merrill, where he began in 2000; has
worked on a wide range of projects including
Terminal 4 at JFK International Airport, Seven
World Trade Center, John Jay College of Criminal
Justice, Lotte Super Tower (Seoul), and Mt. Sinai
Center for Science and Medicine; his focus has
been on bringing technical clarity to the design
process on complex projects; has also worked
at Chan Krieger and Associates, Office dA, and
Machado Silvetti.
Danny Pang
B.A. East Asian Literature, University of Florida;
M.S. Interior Design, Pratt Institute; director of
store planning and design at Saks Fifth Avenue
OFF 5TH; has worked 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.
J. Woodson Rainey Jr.
B.F.A., University of Utah; B.Arch., University of
Utah; established McDonough Rainey Architects
in 2008 with an emphasis on corporate interior
architecture, high-end residential architecture,
and product design; has been a Senior Associate
at Skidmore Owings & Merrill and has worked
for or with KPFIA, Davis Brody, I.M. Pei and
Partners, and Richard Meier; work has been
widely published, including featured articles in
Architecture Record, Architectural Digest, Interior
Design, Metropolis, The New York Times, Design
Quarterly, and Interiors Magazine, and several
anthologies, including Arthropods by James
Burns; has received numerous design awards
including the NY AIA Chapter’s Distinguished
Architecture Award, the Professional Office
Award from IBD/Interior Design Magazine,
the Designing New York Award from Interiors
Magazine, and five IALD Lumen Awards; was a
founder of ONYX, a speculative group whose
work has been collected by museums and
individuals worldwide; his early work with
ONYX has been exhibited in the exhibit Hippie
Modernism, the Struggle for Utopia, which is
currently showing at the Walker Art Center in
Minneapolis.
247
Eduardo Rega
Irina Schneid
Andrew Simons
M.S. Advanced Architectural Design, Columbia
University; Ph.D. candidate in architectural
design at ETSA Madrid; investigations focus on
the architect as a translator and architecture as
the spatial manifestations of disputes between
human and nonhuman actors; also teaches
at Columbia University, PennDesign, Rhode
Island School of Design, Parsons The New
School, Barnard and Columbia College and ETSA
Madrid; has lectured in Columbia University
GSAPP, Cornell University, ETH University in
Zurich, the Polytechnic University of Madrid,
and the University of Las Palmas, among other
places; has worked as an architectural/urban
designer in Copenhagen, Porto, Madrid, and Las
Palmas; curates events like Ménage à Trois in
New York and Madrid, and is involved in various
editorial projects. Visiting Assistant Professor
B.Arch., M.Arch. II, Cornell University; architect,
educator, and principal of an interdisciplinary
design lab: SCH+ARC Studio; SCH+ARC has
completed several collaborative retail projects in
New York and Las Vegas; her research, teaching,
and practice are focused on activating drawing
as a generative tool in the production of spatial
relations; has lectured and taught at Barnard
College - Columbia University, 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.
B.F.A. Graphic Design, Carnegie Mellon
University.
Christian Reitzke
Diplom-Ingenieur (professional degree in
architecture), Munster, Germany; M.Arch., Pratt
Institute; specializes in sustainable adaptive
reuse projects; along with managing the design
and construction process for several full building
conversions in Manhattan and Newark, New
Jersey, he has worked on over 30 projects
of varying scale involving clients ranging from
individual owners to real estate developers to
large corporations; has a wide knowledge base
in construction methodologies, local codes,
and procedures; work has been published in
Domus and Icon Design magazine, and shown
in several exhibitions.
Ben Rosenblum
B.A. Visual Arts and Politics, Oberlin College;
M.S.Arch., University of California, Berkeley;
Rachely Rotem
B.Arch., Israel Institute for Technology; M.S.
Advanced Architectural Design, Columbia
University; has lead MODU since 2009 with
experience working at a diverse range of project
types and scales; has won several international
design competitions and awards for projects
in North America, Europe, Asia, and the Middle
East including the Catch the Light competition
for the Athens Olympic Games in 2004; has
worked for established architecture practices
in both Tel Aviv and New York, where she was
a Project Manager for Leslie Gill Architect;
while at Columbia University, she was awarded
both the Lowenfish Prize and the William Kinne
Fellows Prize; is an educator who also teaches
at Rhode Island School of Design, University of
Pennsylvania, and Cornell University; is a LEED
Accredited Professional in Building Design and
Construction and an Associate AIA member.
Mary-Jo Schlachter
B.A. Design of the Environment, University of
Pennsylvania; M.Arch., University of Pennsylvania.
Deborah Schneiderman
Associate Professor
B.S. Design and Environmental Analysis,
Cornell University; M.Arch., SCI-Arc, LA.
Schneiderman’s research and practice (deSc)
explore interior prefabrication and sustainable
built environments; publications include the
2012 book Inside Prefab: The Ready-made
Interior; The Prefabricated Kitchen: Substance
and Surface, in the international journal Home
Cultures; Prefabricated Interior Design: Defining
the Topic, in the international journal Interiors:
Design, Architecture, Culture; the chapter
“Integrating Sustainability in Design Education”
in The Handbook of Design for Sustainability, ed.
Stuart Walker and Jacques Giard (Bloomsbury
Academic, 2013), Prefab Bathroom and Beyond:
An Architectural Graphic Novel (McFarland
Publishing, 2014), and Textile Technology and
Design: From Interior Space to Outer Space
(Bloomsbury Academic, 2015). Schneiderman’s
recent design publications include Interior
Design magazine, Metropolis, dezeen magazine,
and Inhabitat; has lectured Internationally in
peer-reviewed conferences and invited lectures
including the Storefront for Art and Architecture,
The Center for Architecture, and Van Alen
Institute Books, in addition to National and
International Lectures. RA, IDEC, LEED AP
Coren Sharples
B.S., University of Maryland, College of Business
and Management; M.Arch., Columbia University
Graduate School of Architecture, Planning,
and Preservation; a founding principal of SHoP
and oversees the firm’s Interior Design Group;
in this role, she is integral to the creation of
comprehensive, integrated solutions that
consider all aspects of a design together, from
the functional and experiential arrangements
of space, the choreography of movement
throughout a building, and the character of
spaces inside and out to the design and detailing
of bespoke elements tailored to fit the specific
needs of each project.
Hazel Siegel
B.F.A. Textile Deign, Skidmore College; M.F.A.,
Hunter College.
Darius Somers
B.Arch., Pratt Institute; M.S. Advanced
Architectural Design, Columbia University.
Sarah Strauss
B.A. Studio Art and Art History, Duke University;
M.Arch., Yale University; founded Bigprototype
in 2004 in order to pursue interests in design,
fabrication, pattern making and ornament.
Bigprototype is a practice that operates at the
intersection of design and building, harnessing
interests in making, testing, research, and
play. Bigprototype has offices in Brooklyn,
New York, and Rincon, Puerto Rico. Strauss
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. English Literature, University of Illinois;
M.Arch., Columbia University; architect currently
working with the firm Reddymade Design in 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; has
taught in the Interior Design Department at Pratt
since 2001 and has taught a variety of courses
at both the graduate and undergraduate levels;
in addition to teaching design and supportive
courses, she has also actively been involved
in curriculum coordination and has served on
various committees in the department.
Myonggi Sul
Professor
B.A. English Literature, Valparaiso University;
M.S. Environmental Design, Pratt Institute. Sul
has practiced interior design in New York City
for over 20 years and is currently the principal
of Myonggi Sul Design, which provides interior
design services to corporations in need of design
services, as well as high- end residences. Aside
from providing services directly to end user
clients, Myonggi Sul Design provides interior
design services to major architectural firms. Prior
to the formation of Myonggi Sul Design, Sul was
the director of interior design at Marcel Breuer
Associates. Sul was later 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. Sul has also
served as a guest critic to a variety of universities
including Fashion Institute of Technology, School
of Visual Arts, Parsons School of Design, and
University of Cincinnati. Sul taught at Hongik
University and Gunguk University in Seoul, Korea,
as a visiting professor.
248
Karin Tehve
Loukia Tsafoulia
Edwin Zawadzki
Acting Chair
B.Arch., Pennsylvania State University; M.Arch.,
Harvard University Graduate School of Design;
an architect, designer, artist and educator;
after 12 years of experience in conventional
architectural practice, she founded KT3Dllc.
in 2001, pursuing projects in architecture,
interiors, multimedia design, and site-specific
art. KT3D consists of a series of collaborations
with other design disciplines keeping problems
a collaborative and contextual process. Projects
include test-kitchens for Every Day with Rachael
Ray magazine; residential projects with SSA+D,
a public art/light installation in Winnipeg,
Manitoba, with Linnaea Tillett Lighting Design;
and a series of installation projects for the
Dumbo Arts Festival with Pratt students; awards
include a 2009 Building Brooklyn Award and a
2009 Lumen Citation and Regional Award for This
Way with Linnaea Tillett, a light installation under
the Brooklyn Bridge; work has been published in
The New York Times and Gothamist.
National Technical University of Athens (N.T.U.A.),
Greece, Diploma in Architecture Engineering,
School of Architecture; Ph.D. candidate and
licensed EU architect; cofounder of PLB studio,
an architectural design and research practice
based in New York, as well as a founding partner
of Fabula & Syuzhet, a digital fabrication design
studio; also teaches at the School of Interior
Design, at CUNY, The Bernard & Anne Spitzer
School of Architecture, and NYCCT, Architectural
Department of Technology; has collaborated
with Studio Dror as a project leader, LEESER
Architecture, SO-IL, and Jorge Otero-Pailos
in New York City; her work has been published
and exhibited in international design fairs, the
London 3d print show, and ICFF in New York,
among others.
B.A. Applied Mathematics, Harvard University;
Jack Travis
Adjunct Professor
B.Arch., Arizona State University, Temple;
M.Arch., University of Illinois. Travis (FAIA,
NOMAC) established his namesake design studio
in June, 1985, working on over 100 projects of
varying scope and size. The firm has completed
several residential interiors projects for clients
like Spike Lee, Wesley Snipes, and John Saunders
of ABC Sports. Commercial and/or retail interiors
clients have included Giorgio Armani SPA,
Cashmere Cashmere of New York, as well as the
Sbarro family. Travis encourages investigation
into Black history, where appropriate, and
includes forms, motifs, materials, and colors
that reflect this heritage in his work. Travel
throughout the United States, Europe, the
Caribbean, and to West and South African
countries has given Travis a most unique focus.
Travis is also an adjunct professor of interior
design at the Fashion Institute of Technology. In
1992, Travis edited African American Architects:
In Current Practice, 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.
Kathryn van Voorhees
Kathryn van Voorhees is an architectural
designer and educator. She explores issues of
placemaking and placelessness through the lens
of the residence and local community. Prior to
starting her own practice, van Voorhees was a
project manager at Allied Works Architecture for
the award-winning Sokol Blosser Winery Tasting
Room, the first winery in the United States to
pursue Living Building Challenge certification.
She has also held leadership roles at Lewis.
Tsurumaki.Lewis Architects and The Fabric
Workshop and Museum. She is an ambassador
for Young New Yorkers and a design consultant
for City of Hope, Tanzania.
Kevin Walz
The New York Studio School; Pratt Institute.
William Watson
B.A. Economics, Princeton University; M.Arch.,
University of Texas at Austin.
Alexandra Winton
B.A. Art History, Smith College; M.A., Bard
Graduate Center for Studies in Decorative Arts.
Piotr Woronkowicz
Visiting Instructor
B.S. Product Design, Art Center College of
Design, California.
Michael Zuckerman
Adjunct Professor
B.Arch., B.S. Architecture, City College, New
York; registered as an architect in New York
and New Jersey; is a certified LEED AP and
has more than 30 years of field experience;
prior to the formation of G.V.Z.Architects in
1986, he practiced independently, designing
lobbies for residential co-ops, 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; from 1974
through 1983, Zuckerman was project architect,
project manager, and senior designer with the
firm of Jack L. Gordon Architects, responsible
for many projects of varying scope and
complexity including building renovations and
new construction; recent work includes projects
for Saint Ann’s School, Enterprise Lighting Sales,
Arcus Foundation, Harlem United, the Bell House,
various residential clients, and more. In addition
to his position at Pratt, Zuckerman has taught
detailing at SVA.
Liberal Arts and
Sciences Faculty
Andrew W. Barnes
Dean of the School of Liberal Arts and Sciences
Gloriana Russell
Intensive English
Channing Burt
Lecturer, Intensive English
B.A. French and Romance Philology, Columbia
University; M.A., TESOL, Teachers College,
Columbia University; over the past 15 years,
she has taught ESL to adults in academic and
university settings in Germany and New York City,
including Friedrich Schiller University, Columbia
University, and New York University; she is also a
certified Bikram yoga instructor teaching at stud
ios throughout Brooklyn and Manhattan.
Diane Cohen
Visiting Instructor
Maura Conley
Visiting Instructor
Rachid Eladlouni
Assessment and Educational Technology
Coordinator; Lecturer, Intensive English
B.A., Ibn Tofail University (Morocco); M.A.,
Hunter College.
Cynthia Elmas
Summer Programs Coordinator, Lecturer,
Intensive English
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 trans
lated into several languages including Hebrew,
Icelandic, Japanese, and Burmese.
Liberal Arts and Sciences Faculty
249
Thomas Healy
Allegra Marino Shmulevsky
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).
B.A. French Language and Literature, English
Literature, and Studio Art, Tulane University; M.A.
Applied Linguistics, Teachers College, Columbia
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.
Kimberly Kern
B.F.A., Art History, University of Texas at Austin;
M.A., TESOL, Hunter College (CUNY); 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 and CEP Enrollment and Advisement
Coordinator
B.A., Connecticut College; M.A., International
Education, New York University.
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; sings in a chorus which was performed in
Carnegie Hall in 2007 and 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 this time, she has learned a great deal
about art, design, and architecture, and has
wholly enjoyed working with the international
students at Pratt.
250
Gloria Steil
Saul Anton
Youmna Chlala
Laura Elrick
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.
Associate Professor
Emily P. Beall
Diane Cohen
Assistant Professor; Lecturer, Intensive
English; Tutor
B.A. Rhetoric and Communication, University
of Southern California, M.A. Liberal Studies,
CUNY Graduate Center; 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.
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; teaches
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 re-entry 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
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 experi
mental 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.
Warren Burdine
Melissa Buzzeo
Diana Cage
Philip Carroll
Visiting Instructor
Lis Cena
Dena Al-Adeeb
Peter Chamedes
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.
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.
Visiting Instructor
Ellen Conley
B.A., Pennsylvania State University; M.S., Wagner
College; 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
B.A., New York University; M.F.A., Goddard
College; 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.
Maria Damon
Chair, Humanities and Media Studies
Amanda Davidson
Pierre Alexandre de Looz
Don Doherty
Visiting Instructor; Tutor
B.A., Hunter College, City University of New York;
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
Rachid Eladlouni
Visiting Assistant Professor; Lecturer,
Intensive English
Sacha E. Frey
Adjunct Instructor
John Gendall
Visiting Instructor
Daniel Gerzog
Professor
B.A., M.A., A.B.D., New York University
Amy Guggenheim
B.S., M.A., 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 liter
ary journal Storie; her 2008 artistic residency in
Japan—in development for her first feature film—
relates to her work as founder of the Center for
Artistic Engagement.
Paul Haacke
Christian Hawkey
Professor
B.A., Pepperdine University; M.F.A., University
of Massachusetts; author of three award-winning
books of poetry, including The Book of Funnels
(Wave Books, 2004), which won the 2006 Kate
Tufts Discovery Award, Hour Hour (Delirium
Press, 2005), and Citizen Of (Wave Books, 2007);
his poems have appeared in Conjunctions,
Volt, Denver Quarterly, Tin House, Crowd, BOMB,
Chicago Review, and Best American Poetry;
he has received awards from the Academy of
American Poets and the Poetry Fund, and in
2006, he received a Creative Capital Innovative
Literature Award; in 2008, he was a DAAD Artistin-Berlin Fellow.
Kwame Heshimu
Visiting Instructor; Tutor
B.A. English (specialization in writing), New
York University; he grew up in the shadow of
the Blue Mountain; son of a Cuban expatriate,
and with a mother who was a descendant of
Jamaican maroons, he spent his childhood in
one of the most inaccessible communities
on the island; his grandfather, a saxophonist
251
with dance bandleader Ray Coburn, frequent
ly 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 con
front Babylon system; his romance with word,
sound, and power had begun.
Susan Bee (Laufer)
Jeffrey Hogrefe
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 of Design, The
Cooper Union, and Columbia; a contributor to
Harper’s, The New Yorker, Smithsonian, New York
Observer, Washington Post, and Vanity Fair; and
the author of O’Keeffe: The Life of an American
Legend, a biography focused on the artist’s rights
of seclusion and personal identity politics.
Samantha Hunt
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;
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.
Jeffrey T. Johnson
Visiting Instructor
Adeena Karasick
Sean Kelly
Visiting Instructor
B.A., Loyola College University of Montreal.
Elizabeth Knauer
Christoph Kumpusch
Krystal Languell
Rachel Levitsky
Professor
B.A., State University of Albany; M.F.A., Naropa
University; 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.
Ellen Levy
Ira Livingston
Professor
Director of Poetics Lab. Publications include
the digital book Poetics as a Theory of
Everything (Poetics Lab Books 2015) and the
traditionally published books Where God
Comes From: Reflections on Science, Systems
and the Sublime (Zer0 Books, 2012), Between
Science and Literature: An Introduction
to Autopoetics (U. of Illinois, 2005), and Arrow
of Chaos: Romanticism and Postmodernity
(U. of Minnesota, 1997).
Jennifer Miller
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.
Tracie Morris
Professor
M.F.A. Poetry, Hunter College, City University
of New York; Ph.D. Performance Studies, New
York University; an interdisciplinary poet who
has worked extensively as a sound artist, writer,
and multimedia performer; her installations have
been presented at the Whitney Biennial and the
Jamaica Center for Arts and Learning.
Cecilia Muhlstein
B.A., M.A., California State University at
Los Angeles.
Mendi Lewis Obadike
Assistant Professor
Ph.D., Duke University.
252
Robert Obrecht
Ethan Spigland
Thad Ziolkowski
B.A., Sarah Lawrence; TESOL Certificate,
Columbia University Teachers College; compo
sitions 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 world
wide; has been teaching at Pratt since 1988.
Associate Professor
B.A., Yale University; M.F.A., New York University;
Maîtrise, University of Paris VIII; has made numer
ous 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.
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.
Richard Leigh
Kristin Pape
Jean-Paul Pecqueur
B.A., Evergreen State College; M.F.A., University
of Washington; his first book of poems, The Case
Against Happiness, was the winner of Alice James
Books’ Kinerth Gensler award in 2006.
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
Minh-Ha Pham
Holly Tavel
Assistant Professor.
Ph.D. Ethnic Studies, University of
California‑Berkeley.
Visiting Instructor
Alba Potes
D.M.A. in Composition, Temple University;
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.
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.
Christopher Vitale
Adjunct Assistant Professor; Lecturer,
Intensive English; B.A., English, Ohio University;
M.F.A., Fiction Writing, Syracuse University;
fiction and non-fiction have appeared in
Guernica Magazine, the Chicago Tribune, and
the Chicago Reader.
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, psycho
analysis, 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.
Eliza Schrader
Elizabeth Williams
Visiting Instructor
M.F.A., Columbia University; B.A.,
Middlebury College.
Evan Rehill
Adjunct Instructor
Eric Rosenblum
Sharon Snow
Visiting Instructor
B.A., Vassar College; M.A. French Literature,
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; Charton is still doing chemistry
and extending it in several new directions—into
art conservation and environmental studies.
Eleonora Del Federico
Professor
Licenciada (equivalent to M.S. degree), University
of Buenos Aires, Argentina; Ph.D., University of
Massachusetts at Amherst.
Anatole Dolgoff
Adjunct Professor
B.S., Hunter College, CUNY; M.S., Miami
University.
Margaret Dy-So
Aman Gill
Assistant Professor
B.S., Integrative Biology and History, University of
California at Berkeley; Ph.D. candidate in Ecology
and Evolution, Stony Brook University.
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.
253
Cindie Kehlet
Gerson Sparer
Daniel Boscov-Ellen
Associate Professor
M.S., Ph.D., University of Aarhus; teaches
Introductory Science and the Chemistry of
Pigments; her research interests are in the field
of conservation science.
Professor
B.S., Brooklyn College; M.S., Ph.D.,
Courant Institute.
Visiting Instructor, Philosophy
M.A., The New School for Social Research.
Steve Kreis
B.S., University of Missouri; M.A., Hunter College,
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
Ágnes Mócsy
Associate Professor
M.Sc., University of Bergen, Norway; Ph.D.,
University of Minnesota; performs research on
the fundamental nature of matter, specifically
on the interactions of subatomic particles within
the nucleus of the atom; she has held research
positions at the Niels Bohr Institute, Copenhagen;
Theoretical Physics Institute, Frankfurt;
and Brookhaven National Laboratory; teaches
Introductory Physics and Astronomy.
Mark Rosin
Assistant Professor
M.S. Physics, Bristol; Ph.D. Applied Mathematics,
Cambridge University; research is in computer
algorithms for fusion energy and in mathematical
modeling for astrophysics and diodes; director
of Guerilla Science, an organization dedicated to
mixing science with art, music, and play.
Carole Sirovich
Chair
B.S., Brooklyn College; M.S., Ph.D.,
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
B.A., M.S., Stony Brook University.
James Wise
Visiting Instructor
B.A., Hunter College; M.A., Brooklyn College.
Daniel Wright
Assistant Professor
B.S., Pennsylvania
State University; M.S., University of California at
San Diego; Ph.D., Stanford University.
Social Science and
Cultural Studies
Sameetah Agha
Francis Bradley
Assistant Professor, History
B.A., M.A., Ph.D., University of Wisconsin
at Madison.
B. Ricardo Brown
Professor, Cultural Studies
B.A., Simon’s Rock College of Bard; M.A.,
Syracuse University; M.Phil., Ph.D., The Graduate
Center, City University of New York.
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, 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
Caitlin Cahill
Assistant Professor, Politics and Geography
B.A., Middlebury College; M.A., Hunter College;
M.Phil., Ph.D., Graduate Center, City University
of New York.
Associate Professor, History
B.A., Smith College; M.A., M.Phil., Ph.D.,
Yale University.
Hannes Charen
Dory Aghazarian
Paul Dambowic
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.
Saul Anton
B.A., University of Michigan; M.A., Graduate
Center, City University of New York; Ph.D.,
Princeton University.
Robert Ausch
Adjunct Associate Professor, Psychology
B.A., New York University; M.A., City College,
City University of New York; Ph.D., Graduate
Jonathan Berk
Adjunct Instructor
Mareena Dareedia
Visiting Instructor, Cinema Studies
B.A., New York University; M.A., Yale University.
Corey D’Augustine
Visiting Instructor, Theory and Practice
B.A., Oberlin College; M.A., Institute of Fine Arts
at New York University.
Lisabeth During
Coordinator, Critical and Visual Studies,
and Associate Professor, Philosophy
B.A., Wesleyan University; M.Th., King College,
University of London, London, U.K.; Ph.D., Trinity
College, Cambridge University, Cambridge, U.K.
Barbara Duarte Esgalhado
Visiting Instructor, Psychology
B.A., Rutgers University; Ph.D.,
John Frangos
Adjunct Assistant Professor, History
B.A., M.A., Queens College; M.A., C.W.
Post Campus, Long Island University; Ph.D.,
254
Eric Godoy
Marina Kaneti
Cheol-Soo Park
Assistant Chair and Adjunct Assistant
Professor, Philosophy
B.A., Rollins College; M.A., Ph.D. The New School
for Social Research.
B.A., Columbia University; M.S., School of Social
Work, Columbia University.
Visiting Instructor, Economics
B.A., M.A., Ph.D., Seoul National University;
Ph.D., The New School University.
Josh Karant
Irving Perlman
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.
Professor Emeritus, History
B.A., Brooklyn College; M.B.A., J.D.,
P.J. Gorre
B.A., Villanova University; M.A., Ph.D. candidate,
The New School for Social Research.
Robert Richardson
Monica A. Grandy
Kathleen C. Kelley
Visiting Assistant Professor, Psychology
B.A., Sarah Lawrence College; Ph.D., City
B.A., St. John’s College; M.A., Ph.D., The New
School for Social Research.
Clarence Jefferson Hall
Todd Kesselman
Visiting Instructor
B.A., Harpur College; M.A., Binghamton
University; Ph.D., Stony Brook University.
B.A., Trinity College; M.A. The New School for
Social Research.
Assistant Professor, Anthropology and
Urban Studies
B.A., Bryn Mawr College; M.A., Ph.D.,
Mitchell Harris
Annie Khan
John Santore
B.F.A., State University of New York at Purchase;
M.A., M.Phil, City University of New York.
B.A., Columbia University; M.A., City College
of New York; Ph.D. candidate, State University of
New York at Stony Brook.
Professor Emeritus, History
B.A., M.A., Temple University; Ph.D.,
Gabriel Hernández
Hunter Kincaid
Zachary Sapolsky
Adjunct Instructor, History
B.A., City College of New York; M.A., Ph.D.
candidate, State University of New York at
Stony Brook.
B.S., University of Washington; M.A.,
University of Chicago.
B.A., University of Rochester; M.A., Ph.D.,
Long Island University.
Elizabeth Knauer
Ritchie Savage
Ann Holder
B.A., Hampshire College; Ph.D., Boston College.
Travis Holloway
B.A., Belmont College; M.A., Boston College,
M.F.A., New York University; Ph.D., State
University of New York at Stony Brook.
Ph.D. candidate, Steinhardt School of
Culture, Education, and Human Development,
Gerald Levy
Visiting Instructor, Economics
B.A., New York University; M.A., The New School
Estelle Horowitz
Luka Lucic
Professor Emerita, Economics
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.
Gregg M. Horowitz
Chair and Professor of Philosophy
B.A., Sarah Lawrence College; M.A., Boston
University; Ph.D., Rutgers University.
John McGuire
M.A. and Ph.D., Columbia University.
Adjunct Instructor, Philosophy
B.A., New York University; M.A., The New
School University.
May Joseph
Erum Naqvi
Justin Jackson
Professor, Global Studies
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Svetlana Jovic
B.A., M.A., University of Belgrade, Serbia; M.Phil.,
Ph.D. candidate, The Graduate Center of the City
Shelley Juran
Professor, Psychology
B.A., M.A., Brooklyn College; Ph.D., City
B.Sc. Hons., Philosophy and Economics,
London School of Economics; M.A., Ph.D.
candidate, Temple University.
Darini Nicholas
Adjunct Instructor, Anthropology
B.A., University of Louisville; M.A., Goddard
College (Kentucky); Ph.D., The New School
University.
B.A., Wheaton College; M.A., ABD, Pennsylvania
State University.
Uzma Z. Rizvi
Visiting Instructor, Sociology
B.S., Bradley University; M.A., Ph.D., The New
School for Social Research.
Michelle Standley
B.A., Brigham Young University; Ph.D.,
Jeff Surovell
B.A., M.A., Ph.D., Columbia University.
Jennifer Telesca
B.A., University of Richmond; M.A., University of
Connecticut at Storrs; M.A., Ph.D.,
Kumru Toktamis
Adjunct Assistant Professor, Sociology
B.A., Middle East Technical University, Ankara,
Turkey; M.A., Ph.D., The New School University.
Paul Schweigert
B.S., North Carolina State University; M.Phil.,
Ph.D. candidate, The Graduate Center, City
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
255
Basil Tsiokos
Tom Buechele
May Joseph
B.A., Stanford University; M.A., New York University.
M.A., Queens College; M.Phil., The Graduate
Professor, Global Studies
B.A., M.A., Madras Christian College; M.A., Ph.D.,
University of California at Santa Barbara.
Murtaza Vali
Visiting Instructor, Art Theory
B.S., Johns Hopkins University; M.A., Institute of
Fine Arts, New York University.
Zhivka Valiavicharska
Assistant Professor, Social and Political Theory
B.A., M.A., National Academy of Arts, Sofia,
Bulgaria; Ph.D., University of California at Berkeley.
Ron Van Cleef
A.B., Syracuse University, Maxwell School of
Citizenship; M.A., City College of New York; Ph.D.
candidate, Stony Brook University.
Elena Wang
B.A., Amherst College; Ph.D. University of
California Berkeley.
Caitlin Cahill
Assistant Professor, Politics and Geography
B.A., Middlebury College; M.A., Hunter College;
M.Phil., Ph.D., The Graduate Center, City
Hannes Charen
M.A. The New School for Social Research
Mareena Dareedia
Visiting Instructor, Cinema Studies
B.F.A., York University; M.F.A., Pratt Institute.
Corey D’Augustine
B.A., Oberlin College; M.A., Institute of Fine Arts
at New York University.
Lisabeth During
Sameetah Agha
B.A., Smith College; M.A., M.Phil., Ph.D.,
Yale University.
Saul Anton
B.A., University of Michigan; M.A., Graduate
Center, City University of New York; Ph.D.,
Princeton University.
Jonathan Berk
Daniel Boscov-Ellen
Francis Bradley
B.A., M.A., Ph.D., University of Wisconsin
at Madison.
B. Ricardo Brown
Professor, Cultural Studies
B.A., Simon’s Rock College of Bard; M.A.,
Syracuse University; M.Phil., Ph.D., The Graduate
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.
Coordinator, Critical Visual Studies and
Associate Professor, Philosophy
B.A., Wesleyan University; M.Th., King College,
University of London; Ph.D., Trinity College,
Cambridge University.
Barbara Duarte Esgalhado
B.A., Rutgers University; Ph.D., Columbia University.
Eric Godoy
Assistant Chair and Adjunct Assistant
Professor, Philosophy B.A., Rollins College; M.A., Ph.D., The New School
P.J. Gorre
B.A., Villanova University; M.A. and Ph.D.
Candidate, The New School for Social Research.
Gabriel Hernández
Shelley Juran
Professor, Psychology
B.A., M.A., Brooklyn College; Ph.D., City
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
Ph.D. candidate, Steinhardt School of
Culture, Education, and Human Development,
Luka Lucic
Assistant Professor, Psychology and
Diaspora Studies
B.A., City College of New York; M.Phil., Ph.D.,
of New York.
Erum Naqvi
B.Sc. Hons., Philosophy and Economics,
London School of Economics; M.A., Ph.D.,
Temple University.
Darini Nicholas
Adjunct Instructor, History
B.A., City College of New York; M.A., State
University of New York at Stony Brook.
Adjunct Instructor, Anthropology
B.A., University of Louisville; M.A.,
Goddard College; Ph.D., The
New School University.
Ann Holder
Uzma Z. Rizvi
B.A., Hampshire College; Ph.D., Boston College.
Travis Holloway
B.A., Belmont College; M.A., Boston College,
M.F.A., New York University; Ph.D., 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.
Assistant Professor, Anthropology
and Urban Studies
B.A., Bryn Mawr College; M.A., Ph.D.,
Ritchie Savage
Visiting Instructor, Sociology
B.S., Bradley University; M.A., Ph.D., The
New School for Social Research.
Jennifer Telesca
Assistant Professor, Environmental Justice
B.A., University of Richmond; M.A.,
University of Connecticut at Storrs; M.A.,
Ph.D., New York University.
256
Kumru Toktamis
Kelly Rae Aldridge
Sam Bryan
Adjunct Assistant Professor, Sociology
B.A., Middle East Technical University, Ankara,
Turkey; M.A., Ph.D., The New School University.
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.
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.
Lisa Banner
Corey D’Augustine
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, The 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.
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 The 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.
Basil Tsiokos
B.A., Stanford University; M.A.,
Murtaza Vali
Visiting Instructor, Art Theory
B.S., 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.
Elena Wang
B.A., Amherst College; Ph.D. University of
California 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
Carl Zimring
Associate Professor, History and Sustainability
B.A., University of California at Santa Cruz; M.A.,
Ph.D., Carnegie Mellon University.
Sonya Abrego
Visiting Instructor
Ph.D., Bard Graduate Center; specializing in
20th-century fashion, currently completing a
dissertation on western wear in the postwar
United States; work focuses on the intercon
nections 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; recipient of
graduate fellowships from The Metropolitan
Museum of Art, the Bonnie Cashin Foundation,
and the Autry National Center; senior editor at
Worn Fashion Journal and works in the vintage
clothing market.
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 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.
Ed DeCarbo
M.A., University of Chicago; Ph.D., M.A., Indiana
University; concentration is art and aesthetics in
postcolonial 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 postcolonial 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.
257
Eva Díaz
Diana Gisolfi
Susan Karnet
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 exa
mines 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 her book about Buckminster Fuller’s
work, titled The Fuller Effect: The Critique of Total
Design in Postwar Art.
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, and caareviews.org.
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 The New School
of Design, New York University, and The School
of Visual Arts; she is interested in modern and
contemporary art, sculpture, and Egyptian art.
Mary Douglas Edwards
Dimitri Hazzikostas
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 South
eastern Medieval Association; two-term asso
ciate, editorial board, Medieval Perspectives.
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 dis
sertation 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.
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.
Frima Fox Hofrichter
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; has
written 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 of the jury for the
Distinguished Feminist Award (2012).
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.
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
Acting Chair, Adjunct Associate Professor
B.A., Stanford University; M.A., Hunter College;
Ph.D., CUNY Graduate Center; specializes in
18th- and 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.
258
Thomas La Padula
William Lorenzo
Evan Neely
Adjunct Professor
B.F.A., Parsons The New 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.
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 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
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.
Anca Lasc
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.
Visiting Instructor
B.F.A., Communications Arts and Design,
Illustration, Virginia Commonwealth University;
illustrator, writer, designer of paintings, photo
graphy, 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.
Rael Lewis
Juan Monroy
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.
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.
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
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 19thcentury 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
Fin‑de-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.,
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 (2014-2015); has served on the board
of directors of ASCHA; has organized several
symposia on 19th-century Romantic art.
259
Katarina V. Posch
Elizabeth St. George
Bor-Hua Wang
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 crosscultural 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 catalogs
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 19th- and
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 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
Alice Walkiewicz
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.
Visiting Instructor
B.A., University of Kansas; M.Phil., Ph.D.
candidate, The Graduate Center, City University
of New York; Walkiewicz specializes in 19thcentury 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.
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.
Sarah Wilkins
B.A., Vanderbilt University; M.S., Pratt Institute;
Ph.D., Rutgers, the State University of New
Jersey; Wilkins 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 fellow
ship 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.
The Writing Program
Priscilla Becker
B.A. in Music and Philosophy, Brown University;
M.F.A. Poetics, Columbia University. Books:
Internal West, (winner of The Paris Review book
prize), Stories That Listen. Poems have appeared
in: Fence, Open City, Boston Review, The Paris
Review, American Poetry Review, The Brooklyn Rail,
Verse, Dossier, Aufgabe, and The Swallow Anthology
of New American Poets. Collected essays: Morbid
Dyslexia [and other word disorders] (finalist,
Graywolf Press nonfiction contest); music reviews
published in The Nation and Filter magazine; essays
in Cabinet magazine and Open City; non-fiction
anthologized by Soft Skull Press, Anchor Books,
and Sarabande.
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Peter Catalanotto
Claire Donato
John Glassie
B.F.A. Art and Design, Pratt Institute. Published
forty-seven books for children including Ivan the
Terrier, Matthew A.B.C., Question Boy Meets Little
Miss Know-it-All, Monkey & Robot, and Emily’s
Art, of which School Library Journal wrote
in a starred review, "This heartfelt book is a
masterpiece"; The Painter was featured on
PBS’s Storytime; and in 2008, First Lady Laura
Bush commissioned Catalanotto to illustrate the
White House holiday brochure; recognized by
Drexel University for outstanding contribution to
children’s literature; currently teaches Columbia
University's first children's book writing course;
led workshops in Rwanda for those wanting to
write of their experience of the genocide and
revolution; The Newbies was recently published
by Simon & Schuster.
B.A. (summa cum laude) English Writing,
University of Pittsburgh; M.F.A. Literary Arts,
Brown University. Books include The Second
Body (Poor Claudia, 2016) and Burial (Tarpaulin
Sky Press, 2013); publications include BOMB,
Boston Review, Encyclopedia L-Z, Fanzine, Ninth
Letter, PEN America, and PLINTH; performances
include Brown University, Providence, Rhode
Island; The Poetry Project, New York; Poetic
Research Bureau, Los Angeles; The Empty Bottle,
Chicago; Pierre Menard Gallery, Cambridge,
Massachusetts; awards and honors include
Millay Colony for the Arts Fellowship, 2011; Peter
Kaplan Fellowship, 2008.
Visiting Instructor
B.A., Johns Hopkins University; former
contributing editor for The New York Times
Magazine, where for several years he edited the
weekly “Lives” column; 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 nonfiction book about a 17thcentury polymath, published in the fall of 2012;
the author of a book of photographs, Bicycles
Locked to Poles (McSweeney’s, 2005).
Gabriel Cohen
B.A. English, Wesleyan University. Author of
five novels and a nonfiction book; finalist for an
Edgar award for Best First Novel. Publications
include The New York Times, Poets & Writers
magazine, TimeOut New York, Gourmet.com, and
many others. Also taught writing at New York
University, The Center for Fiction, and Long
Island University; worked as a staff writer at
the New Haven Advocate weekly newspaper.
Jon Cotner
Visiting Instructor
B.A. Humanities, Shimer College; M.A., St. John’s
College; Ph.D. candidate in Poetics, SUNY at
Buffalo; 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.
Amanda Davidson
Adjunct Assistant Professor B.A. English Literature, B.A. Interdisciplinary
Studies, University of California at Berkeley;
M.F.A. Creative Writing, M.A. English Literature,
San Francisco State University. Selected
publications include chapbooks Arcanagrams:
A Reckoning (Little Red Leaves 2014) and
Apprenticeship (New Herring Press 2013),
Believer Magazine, the Brooklyn Rail, and Weird
Sister; fellowships and grants include New
York Foundation for the Arts 2015; the Lower
Manhattan Cultural Council Workspace 20142015; I-Park Foundation 2015; Art Farm Nebraska
2015 and 2009; Millay Colony 2011; MacDowell
Colony 2009.
Steven Doloff
Professor
B.A. English, State University of New York at
Stony Brook; M.Phil. English, City University of
New York Graduate Center; Ph.D. English, City
University of New York Graduate Center. Pratt
Institute Distinguished Professor, 2001; Pratt
Institute Student Government Association Faculty
Excellence Award, 1990.
Laura Elrick
Associate Professor
B.A. Media and Communication, University of
Southern California; M.A. Liberal Studies, The
Graduate Center, City University of New York.
Books: A Name With Two Parts (Atelos Books,
2017); Propagation (Kenning Editions, 2012);
Fantasies in Permeable Structures (Factory
School, 2005); sKincerity (Krupskaya, 2003).
Trans-media performance works include Blocks
Away (2010) and Stalk (2008). Exhibitions/
screenings at Judith E. Wilson Studio, Cambridge
UK; Spaces Gallery, Cleveland; The Skybridge Art
& Sound Space, New York; Exit Art, New York;
Vivo Center, Vancouver; New Langton Arts, San
Francisco. Selected anthologies and journal
publications: Eco Language Reader (Nightboat,
2010); Mandorla: Nueva Escritura de las Américas;
The Brooklyn Rail; Capitalism Nature Socialism;
Tripwire; Action Poétique; The Capilano Review;
Textsound; XCP: Cross-Cultural Poetics;
LINE; Aufgabe.
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 documenta
ries for Vice, where he is a senior editor.
John Gendall
Visiting Instructor
MDES, with Distinction, Architectural History and
Philosophy, Harvard University Graduate School
of Design; B.S. Molecular Biology, University
of Colorado; selected publications include
Artforum, Art in America, The New York Times,
Wallpaper*, Dwell, l'Architecture d'Aujourd'hui,
The Architect's Newspaper, Architectural Record,
Rebuild by Design (editor, 2015); contributing
writer, The Phaidon Atlas of Contemporary World
Architecture (2008); awards include New York
State Council on the Arts (2009) and Graham
Foundation (2006).
261
Jason Helm
Sean C. Kelly
Cecilia Muhlstein
M.F.A. Creative Writing, Sarah Lawrence College;
Helm’s first book, Exposure, a YA sci-fi fantasy
novel, is currently on the market; he is at work
on a collection of short stories about mid-’90s
gutterpunk culture in Minneapolis.
Visiting Instructor
B.A., University of Montreal; Kelly was editor
of National Lampoon and a founding editor of
Heavy Metal; has been a staff writer for Saturday
Night Live, and a freelance writer, for numerous
television productions and periodicals including
Bazaar, Colors, Interview, Playboy, Spy, The
Village Voice, and The New York Times; author
and editor of numerous books and anthologies.
Adjunct Assistant Professor, Tutor
California State University at Los Angeles;
Muhlstein was born in Texas and grew up in Los
Angeles; work and interests are in fiction, critical
theory, art, and eco-poetics; current work can
be found in the pages of NYArts magazine and in
the archives of Safe-T-Gallery.
Samantha Hunt
Visiting Instructor
M.F.A. Writing, M.A. English and Comparative
Literature, Columbia University; Gordon was
born in New York City; 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.
Associate Professor
M.F.A., Warren Wilson College; Hunt’s second
novel The Invention of Everything Else (Houghton
Mifflin Harcourt, 2008) was a finalist for the
Orange Prize and winner of the Bard Fiction
Prize; her first novel, The Seas (Picador, 2005)
won a National Book Foundation award for
writers under 35; her 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.
James Hannaham
Mary-Beth Hughes
David Gordon
Associate Professor
B.A. Art, Yale University; M.F.A. Fiction/
Screenwriting, The Michener Center for
Writers at the University of Texas, Austin.
Novels: Delicious Foods (Little, Brown 2015):
Barnes & Noble Discover Great New Writers,
Publisher's Weekly Top 10 Books of 2015; God
Says No (McSweeney's 2009); Short prose:
"Artist's Statement," Gigantic, 2015 [Pushcart
Prize]; NYFFA Fellowship. Solo exhibitions:
2015: "Lengthy Statements," Kimberley-Klark
Gallery. Exhibitions: 2015: "The Revelation of the
Self-Evident," 490 Atlantic, un(Scene) Art Show.
Ryan Fischer-Harbage
B.A., Kalamazoo College; M.F.A., Bennington
College; 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.; previously served as an editor at Simon
and Schuster; Little, Brown and Company,
and The Penguin Group (U.S.A.).
Christian Hawkey
Professor
B.A., Pepperdine University; M.F.A., University of
Massachusetts at Amherst. Has written two fulllength 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.
Rachel Levitsky
Assistant Professor, Associate Coordinator
M.F.A. Poetics, Naropa University; M.A.
American Social History, State University of
New York at Albany. Books include The Story
of My Accident Is Ours (Futurepoem, 2013),
Renoemos (Delete Press, 2010), NEIGHBOR (UDP,
2009), Under the Sun (Futurepoem, 2003),
Dearly (A+Bend, 1999). Founder: Belladonna*
Collaborative (www.belladonnaseries.org);
co‑founder: Office of Recuperative Strategies
(oors.net).
B.A., Marymount Manhattan College; Hughes’
stories have appeared in A Public Space,
Ploughshares, The Paris Review, and are
collected in the book Double Happiness;
her novel is Wavemaker II (Atlantic Monthly
Press, 2002).
Robert Lopez
Lucy Ives
Max Ludington
B.A. English, Harvard University; M.F.A. Poetry,
Iowa Writers' Workshop; Ph.D., A.B.D.,
Comparative Literature, New York University.
Editor, Triple Canopy; exhibitions include
2014 Whitney Biennial; books include Orange
Roses and nineties; selected publications
in Artforum, BOMB, Los Angeles Review of
Books; awards and honors include Iowa Arts
Fellowship, McCracken Fellowship.
Visiting Instructor
B.A., University of Minnesota; M.F.A., Columbia
University; Ludington’s novel Tiger in a Trance
was a New York Times Notable Book; his short
fiction has appeared in Tin House, Meridian,
HOW Journal, Nerve, Outerbridge, On the Rocks,
The KGB Bar Fiction Anthology, and others.
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, has reported from the
Arctic Circle, Denmark, Sicily and Fiji; 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.
Assistant Adjunct Professor
B.F.A., New York Institute of Technology. M.F.A.,
New School for Social Research. Novels include
Part of the World; Kamby Bolongo Mean River; All
Back Full. Story collections include Asunder and
Good People.
Anna Moschovakis
B.A. Philosophy, University of California at
Berkeley; M.A. Comparative Literature, The
Graduate Center of the City of New York; M.F.A.
Writing, Bard College's Milton Avery Graduate
School of the Arts. Books include They and We
Will Get Into Trouble for This; You and Three
Others Are Approaching a Lake (winner of the
James Laughlin Award from the Academy of
American Poets); I Have Not Been Able to Get
Through to Everyone (finalist for the Norma
Farber First Book Award from the Poetry Society
of America). Translations include Commentary
by Marcelle Sauvageot (co-translated with
Christine Schwartz-Hartley); The Jokers by
Albert Cossery, and The Possession by Annie
Ernaux. Awards include the Howard Fellowship
from Brown University's Howard Foundation,
the Holloway Fellowship from U.C. Berkeley,
a New York Foundation for the Arts fellowship,
and two grants from the Poetry Fund.
Shelly Oria
Visiting Professor
B.A., Tel Aviv University; M.F.A., Sarah Lawrence
College; Oria’s fiction has appeared in
McSweeney’s, Quarterly West, cream city review,
and fivechapters; 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
B.A. English, Ohio University; M.F.A Creative
Writing, Syracuse University. Publications include
Chicago Tribune, Chicago Reader, Guernica
Magazine, Washington Square Review, Dossier,
Hobart (website), Playboy (website).
Jonathan Santlofer
B.F.A. Painting/Art History, Boston University;
M.F.A. Painting/Art History, Pratt Institute. Books:
The Death Artist, Color Blind, The Killing Art,
Anatomy of Fear (winner of the Nero Award, Best
Crime Novel, 2010), The Murder Notebook (all
Marrow/ HarperCollins). Editor and contributor
for four anthologies: The Dark End of the Street
(Bloomsbury), LA Noire: The Collected Stories
(Mulholland Books), The New York Times bestseller Inherit the Dead (Simon & Schuster), The
Marijuana Chronicles (Akashic Books). Short
stories published in The Strand Magazine, Ellery
Queen Magazine, New Jersey Noir, The Rich & the
Dead, New York Stories. Collections include The
Metropolitan Museum of Art, New York; Norton
Simon Museum, California; Newark Museum,
New Jersey; Institute of Contemporary Art,
Tokyo. Reviews include Art in America, Artforum,
ArtNews, Arts, The New York Times. Awards and
grants include Skowhegan School of Painting &
Sculpture Prize, 1980; two National Endowment
for the Arts grants, 1986, 1990; visiting artist,
American Academy in Rome, 1990; visiting
artist, Vermont Studio Center, 1988, 1990, 1994,
2000; Yaddo residency, 1986–2016, yearly or
biyearly residencies.
Holly Tavel
Visiting Instructor
B.A., The New School; M.F.A., Brown University;
recipient of a 2009 Fulbright scholarship in
Creative Writing in the Czech Republic.
262
263
Undergraduate Admissions
Johnny Temple
Thad Ziolkowski
Visiting Instructor
B.A., Wesleyan University; publisher and
editor-in-chief of Akashic Books, an awardwinning Brooklyn-based independent company
dedicated to publishing urban literary fiction
and political nonfiction; winner of 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; 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; has contributed articles
and political essays to various publications,
including The Nation, Publishers Weekly,
AlterNet, Poets & Writers, and BookForum.
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.; journalism has appeared
in The New York Times, Slate, Bookforum, Travel
& Leisure, and the Village Voice; among other
honors; recipient of a fellowship from the John
S. Guggenheim Foundation.
Ellery L. Washington
Associate Professor
DEUG to DEA (Diplôme d’Etudes Appliquées)—
M.A. equivalent, Contemporary French
Literature, Comparative Thesis; Université
de Paris I – Panthéon – Sorbonne. Selected
publications: The New York Times, Ploughshares,
Open City, Nouvelles Frontières, The
International Review, Frankfurter Allgemeine,
Berkeley Fiction Review, and State by State—a
Panoramic Portrait of America. Notable feature
film script consulting projects: From Paris with
Love, Brotherhood of the Wolves, The Italian
Job, Grillé, From Hell, Arthur and the Invisibles
(animation), Sophie and the Dream Bandits
(animation), and The Myth of Darkness. Awards:
PEN Center West Rosenthal Fellowship &
Award for Fiction, IBWA Prize for Short Fiction,
Grand Audience Award at Documental Film
Festival, Pratt Institute’s 2014 Distinguished
Teacher Award.
Uljana Wolf
B.A./M.A. German Studies, English Literature,
Cultural Studies, Humboldt University of Berlin,
Germany; German as a Foreign Language
certificate, University of Kassel, Germany. Books
include I MEAN I DISLIKE THAT FATE THAT I WAS
MADE TO WHERE, translated from the German
by Sophie Seita, included in Flavorwire’s Best 50
Books of 2015, as well as five books published
in Germany; publications include The Brooklyn
Rail, Asymptote, Harper’s Magazine; awards
and honors include Erlangener Poetry Prize for
Poetry as Translation, 2015; Wolfgang-Weyrauch
poetry award, 2013; Villa Aurora of Los Angeles
residency, 2010; Austrian Cultural Forum New
York translation award, 2009; Peter-Huchel-Preis
poetry award, 2006; Dresdner Lyrikpreis poetry
award, 2006.
Gina Zucker
B.A., Washington University; M.F.A., The New
School; Zucker has published fiction and
nonfiction in magazines and journals such as Tin
House, Salt Hill, The Chicago Sun-Times, The New
York Post, Elle, Glamour, GQ, Rolling Stone,
Redbook, and Cosmopolitan, as well as in various
online journals; writing has been anthologized
in two collections: ALTARED (Vintage, 2007) and
BEFORE (Overlook Press, 2006); 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
Visiting Instructor, Tutor
Priya Chandrasekoran
Tutor, Writing, Thesis
Diane Cohen
Assistant to the Director, Visiting Instructor
Maura Conley
Visiting Instructor, Tutor, Writing, Thesis
Brian Cook
Tutor
Dominica Giglio
Tutor, Writing, Art History
Heather Green
Tutor, Writing, Thesis, Conversation
Joseph Herzfeld
Lecturer, Intensive English; Tutor; Writing
Kwame Heshimu
Visiting Instructor, Tutor, Writing
Cecilia Muhlstein
Adjunct Assistant Professor, Tutor,
Writing, Thesis
Evan Rehill
Adjunct Instructor, Tutor, Writing, Thesis
Vice President for Enrollment
Judith Aaron
718.636.3743
jaaron@pratt.edu
Director of Undergraduate Admissions
William Swan
718.636.3518
wswan@pratt.edu
Director of Admissions Operations
and Technology
Christopher Paisley
718.636.3593
cpaisley@pratt.edu
Director of Marketing Communications and
Enrollment Management
Dustin Liebenow
718.636.3779
dliebeno@pratt.edu
Associate Director of Transfer Admissions
Erica Wilson
718.636.3514
ewilson@pratt.edu
Office of Admissions Hours
room. Tours to specific academic
The Office of Admissions is open
departments are available upon request
weekdays from 9 AM to 5 PM from
and must be scheduled through the Visit
September through May and from 9 AM
Coordinator. These are scheduled on
to 4 PM during June, July, and August.
Fridays. Schedule campus tours online at
It is located in Myrtle Hall, 2nd floor,
www.pratt.edu/visit.
Brooklyn campus. Myrtle Hall is the first
left past the main gate entrance.
The Admissions Office recommends
that prospective applicants visit as early
as the spring of their junior year to allow
Pratt Institute
ample time to prepare portfolio work.
Office of Undergraduate Admissions
Admissions counselors are available from
April 1 to December 1 each year. Call
Brooklyn, N.Y. 11205
our Visit Coordinator at 718.636.3779 or
800.331.0834 to schedule a portfolio
Visiting Pratt
review. You may also email a request to
We invite all prospective students and
visit@pratt.edu.
their families to visit the Pratt campus.
The Office of Admissions provides
Information Sessions
Associate Director of
International Admissions
Lindsey Wolkowicz
718.636.3559
lwolkowi@pratt.edu
several ways to help acquaint students
These are scheduled throughout the
with the school, including information
year. Please check our website at www.
sessions, campus tours, individual
pratt.edu/visit for a schedule.
Tel: 718.636.3514 | 800.331.0834
admissions@pratt.edu
www.pratt.edu/admissions
Days.
Questions?
Ask Pratt’s “Virtual Adviser”
at www.pratt.edu/ask.
campus are Mondays and Fridays at 10
portfolio reviews, and National Portfolio
Campus Tours
General tour times for the Brooklyn
AM, 12 PM, and 2 PM, as well as Tuesdays
and Thursdays at 10 AM and 2PM. The
tour is a general tour and does not
visit individual academic departments.
It usually includes a residence hall
264
Department-Specific Sessions
Website
Title IX Statement
These consist of individual department
Visit www.pratt.edu to request a catalog
It is the policy of Pratt Institute to
presentations and a campus tour.
and receive emails throughout the year
comply with Title IX of the Education
Information on scheduling of all events
about admissions events, requirements,
Amendments of 1972, which prohibits
is found online at www.pratt.edu/visit.
deadlines, and your financial aid
discrimination based on sex (including
package.
sexual harassment and sexual violence)
Regular Admission:
in the Institute’s educational programs
January 5 (freshmen)
All supporting documents should be
February 1 (transfers)
submitted by the application dead
National Portfolio Days
Fall Admission Deadlines
Early Action:
November 1 (freshman applicants
only; nonbinding)
265
All mailed materials must be sent to:
International Transcripts
Pratt Institute
Brooklyn, New York 11205
International applicants must submit
official transcripts (academic records)
of all secondary school studies as well as
any postsecondary studies. Applicants
also must submit official results of all
external examinations. These include
Representatives from Pratt Institute
Applying to Pratt Institute and
and activities. Title IX also prohibits
attend National Portfolio Days
PrattMWP
retaliation for asserting claims of sex
throughout the country to meet with
Applications are welcome from all
discrimination. Pratt Institute has
prospective students and offer advice
qualified students. The Admissions
designated Grace Kendall as its Title IX
about preparing portfolios. A list of the
Committee bases its decisions on
Coordinator to coordinate Pratt
events we attend can be found online at
a careful review of all credentials
Institute’s compliance with and re
www.pratt.edu/visit.
submitted by the applicant. Acceptance
sponse to inquiries concerning Title
Two-year associate’s degree applicants
decisions shall be made without regard
IX and sexual misconduct. She can
A high school diploma or equivalent
may apply on a rolling admissions basis
Off-Campus Appointments
to race, color, sex, marital status, age,
be reached at gkendall@pratt.edu
is required for admission to Pratt
throughout the year.
Pratt’s admissions counselors visit
ethnic or national origin, religion, creed,
or 718.636.3722.
Institute’s undergraduate programs.
with applicants and their families by
sexual orientation, or physical or mental
appointment throughout the United
disability in accordance with federal,
complaint with the Department of
First-Time Freshmen
States. If you are interested in meeting
state, and local laws. Admissions files are
Education’s Office for Civil Rights
Checklist
Applicants who have received high
the SAT or ACT. International applicants
with an admissions counselor to have
not considered complete and will not
regarding an alleged violation of Title IX
1. Application form with fee (online)
school equivalency diplomas are
must submit either the TOEFL, or the
your work reviewed or to discuss Pratt,
be reviewed until all required materials
by visiting www.2.ed.gov/about/offices/
2.Official transcripts from each
required to have official High School
SAT or ACT. To ensure that we receive
please call our Visit Coordinator at
have been received.
list/ocr/complaintintro.html or calling
high school attended or official
Equivalency Examination (GED) scores
scores by our posted deadlines,
800.421.3481.
GED scores
sent to the admissions office in addition
students should take the tests as early
to official transcripts from all high
as possible but no later than one month
schools attended.
before the application deadline. Please
718.636.3779 or write to visit@pratt.edu.
CollegeNET hosts Pratt Institute’s
A person may also file a written
line. Transcripts should be mailed or
Spring Admission Deadlines
September 1 (international applicants)
October 1 (domestic applicants)
Admissions Requirements for
The schedule is available at www.pratt.
undergraduate application. The
edu/visit.
online application, as well as various
for international
requirements, may be found at www.
students unless submitted
pratt.edu/apply. Writing portfolios
instead of TOEFL).
3.SAT or ACT test scores (not required
should be uploaded on the new
4.Visual or writing portfolio: Submit
application. Visual portfolios will
to pratt.slideroom.com (except
continue to be submitted at pratt.
Construction Management)
slideroom.com. See www.pratt.edu/
apply for instructions on submitting your
application and supporting documents.
5.Essay (part of application form)
6.TOEFL (Test of English as a Foreign
submitted within two weeks of the
application deadline you have chosen.
Official High School Transcripts
High School Equivalency
General Certificate of Education, Hong
Kong School Certificate of Education,
Israeli matriculation or Bagrut, Secondary
School Certificates, and Baccalaureate
Part I and Part II. Transcripts must be
translated into English.
Test Scores (SAT or ACT)
All first-time freshmen applying to any
of Pratt’s bachelor degree programs
must submit official results from either
be sure to have your scores sent directly
to Pratt. Please do not request that
scores be rushed. Pratt recommends
that applicants to the Bachelor
of Architecture program submit the
results of the SAT II Mathematics Level
I or II Subject Test. The writing section
is optional.
Language) or IELTS (International
English Language Testing System)
SAT code is 2669
exam results (international applicants
CLEP code is 2669
only, code: 2669)
AP code is 2669
ACT code is 2862
266
ACT and SAT test requirements may
discipline to which you are applying. The
Applicants should avoid including work
be waived for any first-time freshman
portfolio must include at least three to
that copies photographs, uses the grid
applicants if they have graduated from
five pieces of work from observation.
system, or directly replicates any other
Writing Sample (All film applicants must
high school five or more years prior to
Examples might include a landscape,
artist’s work (including replicating anime
submit C below.)
their application.
still life, figure, interior, or self-portrait.
drawings, cartoons, or video game
Applicants should avoid including work
character designs).
AND
267
Days or by appointment off-campus
Portfolios for Writing, Critical and
do not fulfill the applicant’s visual
Visual Studies, and Art History B.A.
requirement. They are for guidance only.
Applicants
Applicants are required to submit a writing
About Your Portfolio
portfolio of recent writing (no more than
treatment for a short film. This film
Some of the most frequent questions
10 pages). Writing applicants may submit
contains no dialogue or voiceover
we receive are about what should
poetry, short stories, and excerpts from
but is all communicated through
be included in the portfolio. Visit
novels, articles, and essays. Please submit
visual images, sound, and character
us at www.pratt.edu/admissions/
one sample of analytical writing (essay,
behavior and action. Your film
applying/applying_undergraduate/
term paper, or article). We encourage
you to submit several examples of your
C.A one- to two-page descriptive
Letter of Recommendation (Optional)
that copies photographs, uses the grid
Applicants are no longer required
system, or directly replicates any other
to submit letters of recommend
artist’s work (including replicating anime
ation. If, however, you wish to
drawings, cartoons, or video game
have one submitted, it must be by
character designs). Please indicate in
Visual Sample: Applicants submit either
treatment must include at least two
ug_application_requirements for
mail. See www.pratt.edu/apply for
the Description section for each image
A or B below, and all must submit C (the
locations, one of which is a kitchen.
more information on what you should
writing in different genres. If you submit
more information.
on SlideRoom if the work is your own or
It must also include at least two
include in your portfolio. Click on your
poetry, you must also submit some prose.
props, a pen and a jar of peanut
level—freshman or transfer—for more
Please upload writing samples online
butter. Everything else is up to you.
information on your portfolio.
at pratt.slideroom.com to either the
was done by a group.
Portfolio
All first-time freshman art, design,
Following are the portfolio requirements
photography and fashion but not
for film applicants.
writing sample).
A.Video: A three- to five-minute
video in which you had primary
creative control. This may
be fiction, documentary, or
experimental in approach, and it
Film applicants must choose from
must submit a visual portfolio consisting
either Option 1 or Option 2, but all
of 12–20 images of two- or three-
Film applicants must submit the writing
dimensional work. Photography
Option 2
Portfolios for Film Applicants
and architecture applicants, including
including art history B.A. applicants,
OR
section of SlideRoom in PDF format
the admissions portfolio. Just make
or to the attachments section as a
work, and lots of it. When it is time to
Word document.
media section in PDF format or to the
attachments section as a Word document.
what you have made to show us what
and B.A. in Art History
Submitting Your Visual Portfolio
you might accomplish while you are here
Applicants should submit examples
interests. (Should be submitted on
Applicants must submit their portfolios
at Pratt.
of analytical writing (no more than
SlideRoom at pratt.slideroom.com.)
online at pratt.slideroom.com. You will
but it must reflect your aesthetic,
intellectual, and emotional
applicants are not required to submit
Do not make work specifically for
apply, it is simply a matter of editing
may be silent or include sound,
sample described below in C.
Please upload to either the media
If you want additional advice on
10 pages). Do not upload to the
the three to five observation drawings
Option 1
be able to edit your portfolio online
your work, please feel free to contact
and may submit a photography
A visual portfolio consisting of 12–25
until you press the “submit” button, and
our Visit Coordinator at visit@pratt.
you will receive immediate confirmation
edu or 718.636.3779 to set up an
portfolios is not available through the
that we received your work. Please
appointment with one of our admissions
Admissions Office.
submit by the application deadline.
counselors. Our admissions counselors
Do not send original work. All submitted
are all active artists and designers who
Essay
materials, including the portfolio,
are happy to give potential applicants
become the property of Pratt Institute.
feedback on their work and their
Space is provided on the last page of
Portfolios in any format will not be
application portfolio. Admissions
returned or held for pickup. We do not
counselors travel across the country to
review personal websites unless you
meet with students and are also available
indicate your request on SlideRoom.
weekdays at our Brooklyn admissions
There is a $15 charge to submit your
office. Applicants seeking portfolio
portfolio on SlideRoom.
feedback from admissions counselors
portfolio. Film applicants should see
examples of two- or three-dimensional
the section below for Film portfolios.
work. The work should consist of a variety
Art History B.A. applicants must
of media and approaches; applicants
submit a writing portfolio. (See section
may include a three-minute-maximum
below.) B.F.A. in History of Art and
video for which the applicant has
OR
B.Graphic Series: A series of
photographs you have taken or
drawings you have made that,
when viewed in a sequence, tell a
simple story or portray an original
Design applicants must submit a visual
primary creative control, in addition to
portfolio. Architecture freshmen with a
work in other media. Work may include
GPA of 3.7 or above are not required to
assignment-based projects, self-directed
submit a portfolio.
one page) about the character,
work, or pieces of a collaborative nature.
place, or story you’ve created.
The portfolio does not need to be
(Should be submitted on SlideRoom
The visual portfolio should consist
of a variety of media and approaches.
discipline-specific. The portfolio must
It can include assignment-based
include at least three to five pieces of
projects, self-directed work, or pieces
work showing observational drawing;
of a collaborative nature. The portfolio
examples might include a landscape,
does not need to be specific to the
still life, self-portrait, life drawings, etc.
character or place. Include a
brief written narrative (less than
at pratt.slideroom.com.)
Admissions advisement sessions and
reviews done during National Portfolio
should contact the office between April 1
and December 1.
application.
At this time, feedback on writing
the application to answer the essay
topic. Applicants may submit additional
pages if needed. Describe when and
how you became interested in art,
design, writing, architecture, or the
particular major to which you are
applying. Describe how this interest has
manifested itself in your daily life.
268
269
Additional Required Application
Applicants from China
Additional Required Material for
Materials for Permanent Residents
In order to provide an in-person
Home-Schooled Applicants
Proof of High School Graduation
Art and Design Programs
Math or Science—3 Credits
This requirement may be satisfied by
English
4 units
Applicants who are permanent resident
interview opportunity for all Chinese
Pratt Institute welcomes applications
supplying any of the following:
Students given transfer credit for a
Social Studies
1 unit
aliens, refugees, and other eligible
applicants interested in Pratt Institute
from home-schooled students. In the
specific course may not enroll in other
Mathematics
1 unit
noncitizens must provide a photocopy
and to process your application faster,
absence of conventional high school
1. Official scores from the official High
courses listed below as equivalent, but
Science
1 unit
of their alien registration card.
we have partnered with Vericant.
records, submitting the items below
must enroll in more advanced courses.
Academic Electives
3 units
Vericant will conduct video interviews
will help us to evaluate your readiness
and short writing samples with our
for the programs that we offer. Home
Materials for International Applicants
applicants in Mainland China. Vericant
school transcripts should include:
TOEFL, IELTS, or PTE
does not evaluate candidates but,
• course titles;
• course grades;
• units of credit for courses;
• grading scale (if other than A–F letter
International applicants whose first
language is not English must submit the
results of the Test of English as a Foreign
Language (TOEFL), the International
English Language Testing System (IELTS),
or Pearson Test of English (PTE) and
have the results sent by the application
deadline. Register online at www.toefl.
org. International students who have
taken the SAT or ACT test may submit
SAT or ACT test scores instead of the
TOEFL. A TOEFL score of 550 (paper),
79 (Internet), or 213 (computer) is required
for four-year programs. The two-year
associate’s degree programs require a
TOEFL score of 530 (paper), 71 (Internet),
or 197 (computer). Pratt’s TOEFL code
is 2669. Pratt will accept the IELTS in
lieu of the TOEFL. The required score
is 6.5 for four-year programs and 6 for
the associate’s degree programs. The
required PTE score is 53 for four-year
programs and 48 for two-year programs.
instead, posts the interviews online for
our admissions team to review. The
Vericant interview will form part of
your application package if you opt to
be interviewed. Although the Vericant
interview is not mandatory, we highly
recommend it, as it will give you an
excellent opportunity to showcase
your skills and professionalism to our
admissions team.
To learn more about Vericant
grades); and
• signature of the home school
administrator (the parent or other
person who organized, taught,
and evaluated your home school
coursework).
and to schedule an interview,
In the absence of a traditional transcript,
please visit Vericant’s website at
you may present a portfolio of the
students.vericant.com.
work you consider most indicative of
Vericant provides interviews in
your academic achievements (this is in
the following cities: Beijing, Shanghai,
addition to the regular visual portfolio
Shenzhen, Chengdu, Chongqing,
requirement). This may contain records
Dalian, Guangzhou, Hangzhou, Nanjing,
such as grades from community
Qingdao, Wuhan, Xi’an, and Zhengzhou.
college or other postsecondary level
courses that you may have taken,
scores from AP tests (these are also
administered independently of schools),
recommendations from qualified tutors
or teachers, examples of independent
research, or descriptions of books
and other curricular materials used in
preparation for college-level work.
School Equivalency Examination (GED)
2.A letter from your local super
AP courses of study accepted are:
intendent of schools as proof of your
readiness to enter college and that
your home schooling was conducted
in accordance with state laws
3.Certificate of graduation from a
diploma-granting organization or
nontraditional school
Notes:
A.May include additional units
in social studies, science,
The following subjects are strongly
recommended for admission to specific
Pratt programs.
Calculus BC
Transfer credit given for Math
Chemistry
combination of these
Transfer credit given for Sci
C.Should include trigonometry and
advanced algebra
D.Should include chemistry, physics,
or biology
Architecture, Writing, and Critical
math, foreign language, or any
B.Should include studio art
Recommended High School Coursework
Calculus AB
E.One unit must be in either
Physics B
Electricity and Magnetism
Mechanics
Biology
and Visual Studies Programs
chemistry or physics, preferably
English
4 units
physics
Social Studies
1 unit
College Prep Math
3–4 units
Advanced Placement Credit Policy
Art History*—3 credits
Science
2 units d
Pratt Institute accepts up to a maximum
AP course of study accepted is:
Academic Electives
3 units a
of nine (9) total AP credits (up to 3
Art History
General Electives
2 units b
credits in each of the categories) with a
Transfer credit given for Art History
score* of four (4) or five (5) only in the
*Note: A student achieving an AP score of 3 in
the History of Art and/or Design will have the
option to be interviewed by the chair of the
department to determine sufficient mastery of
course material. The chair will then determine
whether the student may be assigned to a
higher-level course. In no case will the process
result in a waiver of credit requirements but only
in the substitution of another course.
Credits are accepted only at the time of
initial matriculation at Pratt. Applicants must
have official score reports sent directly to the
Office of Admissions in order to receive credit.
Students who fail to submit scores before they
register for the first semester will not receive
credit for AP scores.
Construction Management Program
English
4 units
Social Studies
1 unit
College Prep Math
4 units c
Science
2 units e
Electives
5 units
General Electives
2 units b
following:
English—3 credits
AP course of study accepted is:
English Language and Composition
Transfer credit given for ENGL-101 (Enrollment
in ENGL-103 during the first semester at Pratt is
required.)
Statistics
270
International Baccalaureate Policy
Application Requirements
Application Form with Fee
International Baccalaureate (IB) Diploma
for Transfer Students
All applicants to undergraduate degree
recipients beginning with fall 2012
Submit all documents, postmarked no
programs must complete the Pratt
cial transcripts (academic records)
applicants may receive transfer credits
later than the application deadline.
undergraduate application with the
of all secondary school studies as well as
for higher-level courses in which they
The online application, as well as various
appropriate nonrefundable application
any postsecondary studies. Applicants
earn a score of five (5) or higher. Pratt
requirements, may be found at www.
fee ($50 for U.S. citizens and permanent
also must submit official results of all
awards transfer credit for second
pratt.edu/apply. Writing and visual
residents, $90 for international
external examinations. These would
languages (Language B) taken at the
portfolios must be uploaded at pratt.
applicants). Applications must be
include General Certificate of Education,
higher level only if the student’s major
slideroom.com. See www.pratt.edu/
completed online at www.pratt.edu/
Hong Kong School Certificate of Edu-
at Pratt requires foreign language. Pratt
apply for instructions on submitting your
admissions/applying.
cation, Israeli matriculation or Bagrut,
Institute does not award transfer credit
application and supporting documents.
Requirements for the associate’s degree
programs are similar to the freshman
requirements, including the portfolio
requirements, except that the test
scores (SAT/ACT) are not required. See
the freshman application section for
details. If you would like feedback on
your portfolio, you may have it reviewed
at the Brooklyn campus by calling
718.636.3514, or you may schedule an
appointment and campus tour at the
271
International Transcripts
Transfer Portfolio Guidelines
Submitting Your Visual or Writing Portfolio
International applicants must submit offi-
Visual or Writing Portfolio
Secondary School Certificates, and Bac-
application form online is the required
calaureate Part I and Part II. Transcripts
Checklist
method. Fees may be paid by credit
must be translated into English.
1. Application form with fee
card or electronic check.
for IB Visual Arts courses or exams.
Two-Year Degree Applicants
Completing your undergraduate
2.Official transcripts from each high
school attended or official GED scores.
A high school transcript is not required
of students who have attended at least
four semesters of college full-time or
have earned at least 48 credits by the
semester for which they are applying.
3.Official transcripts from each college
attended, emailed by colleges
4.Portfolio
Manhattan campus (where the programs
5.Essay (part of application form)
are located) by calling 212.647.7375 or
6.Test of English as a Foreign Language
Transfer students who have studied
In cases of extreme financial
outside the U.S. (other than Japan and
hardship, applicants may request a fee
Korea) are required to submit a World
waiver.
Education Services (WES) evaluation
of their transcript(s) to expedite their
Official High School Transcript(s)
application processing. WES evaluations
Transfer applicants are required to
do not include translations. The docu-
submit high school transcript(s). A high
ment must be officially translated into
school transcript is not required of stu-
English before it is submitted to WES or
dents who have attended at least four
any other reputable education evalua-
semesters of college full-time or have
tion service, e.g., your embassy.
earned at least 48 credits by the semester for which they are applying.
Recommendations
Recommendation letters are optional.
by emailing aos@pratt.edu. Applicants
(TOEFL), International English
Official College Transcript(s)
You may submit one from a teacher,
to the B.F.A. programs in drawing or
Language Testing System (IELTS), or
Transfer applicants must submit
guidance counselor, or employer in a
painting, graphic design, or illustration
Pearson Test of English (PTE) exam
official transcripts from each college
field related to the applicant’s profes-
who do not meet the qualifications for
results (international applicants only)
attended. Students who attended
sional goal, if possible. These should be
mailed to Pratt.
the B.F.A. may be accepted instead to
All mailed materials must be sent to:
college in the U.S. may request their
the associate’s degree program.
Pratt Institute
transcripts through the National
Student Clearinghouse (www.
studentclearinghouse.org) or directly
from their college.
Detailed information on the
requirements follows.
Portfolios should be uploaded using
The transfer portfolio requirements are
SlideRoom at pratt.slideroom.com
the same as the freshman requirements
following instructions at the site. You
if you have not taken studio courses
will receive immediate confirmation that
in your previous college or if you have
your work has been received. You may
not taken our freshman-year courses
edit images until you hit the “submit”
and will enter as a freshman. Transfer
button. There is a charge of $15 for
applicants who have taken art courses
submission. Admissions advisement
should include examples of work that
sessions and reviews at National
reflect all studio experiences at their
Portfolio Days or by appointment off-
previous college in order to be reviewed
campus do not fulfill the applicant’s
for credit. No more than 45 images may
visual requirement. They are for
be submitted.
guidance only. Please submit your work
by the deadline (February 1 for fall and
Architecture
All architecture transfer applicants must
submit a visual portfolio. Applicants
who have not taken architecture
design studio courses in their previous
postsecondary school should submit
a portfolio according to the freshman
requirements and will automatically
be placed into the first year of design.
Transfer applicants who have taken
October 1 for spring).
Do not send work to the office. All
work must be submitted on SlideRoom.
All submitted materials, including the
portfolio, become the property of Pratt
Institute. Portfolios in any format will not
be returned or held for pickup.
Writing, Critical and Visual Studies,
and Art History B.A. Applicants
architecture design courses should
Applicants are required to upload a
include examples of work that reflect
writing portfolio of recent writing (no
all design projects at their previous
more than 10 pages) to SlideRoom
school. The number of images in the
at pratt.slideroom.com. Writing
architecture portfolio will reflect
applicants may submit poetry, short
the number of projects completed.
stories, and excerpts from novels,
Architecture students seeking the
articles, and essays. Please submit at
transfer of studio credit must use
least one sample of analytical writing.
SlideRoom to upload their images at
We encourage you to submit several
pratt.slideroom.com.
examples of your writing in different
styles. If you submit poetry, you must
also submit some prose. Critical and
Visual Studies and Art History B.A.
272
applicants should submit examples of
The two-year associate’s degree
analytical writing. At this time, feedback
programs require a TOEFL score of 530
on writing portfolios is not available
(paper), 71 (Internet), or 197 (computer).
through the Admissions Office.
Pratt’s TOEFL code is 2669. Pratt
will also accept the IELTS in lieu of
Essay
Space is provided on the last page
of the online application to answer
the essay topic. Describe when and
how you became interested in art,
the TOEFL. The required score is 6.5
for four-year programs and 6 for the
associate’s degree programs.
Applicants from China
Transfer Credit/Placement
Transfer credit may be granted for
coursework that is comparable to Pratt’s
coursework and is completed at a school
accredited by an accrediting agency or
state approval agency recognized by
the U.S. Secretary of Education or the
international equivalent.
Credit may be awarded for courses
in which (1) a grade of C or better is
design, writing, architecture, or the
In order to provide an in-person
earned from domestic institutions
particular major to which you are
interview opportunity for all Chinese
(or 70 or better from international
applying. Describe how this interest has
applicants interested in Pratt Institute
institutions, as determined by a repu
manifested itself in your daily life.
and to process your application faster,
table education evaluation service)
we have partnered with Vericant.
and (2) the course corresponds to
Vericant will conduct video interviews
the specific course requirements of
Materials for Permanent Residents
and short writing samples with our
the applicant’s proposed program
Applicants who are permanent resident
applicants in Mainland China. Vericant
of study. Courses with grades lower
aliens, refugees, and other eligible
does not evaluate candidates but,
than C (including C-) or less than 70
noncitizens must provide a photocopy
instead, posts the interviews online for
are not transferable.
of their alien registration card.
our admissions team to review. The
Students seeking transfer credits
Vericant interview will form part of
for studio courses in art, design, or
TOEFL or IELTS
your application package if you opt to
architecture are required to submit
(All International Applicants)
be interviewed.
a portfolio reflective of their studio
International applicants whose first
language is not English should take
the Test of English as a Foreign Language
(TOEFL) exam or the International
English Language Testing System
(IELTS) and have the results sent by
the application deadline. Register
online at www.toefl.org for the TOEFL.
International students who have taken
the SAT or ACT test may submit SAT
or ACT test scores instead of the
TOEFL. A TOEFL score of 550 (paper),
79 (Internet), or 213 (computer) is
required for four-year programs.
Although the Vericant interview is
coursework completed at their prior
not mandatory, we highly recommend
college as part of the admission
it, as it will give you an excellent
application. Transfer credit shall be
opportunity to showcase your skills and
granted for courses taken at another
professionalism to our admissions team.
institution only when the coursework
To learn more about Vericant
involved and the level of the transfer
and to schedule an interview, please
applicant’s achievement permit the
visit Vericant’s website at students.
student to complete the remaining
vericant.com.
coursework successfully.
Vericant provides interviews in the
All students petitioning for transfer
following cities. Main cities (three):
credit(s) must submit official transcript(s)
Beijing, Shanghai, Shenzhen; secondary
from all colleges attended. Credit
cities (10): Chengdu, Chongqing,
evaluations will be completed only
Dalian, Guangzhou, Hangzhou, Nanjing,
after acceptance. AP credit will also be
Qingdao, Wuhan, Xi’an, Zhengzhou.
considered. Please request that your
official AP scores be sent to Pratt during
the summer before you enroll. See page
281 for more details.
Prior to registration, the transfer
student receives an estimate by the
Office of Admissions of the credit that
can be expected for work done at his or
her previous college(s). A maximum of
six credits of language will be awarded.
Additional supporting documents
may be requested by the Office of
Admissions (bulletin, course hours, syl
labi, etc.). The Pratt program is planned
with the appropriate art and design
academic adviser using the estimate
as a guide for the required work to be
completed. After all final official tran
scripts have been received, a complete
evaluation of transfer credit will be
sent to the student. (Transfer students
273
Requesting the I-20
English Exam for Enrolling Students
To request the I-20, first submit your
All international students must meet
enrollment deposit to the Office
the Institute's English requirement. The
of Admissions. Then you will receive
English exam determines if you meet
your OneKey, which is a login and
Pratt Institute’s English requirement or if
password. This can take up to seven
you will need Intensive English Program
days to receive. After you receive your
courses (IEP) to meet the requirement.
OneKey, go to MyPratt at www.pratt.
edu/myPratt. Log in with your OneKey.
600 pBT or 250 cBT ) or higher, or if
1. Left menu: Select “Pratt Resources.”
English is your native language, then you
2.Left menu: Select “Web Services.”
will not need to take the exam because
3.Scroll down to “International Student
Forms” and click link for online I-20
application.
4.Review links under the appropriate
heading: “New F-1 Visa Applicants” or
“F-1 Transfer Applicants” or “Other
Than F-1 Status.”
5.All applicants must read the
in interior design are required to bring
instructions and FAQs before
their portfolio to their academic adviser
requesting the I-20.
during registration.) Transfer credit is not
6.Click “Get I-20.”
included in the scholastic index. If less
7.Follow all instructions to complete the
than 50 percent of a student’s
credits are earned at Pratt, the student
will not be considered for honors.
Accepted International Students
All enrolling international students need
to submit International Student forms
to the Office of International Affairs.
International students include both
students who need an I-20 for the F-1
student visa and international students
in other immigration statuses. Students
will not be permitted to register for
classes until the forms are submitted.
(U.S. permanent residents are not
considered international students.)
If your TOEFL score is 100 iBT (or
I-20 request.
you meet the English requirement.
There are other exceptions. To see
the list of exceptions and to get more
information about the test, please
visit www.pratt.edu/iep. If your TOEFL
score is less than 100 iBT (or 600 pBT
or 250 cBT), you will be required to take
Pratt’s in-house English exam before
Orientation. According to the test
results, you either will be placed in an
IEP class or will be considered “exempt”
from IEP classes. Students either will
take IEP courses until they exempt out
(pass), or will be exempt after taking
8.Print PDFs.
the test and will not need to take any
9.Mail all supplemental documents in
IEP courses. Students who scored
order for the I-20 to be processed.
below 100 iBT (or 600 pBT or 250 cBT)
on the TOEFL are strongly encouraged
Pratt Institute
Office of International Affairs
Brooklyn, NY 11205
USA
to enroll in the Summer Certificate
Program (SCP) in English Proficiency.
Please refer to www.pratt.edu/iep.
Note: Students participating in the
SCP will request an I-20 for the SCP
and the degree program at the same
time (choose SCP + Degree); therefore,
you must apply for the SCP before
requesting the I-20 from Pratt. Pratt
will issue the I-20 for SCP first. Pratt
will issue the I-20 for the degree after
274
you complete the SCP. Some programs
Deposit Deadlines
do not permit students to enter in the
Accepted students who plan to enroll
spring; you may be required to take the
at Pratt for the fall term are required
full year of English for that reason.
to make a deposit of $300 by May 1,
the official Candidate’s Reply Date.
• FAFSA code is 002798
• Tuition Assistance Program (TAP)
school code for New York State
residents: 0615—undergraduate
275
matriculated students have registered.
for summer. If you are planning to take
as a freshman or a transfer student, is
Acceptance as a nonmatriculated
only one or two courses, please see the
expected to complete his or her degree
or special student is based on the
section on nondegree students.
requirements at Pratt both in professional
applicant’s background and ability to
areas and in liberal arts and sciences.
successfully complete the coursework.
Student, you may take any under
Every student, once matriculated
As a Visiting Undergraduate
Admission to Associate Degree
Accepted students for the spring term
Readmission
Credit earned at other accredited
No more than 18 credits may be
graduate course at Pratt Institute that
Programs at Pratt Manhattan
must submit their deposit by December 1
Baccalaureate degree candidates
institutions by readmitted students
accumulated by a nonmatriculated
is approved by the appropriate chair
Transfer applicants to the Associate
or two weeks after acceptance, which
seeking readmission should submit an
who were previously matriculated will
student. International students holding
and academic adviser based on your
Degree Programs at Pratt’s Manhattan
ever is later. International students
Application for Readmission (available in
be evaluated for transfer to the Pratt
a student visa must meet with the
prerequisites and your portfolio and
Center should use the online application
should submit their I-20 request forms
the Office of the Registrar or the Office
record by the Office of the Registrar.
International Student Advisor before
transcript. Visiting Students may not
at www.pratt.edu/admissions/applying.
as soon as possible after the deposit
of Admissions, or at www.pratt.edu/
Readmitted students are expected to
submitting an application. Additional
enroll in graduate-level courses.
Please follow the same requirements
deadline. The full amount of the
admissions/applying) and the required
meet the degree requirements that are in
information is available from the Office
listed for freshmen or transfers to the
nonrefundable deposit is credited to the
$50 fee to the Office of the Registrar.
effect at the time of readmission.
of Admissions. A nonmatriculated/
a wide selection of courses ready
B.F.A. The SAT/ACT is not required.
student’s first-semester tuition. Housing
This application for readmission should
special student who plans to apply for
at the time of registration. The app
Applicants to the B.F.A. programs in
application deposits are also due on
be accompanied by a brief statement
Changing Schools within Pratt
admission as a matriculated student
lication and detailed instructions
fine arts or communications design who
the above-mentioned dates. Deposits
outlining the student’s reasons for
Students who wish to transfer from one
should meet with the chair of the
can be found on Pratt’s website at
do not meet the qualifications for the
should be made at payments.pratt.edu.
wishing to return to Pratt and official
school to another within the Institute
program to which he or she wishes to
www.pratt.edu/admissions/
transcripts from other schools attended
should complete a Change of School
apply. A nondegree form is available at
applying/applying_undergraduate/
Financial Aid
after leaving Pratt. Deadline dates for
Transfer Application and return it to the
www.pratt.edu/admissions/applying.
ug_application_requirements.
but may be extended.
B.F.A. may be accepted instead to the
associate’s degree.
We encourage students to have
This program is for one semester
Domestic applicants who intend to
filing applications for readmission are
Office of Admissions no later than June
Admissions Decisions
file for financial aid for fall 2017 will be
June 1 for the fall term and December
1 for the fall term and December 15 for
Visiting Students
Admissions decisions are issued as
able to access the Free Application for
1 for the spring term. Any student who
the spring term. Students must meet
The Visiting Student Program at Pratt
follows for applicants who submitted
Federal Student Aid (FAFSA) on October
did not file for an approved leave of
the admissions criteria for the program
Institute is open to students who are
Extension Center
complete applications. Early action
1, 2016, and can use their 2015 income
absence and who, during the preceding
to which they are applying. Students are
currently enrolled in a degree-seeking
PrattMWP
decisions will be made by January 6.
tax statements. The FAFSA should
term, either was not registered at Pratt
required to make an appointment with
undergraduate program at another
January 5 deadline decisions will be
be submitted electronically. See all
or did not complete the term is required
the Office of Admissions to determine
college or university and will have
made by April 1. Spring decisions will
instructions at www.pratt.edu/aid. If
to apply for readmission. Requests from
transfer credit. A limit of one transfer
completed one full year of college credit
be made by November 15. Admissions
you wish to have the IRS populate your
students who left the Institute while not
between schools will be considered.
by the time of enrollment. International
files are not considered complete and
FAFSA in seconds, click on the button
in good standing may be reviewed by
Students requesting a second transfer
students are permitted to participate in
will not be reviewed until all required
asking for permission. This greatly
the Committee on Academic Standing
will be required to obtain additional
this program.
materials have been received. This
expedites the completion of this form.
of the school to which readmission is
approval from the deans of both schools
includes the completed application,
You should submit the FAFSA before
sought. Notification of final action and
and from the Office of the Provost.
application fee, all transcripts, test
February 1 for fall enrollment and by
registration instructions are sent to the
scores for freshmen, TOEFL test scores
October 31 for spring enrollment. Please
student by the Office of the Registrar.
for international students, and portfolios
if required.
This program has been designed as
an opportunity for students to broaden
their college experience and is intended
Nonmatriculated/Special Students
as a supplement to the undergraduate
make sure that the email address you
Nonmatriculated or special students are
program at their home institution.
gave Pratt’s Office of Admissions is the
not candidates for a degree from Pratt
Visiting Students at Pratt Institute are
email address you use.
Institute. They may take no more than six
not ordinarily permitted to apply for
credits per semester and may register
transfer admission. Visiting students may
only if space is available in a class after
be accepted for fall or spring but not
Pratt’s extension center, MunsonWilliams-Proctor, is located in upstate
New York. To apply, visit www.mwpai.edu
for a description of requirements, or
check off PrattMWP on Pratt’s applica
tion. Students take the first two
years at PrattMWP in Utica and finish
the remaining two years in Brooklyn.
PrattMWP offers fine arts, photography,
art education (teacher certification),
and communications design. Students
may apply to both Pratt in Brooklyn
and PrattMWP in Utica on the Pratt
application at the same time.
276
277
Financial Aid
The ultimate goal of the program is
Intellectual Property
The Arthur O. Eve Higher
Pratt is committed to fostering the
Education Opportunity Program
to make higher education possible for
artistic and intellectual creativity of our
Director
students who are inadmissible under
community. The products of our creativity
Warren White
regular admissions guidelines, but who
are both the physical property we create—
heop@pratt.edu
have the potential and motivation for
academic success.
paintings, designs, and manuscripts—as
Applicants who feel that they may
well as the intellectual ideas these works
Pratt Institute is committed to providing
represent. The latter is called intellectual
access to higher education for all
be eligible for The Arthur O. Eve Higher
property. Pratt’s Intellectual Property
capable students. Pratt tries to ensure
Education Opportunity Program should
Policy applies to all our community’s
that no student is prevented from
contact the Office of Admissions for
members and is intended to respect
completing his or her degree due to a
further information and check off The
the value of creators, whether students,
lack of funds. The Arthur O. Eve Higher
Arthur O. Eve HEOP on the admissions
faculty, or staff. It also provides for
Education Opportunity Program (HEOP)
application. The Arthur O. Eve Higher
sharing our creative products to further
provides an opportunity to offer
Education Opportunity Program Office
the knowledge and academic growth of
admission and support to talented New
is located on the first floor of the
our collective community. Knowledge
York students who have not reached
Information Science Center (ISC),
of intellectual property rights is an
their full academic potential due to
room 104, and is open Monday through
important responsibility of all members
barriers in their educational, economic,
Friday, 9 AM to 5 PM. Summer hours are
of our community and an important
or personal background. Applicants
9 AM to 4 PM. The telephone number is
part of the intellectual life of every
must be New York State residents who
718.636.3524.
creative professional. Pratt’s complete
meet New York State’s Arthur O. Eve
Intellectual Property Policy can be found
HEOP income guidelines.
on the Web at www.pratt.edu/provost.
The Arthur O. Eve HEOP students
are Pratt students. They attend the same
classes, live in the same residence halls,
participate in the same extracurricular
activities, have access to the same
resources, and pursue the same careers
as other Pratt students. The Arthur O.
Eve HEOP provides additional supportive
services designed to assist students
with academic, financial, social, and
personal matters. This includes tutoring,
counseling, and financial aid for students
throughout their college careers.
Manhattan Campus
144 West 14th Street, 3rd Floor
New York, NY 10011
Senior Financial Aid Counselor
Sonya Chestnut
schestnu@pratt.edu
212.647.7788
Brooklyn Campus
Myrtle Hall, 6th Floor
Brooklyn, NY 11205
Financial Aid Counselor
Leonor Santillana
lsantill@pratt.edu
718.399.4491
HEOP
Assistant Director of Financial Aid
Savior Wright
swright@pratt.edu
718.636.3563
Office of Financial Aid
www.pratt.edu/financing
www.pratt.edu/financial-aid
Choosing a college should be based
Freshmen and Other Entering Students
on the quality and reputation of the
To be considered for financial
program rather than on finances. We
assistance, freshmen and transfer
understand, however, that many families
students must submit the Free
face concerns when choosing a highly
Application for Federal Student Aid
regarded college such as Pratt. We
(FAFSA) to the Department of Education
are committed to providing sufficient
Federal Student Aid Programs (www.
financial assistance to make the cost
fafsa.ed.gov or call 800.433.3243). The
more affordable for each family. Our
FAFSA application may be accessed
commitment is directly reflected by the
through Pratt’s website (www.pratt.edu/
large amount of gift money awarded
financing) or from secondary school
each year. In fact, over 86 percent
guidance counselors. Do not submit
of our students receive some type of
more than one application!
financial assistance.
The family is also responsible for
The FAFSA should be submitted
no later than March 1. A FAFSA filed
a contribution, which is determined
after March 1 will delay the awarding of
in part by the family’s income, assets,
financial aid and may jeopardize
benefits, and size. In addition, the
the student’s eligibility for Pratt grants
student is expected to pursue scholar
or scholarships.
ships, grants, and/or loans from
Students are automatically
private sources to help defray the cost
considered for all types of financial aid
of education.
after an admissions decision has been
Pratt offers various kinds of
made and their FAFSA information has
assistance, ranging from academic
been received by Pratt. If requested,
merit–based scholarships to need-based
and required by the federal government,
financial aid. Included in that list are
other documents, such as federal
tuition scholarships, grants, work-study
tax returns, are due at the Office of
employment, and loans. By combining
Financial Aid by May 15.
federal, state, and institutional funds, we
After financial need has been
make every effort to assist students and
established and adequate funds
their families in meeting the increasing
are available, an aid “package” will
cost of a college education. Through the
be granted. It might consist of a
collaborative benefits of alumni gifts,
combination of grants, scholarships,
endowments by private industries, other
loans, and employment. Outside awards
endowments, and government agency
that might be forthcoming are taken
programs, we are able to support our
into consideration when Institute aid
student body.
is offered. It is the responsibility of
278
Financial Aid
the student and/or family to notify the
How do I apply for a scholarship?
is no application for the merit-based
How do I apply?
How do I apply?
Federal Programs 2016–2017
Office of Financial Aid of any outside
There is no application. All incoming
scholarships awarded to incoming
All students must submit the FAFSA.
All students applying for financial aid with
Federal Pell Grants
awards. These outside awards may
students will be considered for a
students, and all accepted applicants
Other documents may be required
the FAFSA are considered. There are no
reduce or change the student’s original
merit-based scholarship. We encourage
are considered automatically. To qualify
based on a student’s particular
special application forms for restricted
award package from the Institute.
all students to submit a financial aid
for merit-based scholarships, you
situation. Please read the instructions
and endowed scholarships. Recipients
Students do not need to write and
application to ensure that they receive
are not required to submit a FAFSA.
in the introductory section on financial
are selected by deans or department
request specific types of financial
all the need-based aid (both outside and
These scholarships are based on your
assistance.
chair based on criteria established by the
aid, since they will automatically be
institutional) to which they are entitled.
portfolio (if required by your major),
considered for any source of Pratt
Students who qualify for a Presidential
your high school or college GPA, and
Pratt Restricted and Endowed Awards
year only and are based on the availability
financial aid for which they qualify. A
Merit-Based Scholarship and also file
test scores (SAT, ACT, TOEFL, or IELTS)
and Scholarships
of funds in any given year.
student’s financial aid package may
a FAFSA and demonstrate need may
to some extent. The scholarships range
also include a Direct Stafford Loan
receive institutional funds in addition
from $9,000 to $21,000 each year for
and/or Parent Loan. New York State
to the merit-based scholarship awards.
four years (five for architecture). The
residents can apply for the Tuition
The awards are continued for four years
criteria for renewal are identical to the
Assistance Program (TAP) by completing
(five for architecture) as long as the
criteria for the Presidential Merit-Based
the FAFSA and returning the Express
student remains enrolled full time and
Scholarships.
TAP Application to the New York State
maintains a cumulative GPA of 2.0 for
Higher Education Services Corporation.
any students who enrolled fall 2005 or
earlier. Incoming freshmen and transfer
Pratt Institutional Programs 2016–2017
students receiving a Presidential Merit-
Presidential Merit-Based Scholarships
Based Scholarship after fall 2006 are
What is the purpose of the program?
To attract academically and visually
gifted students and help them defray
some of the costs of attendance
through institutional funds.
How much are the awards?
The awards range from $9,000 to
$26,000 for each academic year.
subject to the following requirements.
Students Must:
1. Maintain continuous full-time student
status at the Institute.
2.Achieve a minimum cumulative GPA of
2.50 by the end of their first year of
studies at Pratt.
3.Maintain a minimum cumulative GPA
Financial Aid
Pratt Grant Programs
To provide funds derived from Institute
endowments and restricted gifts
granted to students according to
the wishes of the donor and on the
recommendation of the appropriate
dean or departmental chair. These
awards are made for one year only.
To provide funds from institutional
sources to help meet a student’s
The awards start at $1,000 for the
tuition costs.
academic year and are based on the
availability of funds in any given year.
The awards vary based on need for the
Who can receive this money?
academic year.
Full-time students meeting donor
specifications who have applied for
When do I need to apply?
aid, have demonstrated financial need,
Before March 1.
and are making satisfactory academic
of 2.50 during the remainder of their
studies at the Institute.
donors. These awards are made for one
progress. Some awards are based on
Who can receive this money?
academic merit only, and all are based
on departmental recommendations.
How much do I have to pay back?
Students failing to meet these
Students who have applied for aid in a
No repayment is required.
requirements will have their Presidential
timely fashion and have demonstrated
Merit-Based Scholarship automatically
financial need and are making
When do I need to apply?
withdrawn for the remainder of their
satisfactory academic progress.
No application is needed. Freshmen
studies at Pratt.
and transfer applicants who submit
Entering international students are
completed admissions applications
eligible for our international merit-based
by the deadline are automatically
scholarships. International students do
considered for these awards.
not qualify for need-based aid. There
279
How do I apply?
Application materials are available at
the Office of Financial Aid at Pratt
Institute. Students may apply for the
Federal Pell Grant program by filing the
FAFSA. Completed applications should
be submitted for processing according
to the application instructions. Based
on the Institutional Student Information
Pratt Student Employment Program
Student employment is funded
entirely by Pratt Institute and offers an
opportunity for qualified students to
work part time on campus to help pay
for educational expenses. Applicants
for student employment assistance
must complete registration online and
Record (ISIR), the amount of the
applicant’s award is determined by
Pratt’s Office of Financial Aid. On the
first day of class, funds will be credited
to a new student’s institutional account
according to federal regulations.
Selection of Recipients
submit all required documents in order
Who is eligible?
to qualify. These funds are paid directly
The applicant must be enrolled as an
to students for campus job assignments
undergraduate student working on a
and are not deducted from the student
first degree and must show eligibility as
tuition bill. Students are responsible for
determined by FAFSA. Financial need is
submitting signed time sheets using our
determined by a formula applied to all
online system to the Office of Student
applicants. The family contribution is
Employment in Myrtle Hall, 6th floor.
calculated using this formula, which was
Employment forms such as the W4 and
developed by Congress and is reviewed
the I-9 must be completed prior to
periodically. Federal Pell Grant awards
working. More information may be found
are available only until completion of the
at www.pratt.edu/financing.
first baccalaureate degree.
Effective the 2012–2013 academic
year, the duration of a student’s eligibility
to receive a Federal Pell Grant has
been reduced from 18 semesters to
12 semesters. Semesters are counted
based on full-time semester enrollment
and half-time enrollment is counted
as half of a semester toward the
280
Financial Aid
Financial Aid
281
12-semester limit. This change in the
Rights and Responsibilities of Recipients
Award Schedule
duration of students’ Federal Pell
The student must be making satisfactory
Pratt arranges jobs on or off campus,
Selection of Recipients and
Federal Direct Loan Programs
Origination/Insurance Fee
Allocation of Awards
Federal Subsidized Loan Program
Grant eligibility is not limited only to
academic progress (see chart on page
up to 20 hours per week. Factors
Perkins Loans are available to students
Borrowers pay a combined origination
students who received their first Federal
322) and must not owe any refunds on
considered by the Office of Financial
enrolled full-time or part-time (six
Pell grant on or after July 1, 2008 as
Federal Pell Grants or other awards paid,
Aid in determining eligibility under
credits) with financial need at Pratt.
previously provided when the duration
or not be in default on repayment of any
this program are financial need, class
of eligibility was 18 semesters.
student loan.
schedule, academic progress, and
Award Schedule
specific skills. Level of salary must be at
Maximum cumulative amounts that may
Federal Supplemental Educational
Federal College Work-Study Program
least the minimum wage; maximum wage
be borrowed are $20,000 by students
Opportunity Grants (SEOG)
(FCWS)
is dependent on the nature of the job
who are working on an undergraduate
and the applicant’s qualifications.
program of study leading to a bachelor’s
What is a Federal SEOG?
What is FCWS?
A Supplemental Educational Opportunity
Federal College Work-Study is a
Grant is a federal grant administered
federally assisted employment program
and awarded by the Office of Financial
that offers qualified students a
Aid at Pratt. It is a grant requiring
chance to earn money to help pay for
no repayment, initiated to help
educational expenses. These funds
undergraduate students with the
are paid directly to students for job
greatest financial need.
assignments and are not deductible
from the Institute’s bill.
Application Procedures
All undergraduate students must submit
the FAFSA before a determination on
All students must submit the FAFSA
eligibility will be made. Please read the
before a determination of eligibility will
instructions in the introductory sections
be made. Please read the introductory
on financial assistance for information
sections on financial assistance. Eligible
on the FAFSA.
candidates will be notified by the Office
degree and $40,000 for graduate study.
An award amount is determined by Pratt
Satisfactory academic progress must
and usually ranges from $500 to $2,000.
be maintained. Students must not owe
any refunds on Federal Pell Grants or
any other awards paid, or not be in
The current interest rate, payable during
default on any student loan. Students
the repayment period, is 5 percent of
are responsible for submitting signed
the unpaid principal. Repayment begins
time sheets electronically to the Office
nine months after graduation or leaving
of Student Employment. Employment
school and may extend up to 10 years.
forms such as the W4 and the I-9
The student must be making satisfactory
Employment Authorization form must be
academic progress and must not owe
completed prior to working.
any refunds on Federal Pell Grants or
any other awards paid, or be in default
Federal Perkins Loan
of Financial Aid about the required
What is the Federal Perkins Loan?
forms before initiating employment.
The Federal Perkins Loan is a low
interest (5 percent) Federal Loan
Students may obtain a loan application
from Pratt’s website, www.pratt.edu/
financing. This must be completed
online and submitted to the Department
of Education. The FAFSA must be filed
and received by Pratt before eligibility
for the loan can be determined.
fee of 1.068 percent for loans
first disbursed on or after 10/1/14 and
before 10/1/15.
Interest Rate
Interest rates as of 7/1/15: 4.29 fixed.
Loan Schedule
Annual Loan Limits–after July 1, 2007
Subsidized
Unsubsidized
$3,500
$2,000 first year
$4,500
$2,000 second year
To be eligible for a Federal Direct
$5,500
$2,000 other undergraduates
Subsidized Loan, a student must:
$20,500
graduate and professional
students
1. Be a U.S. citizen or a permanent
resident;
2.Be enrolled in or admitted as at least a
The annual loan limits for students
enrolled in a program of study less
half-time undergraduate matriculated
than one academic year in length
student at Pratt Institute;
are prorated.
3.Not owe refunds on Federal Pell
Grants or any other awards paid, or
Aggregate Loan Limits
not be in default on any student loan.
$31,000
dependent undergraduates
(no more than $23,000 can be
subsidized)
$57,500
independent undergraduates
$138,500
undergraduate and graduate
combined
of any student loan. All first-time
Federal Unsubsidized Loans
borrowers must complete an entrance
The same terms and conditions apply to
interview. An exit interview is required
this loan as to the Stafford Loan, except
prior to graduation or leaving school.
that the borrower is responsible for
Note: All student loans will be
interest that accrues during deferment
disbursed in two installments
periods (including in school) and during
(including one semester).
The applicant must (1) demonstrate
program to assist both undergraduate
maximum need; (2) NOT hold a previous
and graduate students having
baccalaureate degree; (3) NOT be in
Pratt makes employment reasonably
exceptional financial need.
the six-month grace period. This
default of a student loan.
available to all eligible students who are
in need of financial aid. In the event that
not qualify for subsidized Federal Direct
Award Schedule
more students are eligible for FCWS than
All students must submit the FAFSA
The award at Pratt usually ranges
there are funds available, preference
before a determination of eligibility will
from approximately $500 to $900
is given to students who have greater
be made. Please read the instructions
annually for completion of the first
financial need and who must earn a part
in the introductory sections on financial
baccalaureate degree.
of their educational expenses.
assistance for information on the FAFSA.
program is open to students who may
Loans. (Combined total cannot exceed
Stafford limits.)
282
Financial Aid
Parent Loan for Undergraduate
State Grant Programs 2016–2017
Tuition Assistance Program (TAP)
All borrowers are required to submit
Student (PLUS)
General Requirements
518.474.6475
a Master Promissory Note (MPN) to
apply for a Federal Direct Stafford Loan
(subsidized or unsubsidized). The MPN
is an application for the Stafford Loan
Programs and is valid for 10 years from
the time that the student originally signs
and submits. Students must also submit
a Loan Confirmation Form. The student
will still have to submit the FAFSA each
year by March 1. The Office of Financial
Aid will notify the student of loan
eligibility via the electronic financial aid
award letter. Students should keep all
of the letters received from the Office
of Financial Aid in order to keep track of
loan amounts. If there are any changes
made to the student’s financial aid, a
new electronic letter with the most
current information will be emailed.
Borrowers pay variable interest,*
beginning six months after the student
ceases to be enrolled half-time.
Six months after ceasing to be at
least a half-time student, the borrower
must make formal arrangements with
the service to begin repayment. The
following regulations apply:
1. The minimum monthly payment will be
$50 plus interest.
3.The maximum period of a loan from
283
TAP Financial Independence
Award Schedule
Financial independence for TAP is
The Federal PLUS Loan may be used to
The Tuition Assistance Program (TAP)
offset expected family contribution and
is an entitlement program. There is no
A student can apply by completing
definition applies only to TAP and
any unmet need remaining in the aid
repayment as in the case of a loan. The
the FAFSA application and an Express
differs from other aid programs, such as
package, but in no case can the amount
applicant must:
TAP Application. HESC determines the
Federal Pell Grant. The current definition
• Be a New York State resident for at
applicant’s eligibility and mails an award
of independent status is as follows:
certificate directly to the applicant
• 35 years of age or older on June 30,
of the loan exceed the student’s cost of
attendance minus the student’s other
financial aid. Applicants may obtain an
application from our website: www.
pratt.edu/financing.
Annual Loan Limits
Cost of attendance minus other aid.
Aggregate Loan Limits
No aggregate limit
least 12 months prior to attending
college and a U.S. citizen or a
permanent resident alien;
• Be enrolled full-time (minimum
of 12 credits) and matriculated
at an approved New York State
postsecondary institution as an
undergraduate student;
• Be charged a tuition of at least
$200 per year;
Interest Rate
Currently 6.48 percent fixed
Origination Fees
4.292 percent for loans first disbursed
on or after 10/1/14 and before 10/1/15
4.272 percent for loans first disbursed
on or after 10/1/14 and before 10/1/15
Credit Check
• Make satisfactory academic progress.
Note: Where any question of eligibility
exists, the student or prospective
student should see the TAP certification
officer. The following information
pertains only to New York State residents.
Students from other states should check
with the appropriate agency in their
state for further information.
history are eligible for PLUS loans.
the second disbursement.
payment of tuition to the Office of
the Bursar.
defined in New York State law. This
2016; or
• 22 years of age or older on June 30,
The TAP award is based on the
applicant’s and his or her family’s New
calendar years 2013, 2014, 2015;
B.claimed as a dependent by parents
for 2010, 2011, 2012, 2013;
Award) cannot exceed the amount of
tuition. The schedule used to calculate
the award is determined by
• Whether the student is financially
independent of his or her parents;
The student must not owe any refunds
student loan.
Duration of Award
For each semester of TAP awarded,
six TAP eligibility points are used.
Undergraduates in four-year programs
receive a maximum total of 48 points.
(Architecture and HEOP only) receive a
$750 from parents in calendar years
maximum total of 60 points. No student
2011, 2012, 2013; or
may receive more than eight years of
• under 22 years of age on June
30, 2012, and meeting all other
requirements of above, and in
addition able to meet at least one of
the following requirements:
A.married on or before
December 1, 2013;
B.both parents deceased, disabled, or
court;
D.unable to ascertain parents’
whereabouts.
*Prior borrowers may have different interest and
repayment terms based on when they borrowed
their first loan. Loans disbursed to new
borrowers after 7/1/10 will have a fixed interest
rate of 6.8 percent.
program in which he or she is enrolled.
financial assistance in excess of
(ADC) or food stamps;award of the
made at any time without penalty.
satisfactory academic progress in the
Undergraduates in five-year programs
than Aid to Dependent Children
4.Repayment in whole or part may be
The student must continue to make
C.a recipient of gifts, loans, or other
C.receiving public assistance other
deferments of payments.
parents for more than six weeks in
2015 tax year and on the tuition charge
Deceased Police Officer/Firefighter
full- or part-time enrollment status.
paid, and not be in default of any
on their federal or state income tax
Child of Veteran Award, or Child of
be affected by costs of attendance and
A.a resident in any house, apartment,
York State net taxable income during the
with any Regents Scholarship/Fellowship,
$5,000. The amount of the award will
on Federal Pell Grants or other awards
or building owned or leased by
Award Allocation
Currently awards range from $75 to
2016, and not:
incompetent;
All loans will be disbursed in two
installments and repayment begins after
copy of the certificate at the time of
received by the applicant.
Disbursements
exceed 15 years, excluding authorized
applicant may present the institutional
• Marital status and tax filing status;
• The number of previous TAP payments
Only parents who have no adverse credit
date of the original note may not
indicating the amount of the grant. The
at Pratt during 2016–2017. TAP (combined
2.The maximum repayment period is
10 years.
Financial Aid
undergraduate study assistance.
284
Financial Aid
Aid for Part-Time Study (APTS)
What are the income limits?
he or she may reapply for financial aid.
Income means the net taxable income
APTS recipients should be aware that
It is the student’s responsibility to advise
taken from the prior year New York State
the award will be revoked if they do
the Office of Financial Aid if he or she
income tax return.
not receive a term GPA of at least
has had grade changes that bring the
• If you were claimed as a tax
2.0. Students will be responsible for
cumulative GPA back up to the minimum
any amount owed to the Student
standard.
What is APTS?
Aid for Part-Time Study is a grant
program financed by New York State
in conjunction with participating
educational institutions throughout
dependent by your parents in the
the state. The program provides up
prior year, family income (i.e., New
to $2,000 per year to help part-time
York net taxable income of student
undergraduate students meet their
and parents) cannot exceed $50,500.
educational expenses.
Who is eligible for APTS?
To be considered for an award a
student must:
• Be working toward an undergraduate
degree or enrolled in a registered
• If you were not eligible to be claimed
as a tax dependent by your parents
in the prior year, income (i.e., net
taxable income of student and/or
spouse, if married as of December
31 of the prior year) cannot exceed
$34,250.
certificate program as a part-time
student enrolled for at least 3 but less
If you were not eligible to be claimed
than 12 semester hours per semester.
as a tax dependent by your parents
• Maintain good academic standing.
• Be a resident of New York State 12
months prior to attending college.
• Be either a U.S. citizen, a permanent
resident alien, or a refugee.
• Not have used maximum Tuition
Assistance Program (TAP) eligibility.
• Have a tuition charge of at least $200
per year.
• Not be in default of a Federal Family
Education Loan.
in the prior year but you were eligible
to claim dependents of your own
other than yourself and/or your spouse,
income (i.e., net taxable income of
student and spouse) cannot exceed
$50,550. APTS applications are available
from the TAP certification officer in
the Registrar’s Office.
Accounts Office.
A student who does not meet the
requirements for TAP may apply for a
Financial Assistance Standards
waiver. A waiver may be granted only
Pratt applies New York State minimum
once on the undergraduate level and
academic standards to all students
once on the graduate level. A waiver
receiving Pratt aid, state and federal aid,
may be granted only after the student
and loans insured or guaranteed by the
has met with the Financial Aid Director
federal government. See the chart on p.
and the TAP Certification Officer.
322 for details.
To receive a waiver, the student
must be able to provide documentation
Review Policies
of unusual circumstances that have
The Office of Financial Aid will
affected his or her academic progress.
periodically review the GPA and number
Further information regarding the
of credits earned by each financial aid
certification for New York State aid
recipient using his or her academic
can be obtained by contacting a Pratt
transcript. Credits earned includes
financial aid counselor.
only those for courses with grades of A
through D.
A student not meeting these
standards will be placed on financial
aid probation for one semester. After
the grades for the probation semester
are calculated, the student’s transcript
will be reviewed. If the student still
fails to meet the standards, all of his
or her financial aid will be revoked
beginning with the semester following
the probation semester. Once the
student meets the minimum standards,
Financial Aid
285
Out-of-State Programs
These state and district programs are
Other state scholarship programs and
where to apply:
Maryland
Higher Education Commission State
available only to residents. Pratt knows
of no other states that make awards to
students at a New York college.
State Education Agencies
Scholarship Administration
Alaska
16 Francis Street, 219 Jeffrey Building
Alaska Commission
Annapolis, MD 21401-1700
on Post-Secondary Education
410.260.4500
707 A Street, Suite 206
Anchorage, AK 99567
Rhode Island
907.269.7973
Rhode Island State Scholarship
560 Jefferson Boulevard
Arkansas
Warwick, RI 02886
Student Loan Guarantee
800.922.9855
Foundation of Arkansas
10 Turtle Creek Lane
Vermont
Little Rock, AR 72202
Vermont Student Assistance Corp.
800.622.3446
P.O. Box 2000
Winooski, VT 05404
California
800.645.3177
California Student Aid Commission
3300 Vinsandel Drive
Virgin Islands
Rancho Cordova, CA 95670
Board of Education
888.224.7268
P.O. Box 11900
St. Thomas, VI 00801
Connecticut
340.774.4546
State Scholarship Program
Commission for Higher Education
Washington, DC
P.O. Box 1329
Washington, DC, Grant Program
Hartford, CT 06115
Educational Assistance Office
860.713.6543
100 Martin Luther King Jr., Ave.
Suite 401
Delaware
Washington, DC 20020
Delaware Post-Secondary
202.698.2400
Education Commission
Carvel State Office Building
820 North French Street, 5th Floor
Wilmington, DE 19801
800.292.7935
286
Financial Aid
Florida
Pennsylvania
Bureau of Student Financial Assistance
Pennsylvania Higher Education
325 W. Gaines Street
Assistance Agency State Grant
Tallahassee, FL 32399-0400
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
1200 E. Anderson Lane
Massachusetts
Austin, TX 78752
American Student Assistance
800.242.3062
Corporation
100 Cambridge Street
Federal regulations require the Office
Boston, MA 02114
of Financial Aid to monitor the pro
800.999.9080
gress of each student (receiving
Financial Aid) toward degree completion
Quantitative Measure:
In order to maintain financial aid
or Quantitative standards of
the first time he/she fails to meet the
Application forms may be obtained
credits for that particular degree. Pratt
academic progress for students
minimum requirements for Satisfactory
from the Bureau of Indian Affairs. An
will review each student’s eligibility at
who apply for and/or receive federal
Academic Progress, and will remain
application is necessary for each year
the end of each year. If the student
financial aid. To remain eligible for
eligible for financial aid with this status
of study (an official needs analysis from
has exceeded the maximum number of
financial aid at Pratt, recipients are
during the next semester of enrollment.
Pratt’s Office of Financial Aid also is
attempted credits for his/her degree
required to show Satisfactory Academic
At the end of the Probationary semester,
required each year). Each first-time
program, he/she will no longer be
Progress (SAP) toward a degree
he/she is expected to meet the SAP
applicant must obtain tribal enrollment
eligible for financial aid (grants or loans)
according to the guidelines listed in
requirements to remain eligible for
certification from the bureau agency or
during any future semesters.
the Satisfactory Academic Progress
financial aid in future semesters.
tribe which records enrollment for the
• The maximum number of “attempted
Chart (see Registration and Academic
credits” for completion of a four-year
Undergraduate Degree (excluding
writing degree) is 201 credits.
Assistance Foundation
2) Quantitative (completion of credits
ONLY is 195 credits.
4 Barrell Court
required). Students who fall behind
Concord, NH 03302
in their coursework or fail to achieve
603.255.6612
minimum standards for Qualitative and
P.O. Box 545
Trenton, NJ 08625
800.792.8670
New York
New York State Higher Education
Services Corporation
99 Washington Avenue
Albany, NY 12255
888.697.4372
Qualitative Measure:
Each student receiving financial aid is
expected to successfully complete all
of his/her classes with good grades
to continue receiving financial aid
payments. A student must maintain at
least the minimum Cumulative GPA for
his/her particular Degree of Study to
be consistent with the requirements
for graduation.
Education Assistance Program
degree is 150 percent of the required
four-year Undergraduate Degree
Assistance Authority
Aid to Native Americans Higher
for Financial Aid?
Probation–A student will receive this flag
(Cumulative Grade Point Average) and
aid and institutional aid administered.
United States Bureau of Indian Affairs
fails to meet the SAP requirements
Pratt Institute monitor the Qualitative
New Hampshire Higher Education
New Jersey Higher Education
What are the statuses if a student
Progress (SAP)?
attempted credits for completion of a
credits” for completion of a Writing
eligibility for all types of federal and state
What is Satisfactory Academic
Federal regulations require that
on two measures 1) Qualitative
New Jersey
287
eligibility, the maximum number of
New Hampshire
Quantitative measures may lose their
Financial Aid
credits” for completion of a five-year
Undergraduate Degree is 263 credits.
Policies section).
Unsatisfactory–A student will
are not met after one semester of
What are Qualitative or
Probation, making him/her ineligible
Quantitative Standards?
for financial aid. Please note that a
To be eligible, the applicant must
student must meet all SAP criteria (GPA,
• Be at least one-fourth American
Qualitative Measure: Each student
receiving financial aid is expected to
successfully complete all of his/her
classes with good grades to continue
receiving financial aid payments.
Quantitative Measure: In order
to maintain financial aid eligibility, the
maximum number of attempted credits
completed credits, and maximum time
frame) to regain eligibility for aid once
he/she is flagged as Unsatisfactory.
How can a student regain financial
aid eligibility after failing to meet SAP
requirements?
and length of time for completion of a
Students who fail to meet the qualitative
Undergraduate Degree is 104 credits.
particular degree is 150 percent.
and/or quantitative standards outlined
credits” for completion of a Masters/
Post Masters Degree is 113 credits.
student’s tribe.
receive this flag if the SAP requirements
credits” for completion of a two-year
in the Satisfactory Academic Progress
How does SAP work?
Chart can:
The Financial Aid Office determines
• Enroll in a Summer Session, in order
this eligibility after the submission
to complete the necessary credits
of spring semester grades (once a
and/or improve the GPA needed to
year). Undergraduate and graduate
meet the SAP requirements.
students who do not meet the minimum
requirements for continuance on federal
aid according to this policy will be
notified of their status by the Office of
Financial Aid during the month of June.
Indian, Eskimo, or Aleut;
• Be an enrolled member of a tribe,
band, or group recognized by the
Bureau of Indian Affairs;
• Be enrolled in or accepted for
enrollment at Pratt, pursuing at least
a four-year degree;
• Have financial need.
288
Financial Aid
Financial Aid
289
Selections of Recipients and Allocation
Veterans Administration (VA)
Deadline: May 15, 2016, for tax
Pratt scholarships and grants.
For grants to be awarded in successive
of Awards
Educational Benefits
transcripts, if required.
Other Documents That May Be
years the student must make
The applicant must:
Application forms are available at all
1. Federal Direct Loans (Subsidized and
Required, Depending on Student’s
satisfactory progress toward a degree
• Be a member of one of the Native
Veterans Administration offices, active
Unsubsidized)
Situation
duty stations, and American embassies.
Loan applications are available to
Completed forms are submitted to
the student and parent at www.
• Application for a Federal Stafford or
the nearest VA office. (See Veterans
studentloans.gov. We can notify
Assistance under Registration.)
students of their loan eligibility only in
Financial Aid Instructions and Schedules
of his or her loan eligibility levels in
and show financial need. Depending
on availability of funds, grants also
may be made to graduate students
and summer session students. Eligible
married students also may receive living
expenses for dependents. Students
must not owe any refunds on Federal
Pell Grants or any other awards paid, or
be in default of any student loan.
State Aid to Native Americans
Application forms may be obtained
from the Native American Education
Unit, New York State Education
Department, Albany, NY 12230. The
American tribes located on
reservations within New York State;
• Have graduated from an approved
high school, or have earned a
General Equivalency Diploma, or be
enrolled in a program in an approved
postsecondary institution leading to
degree-credit status and the General
Equivalency Diploma;
• Be enrolled in an approved
is an entitlement program. There is
1. Financial Aid Forms for 2016–2017
neither a qualifying examination nor a
Free Application for Federal Student
limited number of awards.
Aid (FAFSA). Student must file this
form in order to become eligible for
The award is $1,000 per year for a
with the following materials:
maximum of four years of full-time
• Official transcript of high school
study, a minimum of 12 credit hours
attesting to the applicant’s personality
and character;
• Personal letter, setting forth
per semester.
• Signatures of the parents of minor
applicants, approving
education plans;
• Official tribal certification form.
any type of federal or state aid.
2.If requested only, IRS tax transcript
2015 (parents and students).
an award letter is only the first step.
Continuing students who wish to
apply for a loan should file the FAFSA
by March 1. Last year, if you filed the
Master Promissory Note (MPN), you
don’t have to submit another MPN.
2.New York State Residents Only
Students can apply for a grant from
is not a U.S. citizen.
• Documentation on outside
scholarships.
• Various verification requirements, such
as tax returns, only if requested.
• Copy of driver’s license and Social
in May 2015. They will mail the student
3.Other Information We Request
Students are responsible for notifying
student’s application is reviewed. It
the Native American Education Unit in
Brooklyn, NY 11205
is important to respond quickly. Aid
A financial aid counselor may ask
for additional information when the
writing of any change in student status
cannot be finalized until we receive
or program or institutional enrollment.
the requested information.
4.Apply Early
Albany, NY 12230
• Citizenship documentation if student
website: www.pratt.edu/financing.
Pratt Institute
Education Department
academic merit.
state began processing these forms
Recipients
New York State
time for September payment of bills.
financial aid section of the Pratt
Myrtle Hall, 6th Floor
Native American Education Unit
ship is based on financial need and
academic year, please refer to the
Rights and Responsibilities of
Source:
the School of Architecture. This scholar
submissions may not be processed in
Federal Student Aid (FAFSA). The
Education Service Corporation.
Call us with questions at 718.636.3599
or email us at finaid@pratt.edu. Filing
deadline is February 1. Filing after this
deadline may jeopardize eligibility for
to students who are accepted into
the Rome Study Abroad Program in
by filling out a Free Application for
which he or she must complete, sign
This fund provides financial assistance
submission date: May 20. Late
Security card. For the 2016–17
an Express TAP Application (ETA)
Study Abroad Scholarship
Federal PLUS Loan. Recommended
the Tuition Assistance Program (TAP)
and return to New York State Higher
Mail to:
Office of Financial Aid
clearly and in detail, educational
plans and desires;
considered for federal, state, and Pratt
the next academic year:
Award Schedule
one or more leaders in the community
Students must submit the following to be
State. State Aid to Native Americans
Native American Education Unit along
• Letter(s) of recommendation from
of Financial Aid (Myrtle Hall, 6th Floor).
Institute aid (including federal loans) for
be forwarded by the applicant to the
Equivalency Diploma;
www.pratt.edu/financing or in the Office
postsecondary institution in New York
completed application form should
record or photocopy of General
All application materials are available at
an award letter. Notifying the student
Evan Akselrad and Yasmine Anavi Rome
Restricted Grants and Scholarships
There are no special application
forms for restricted and endowed
scholarships. Recipients are selected
by deans or department chairs based
on criteria established by the donors.
These awards are generally made
to continuing students in the spring
semester for one year only, and are
based on the availability of funds in any
given year. Notification of scholarship
and fellowship availability will be made
by individual departments in the spring
of each year.
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.
Robert Djerejian Memorial Scholarship
This scholarship was established with
contributions made in memory of
the late Robert Djerejian to provide
financial assistance to academically
qualified graduate and undergraduate
students enrolled in the School of
Architecture at Pratt.
290
Financial Aid
Financial Aid
291
Dream Big Endowed Scholarship
Amy C. Koe Endowed Scholarship
Pratt Planning Alumni Scholarship
The Dream Big Endowed Scholarship
The Amy C. Koe Endowed Scholarship
A fund established by Pratt Planning
Clyde Lincoln Rounseville Scholarship
Gihei & Sato Takeuchi Memorial
Mary Pratt Barringer Scholarship
The Clyde Lincoln Rounseville
Endowed Scholarship
awards one annual partial scholarship
is awarded to needy and deserving
A scholarship established by Mary Pratt
Alumni for students in the Graduate
Scholarship is awarded to deserving
A scholarship established by John M.
Barringer, awarded annually to five
to an undergraduate in the School
of Architecture based on need and
students in the School of Architecture
Planning Program in the School
students in the School of Architecture.
Takeuchi in honor of his parents, the
incoming Delaware College of Art and
with demonstrated financial need.
of Architecture.
Gihei and Sato Takeuchi Memorial
Design students to Pratt, selected by a
Charles and Marie Schade
Endowed Scholarship is awarded to a
joint committee of representatives from
Francisco Laurier Memorial Endowed
Frank O. Price Scholarship
Endowed Scholarship
full-time student in her or his
both schools.
Scholarship
This fund was established by friends
A scholarship established by Charles
second year studying in the School
The G+B+M Architectural Scholarship
This scholarship was established with
of Professor Frank O. Price, longtime
and Marie Schade, the Charles and
of Architecture, who shows promise
The Reggie Behl Drawing Award
The G+B+M Architectural Scholarship
contributions made in memory of
teacher in the School of Architecture,
Marie Schade Endowed Scholarship
through academic achievement.
The Reggie Behl Drawing Award provides
provides a need-based scholarship to an
Francisco Laurier, to provide financial
and is awarded to a worthy student.
provides aid to students in the School
undergraduate architecture student.
assistance to deserving and academic
merit, with financial need as the
primary consideration.
Goodstein Development Corporation
a financial award annually to a student
of Art, School of Design, or School
Lucinda Veikos Endowed Scholarship
in the School of Art who exhibits
ally qualified students in the School
Edward Re Jr. Scholarship
of Architecture who demonstrate
A fund established by William and
excellence in drawing.
of Architecture.
This scholarship was established by
good academic standing as well as
Elizabeth Pedersen in memory of
Professor Edward D. Re Jr. in order to
financial need.
Lucinda Veikos, class of 1992, the
Sandra K. Benjamin-Hannibal Scholarship
Lucinda Veikos Endowed Scholarship
A scholarship established in honor
Scholarship in Honor of Jack and
Florence Goodstein
Charles Macchi Scholarship
aid students studying in the School of
Established by Pratt alumnus
The Charles Macchi Scholarship provides
Architecture and the Department of
Thomas F. and Tess L. Schutte
benefits a deserving student in the
of Sandra K. Benjamin-Hannibal,
Steven H. Goodstein, class of 1966,
one or more full or partial scholarships
Construction Management.
Endowed Scholarship
awarded to two first-year students
in memory of his parents, this
to academically qualified students in the
scholarship benefits students majoring
in Construction Management.
Named in commemoration of President
who are in the process of completing
Donna and Martin Rich ’63 Architecture
and Mrs. Schutte and in honor of the
Veikos Travel Scholarship for Architecture
their Foundation Year studies and are
Travel Fund
President’s 20th anniversary at the
Study and Travel
candidates or finalists in the Foundation
Art Competition.
David Mandl Memorial Scholarship
This fund provides financial assistance
institution, the Thomas F. and Tess L.
A scholarship established by Kohn
Benjamon Goldberger Memorial
A scholarship established in memory of
to students who are accepted into the
Schutte Endowed Scholarship provides
Pederson Fox Associates in memory of
Scholarship
David Mandl, the David Mandl Memorial
“Pratt In Rome” travel program.
scholarship support for undergraduate
Lucinda Veikos, class of 1992, for travel
Raymond and Mabel Bolton Art
The Benjamin Goldberger Memorial
Scholarship supports deserving and
students in the schools of Art, Design
abroad for a deserving student in the
and Design Scholarship
Scholarship was established by Beatrice
academically qualified students in the
Lee and Norman Rosenfeld Award
and Architecture.
A scholarship fund established in honor
Goldberger, class of 1934, in honor of
The Lee and Norman Rosenfeld
her father, Benjamin Goldberger, class
of 1909.
Patrons Program Scholarship
of Raymond and Mabel Bolton for
Award provides monetary awards to
Vincent A. Stabile Endowed Scholarship
Winnemore Endowed Scholarship
deserving students in the School of Art
professionally motivated, academically
A scholarship fund established by
Established by Augustine E. Winnemore,
and the School of Design.
this scholarship is awarded to
A scholarship established by Pratt
qualified, and/or deserving
Vincent A. Stabile, class of 1940, the
William Randolph Hearst Scholarship
family member Edmund S. Twining III,
undergraduate students in the School
Vincent A. Stabile Endowed Scholarship
outstanding students in the School
Alma H. Borgfeldt Scholarship
The William Randolph Hearst Scholarship
the Patrons Program Scholarship
of Architecture who have completed
benefits students in the School of
of Architecture.
A bequest by Alma H. Borgfeldt for
is a fund established by the William
provides support to outstanding
one year of study. Preference is given to
Architecture.
Randolph Hearst Foundation for
architecture students.
students who are honest and honorable,
as established by academic leadership
students in architecture. Financial
need and academic merit being equal,
Planning Scholarship
and character, and who will use the
preference is given to minority students.
The Planning Scholarship fund was
funds to perpetuate their educational,
established for students in the graduate
creative, and professional goals.
program in City and Regional Planning.
scholarships for worthy female students
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.
to be selected by the dean of the School
of Art. The scholarships are awarded
to applicants who have majored in the
study of art in a public high school
located in Kings County (Brooklyn) and
who reside in Kings County (Brooklyn).
292
Financial Aid
Financial Aid
293
Mary Buckley and Joseph Parriott
Faith Ellis Art Financial Aid Scholarship
Haskell Travel Scholarship
Endowed Scholarship
A fund established by Faith Ellis, class
The Haskell Travel Scholarship was
Walter Rogalski Scholarship
Frederick J. Schuback Endowed
Virginia Pratt Thayer Scholarship
The Walter Rogalski scholarship is
Scholarship
Established by Mary Buckley, a former
of 1939, in memory of her son Rolan
in Fine Arts
established for students in the School of
awarded annually to a graduate Fine Arts
The Frederick J. Schuback Endowed
The Virginia Pratt Thayer Scholarship
professor at Pratt Institute who taught
in the Foundation Art Department, this
R. Ellis, the Faith Ellis Art Financial Aid
Art and the School of Design for travel
student on the basis of merit and need.
Scholarship is awarded to one Fine
in Fine Arts is a fund created by Robert
Scholarship allows students to access
abroad within two years of graduation.
The recipient is selected by a faculty
Arts undergraduate each year who is
Thayer in memory of his mother, Virginia
scholarship is awarded to Foundation
special training as determined by the Art
Steve Horn Art & Design Award
committee that reviews candidates
in good academic standing and who
Pratt Thayer, and provides scholarship aid
students who exhibit excellence in color
Education Department.
The Steve Horn Art and Design Award is
who exemplify the creative ability that
demonstrates financial need. The
to an outstanding student entering his or
a scholarship established by Steve Horn,
characterized the work of former Pratt
scholarship was established in memory
her junior year in the Fine Arts program.
Robert N. Giraldi ‘60 Scholarship
awarded annually to one outstanding
professor Walter Rogalski.
of Frederick J. Schuback, class of 1975.
in Film/Video
student studying Photography, Film, or
Anna K. Rust Endowed Scholarship for
Robert F. Calrow Memorial Scholarship
This scholarship provides a partial-
other media arts.
Students in Art and Design
Created through a bequest in the
A scholarship fund established by Trudi
tuition, renewable scholarship to
A scholarship for students in the School of
Endowed Scholarship
will of Mrs. Dorothy Rodgers Toole,
Calrow in memory of her husband,
an incoming student in Film/Video.
Elaine Gluckman Popowitz
Art and the School of Design established
class of 1931, the Dorothy Toole
Robert F. Calrow, a well-known
Selection of recipient to be based
Memorial Scholarship
by Leo Lewis Rust in memory of his wife,
Scholarship is for students who
painter and inspirational teacher. This
on demonstrated financial need and
The Elaine Gluckman Popowitz Memorial
Anna Klenke Rust, class of 1938.
demonstrate unusual interest and
scholarship is awarded annually to a
potential success in the program.
Scholarship was established in memory
talent in the field of fashion illustration.
work and is intended to encourage work
in that discipline.
Dorothy Toole Scholarship
of Elaine Gluckman, class of 1981, a
Jacques and Natasha Gelman
faculty member of the Graduate Art
Endowed Scholarship
Max Weber Scholarship
Endowed Scholarship
Therapy Department. The scholarship
A gift given by Mrs. Max Weber and
Andrea M. Cella and Grace Hansen
A scholarship established by Jacques
is awarded annually to a second-year
and Marie Schade, the Charles and
and Architecture.
Miss Frances Weber in memory of the
Cella Memorial Scholarship
and Natasha Gelman, awarded to
student in the Graduate Creative Arts
Marie Schade Endowed Scholarship
The Andrea M. Cella and Grace Hansen
undergraduate students in studio
Therapy Department who has exhibited
provides aid to students in the School
James Seeman Endowed Scholarship
of the class of 1900. It provides annual
Cella Memorial Scholarship was
arts who demonstrate exceptional
outstanding scholarship, integrity, and
of Art, School of Design, or School
Established by the family and friends
scholarship aid for students in the
established by Robert and Warren Cella
talent in drawing or painting. With the
concern for others.
of Architecture who demonstrate
of interior design leader and muralist
School of Art and the School of Design.
and aids students in the School of Art
level of creative merit being equal,
good academic standing as well as
James Seeman, this scholarship
and the School of Design who actively
preference is given to those of Mexican
Charles Pratt, Jr. Award for Excellence
financial need.
provides resources for dedicated
Willard Scholarship
promote the arts in their community.
or Latino descent.
In Photography
Painting students, with preference given
The Willard Scholarship was established
Established by Pratt Institute Trustee
Dorothy G. Schmidt Scholarship
to those who recently moved to the
to aid students in the School of Art and
John A. Dreves Art and
Anthony Gennarelli Memorial
Mike C. Pratt in honor of his father, the
A scholarship established in honor
United States.
the School of Design who are graduates
Design Scholarship
Sculpture Award
Charles Pratt, Jr. Award for Excellence in
of Dorothy G. Schmidt, used for
A scholarship established from the
The Anthony Gennarelli Memorial
Photography is distributed annually to a
elementary and junior high school
Ruth P. Taylor Scholarship
Estate of John A. Dreves, class of 1935,
Sculpture Award is awarded to students
student in the Photography Department
teachers seeking courses at Pratt for
The Ruth P. Taylor Scholarship is a fund
Henry Wolf Scholarship
the John A. Dreves Art and Design
enrolled at Pratt Institute who are
at Pratt Institute and is based on a
professional enhancement in their work
established by the estate of Ruth P.
An endowed scholarship fund, the
Scholarship provides support for
studying sculpture. The award is based
combination of academic merit and
of teaching art and related subjects
Taylor, class of 1921, for students in the
income of which is used to award
students in the School of Art and the
on artistic and academic merit, as well
financial need.
in the public schools of Brooklyn. The
one or more scholarships to support
School of Design who demonstrate
as quality of student work.
Fine Arts major on the basis of merit
and need.
financial need.
well-known artist who was a member
of Washington Irving High School.
scholarship is to be awarded on the
economically disadvantaged students
basis of need. Other factors being equal,
pursuing B.F.A.s or M.F.A.s in
females shall be given preference.
Photography or Communications Design.
294
Financial Aid
Financial Aid
295
Irma Holland Wolstein Endowed
Ruth Campbell Bigelow and David E.
John A. Dreves Art and Design
Scholarship
Bigelow Scholarship
Scholarship
Richard and Anne L. Boetzel
Melvin K. Jung Memorial Scholarship
Ted and Betsy Lewin Endowed
Gunn Scholarship
The Melvin K. Jung Memorial Scholarship,
The Irma Holland Wolstein Endowed
The Ruth Campbell Bigelow and David
Scholarship
A scholarship established from the
The Richard and Anne L. Boetzel Gunn
named in memory of an alumnus from
This fund was established by Pratt
Scholarship is a scholarship fund
established by Dr. Benjamin Wolstein
E. Bigelow Scholarship is awarded to a
Estate of John A. Dreves, class of 1935,
Scholarship is awarded annually to a
the class of 1975, is awarded to a worthy
alumni Ted Lewin, class of 1956, and
student in Interior Design on the basis of
the John A. Dreves Art and Design
student majoring in Communications
graduate student in Industrial Design.
Betsy Lewin, class of 1959, and provides
and provides gifted students in the Arts
need and academic promise.
Scholarship provides support for
Design on the basis of scholarly achiev
students in the School of Art and the
ement, with preference given to
Helen of Klucharka Endowed Scholarship
Raymond and Mabel Bolton Art and
School of Design who demonstrate
students majoring in Advertising Design
The Helen of Klucharka Endowed
William L. Longyear Scholarship
Design Scholarship
financial need.
or Illustration. The scholarship is named
Scholarship was established by Pearl
A fund established by students, alumni,
for and established by alumni from the
K. Schwartz in honor of her mother
and friends from the business world as a
class of 1937.
and is awarded to students studying
tribute to William L. Longyear, associate
Fashion Design.
dean emeritus and former chair of the
Education program with financial aid.
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.
A scholarship fund established in honor
of Raymond and Mabel Bolton for
Delbert I. Footer ‘53 Scholarship
deserving students in the School of Art
This scholarship provides financial
and the School of Design.
aid to an undergraduate student in
Haskell Travel Scholarship
support for Illustration students.
Department of Advertising Design. It is
the Industrial Design Program at Pratt
The Haskell Travel Scholarship was
Leeds Scholarship in Interior Design
awarded annually to Communications
Federico Castellon Endowed Scholarship
Institute. The scholarship is awarded on
established for students in the School of
A scholarship for Interior Design
Design students and to graduate
A scholarship established by Hilda
a combination of academic merit and
Art and the School of Design for travel
students, this scholarship was
Packaging Design students on the basis
Castellon in memory of her husband,
financial need.
abroad within two years of graduation.
established through a gift from the
of need and scholarship. The recipients
estate of Harold Leeds.
of the scholarship are nominated by
Federico Castellon. This scholarship is
awarded on a yearly basis to a promising
William Fogler Endowed Scholarship
John and Joan Herlitz Memorial
student in Graphic Arts.
A scholarship established in memory
Endowed Scholarship
Naomi Leff Excellence in Interior
members for approval by the deans of
of Professor William A. Fogler, class
This scholarship provides recognition
Design Scholarship
the School of Art and the School
Andrea M. Cella and Grace Hansen
of 1955, for promising students in
and financial assistance, based on need
Established with a generous bequest
of Design.
Cella Memorial Scholarship
Industrial Design.
and merit, to undergraduate students
from Naomi Leff, class of 1973, this
enrolled in the Industrial Design
full scholarship is awarded annually to
The John S. Marquardt Award in
The Andrea M. Cella and Grace Hansen
the department chairs and two faculty
Cella Memorial Scholarship was
Rick Goodwin Memorial Scholarship
program in the School of Design. It was
one student who exhibits excellence in
established by Robert and Warren Cella
This scholarship fund is established with
established in memory of John Herlitz,
Interior Design, who is in good academic
An endowed scholarship fund
and aids students in the School of Art
gifts made in memory of Rick Goodwin, a
class of 1964, and Joan Herlitz.
standing, and who demonstrates
established by George Klauber, class of
and the School of Design who actively
former faculty member in the Department
financial need.
1952, in memory of John S. Marquardt,
promote the arts in their community.
of Industrial Design, and supports an
The Bill and Barbara Hilson Scholarship
Industrial Design student based on finan
The Bill and Barbara Hilson Scholarship
Herschel Levit Scholarship
annually to outstanding undergraduates
cial need and academic merit.
provides merit-based, renewable partial
Founded in 1986 by a group of donors
majoring in Illustration, Advertising/Art
scholarships to incoming graduate
to honor Professor Herschel Levit’s
Direction, or Graphic Design, solely on
students in Communications Design.
31 years of service to Pratt, this
the basis of merit.
Coyne Family Foundation Scholarship
A fund established by the Richard and
Jean Coyne Family Foundation for
Charles L. Goslin Endowed Memorial
students in Communications Design.
Scholarship
class of 1989. This scholarship is awarded
scholarship is given to talented Pratt
The Charles L. Goslin Endowed Memorial
Industrial Design Scholarship
students in their sophomore or junior
Phyllis and Conrad Milster Endowed
Tomie dePaola Scholarship
Scholarship provides recognition and
The Industrial Design Scholarship
year, majoring in Advertising, Graphic
Scholarship
An endowed scholarship supporting
financial assistance, based on need
consists of a number of scholarships
Design, or Illustration.
Established by Conrad Milster, Pratt
students majoring in Illustration,
and merit, to students enrolled in Pratt
from a fund established by business
Institute’s Chief Engineer, the Phyllis and
established by alumnus Tomie dePaola,
Institute’s Communications Design
contributions and is awarded to
Conrad Milster Endowed Scholarship
class of 1956.
program in the School of Design.
students in Industrial Design for exp
provides one or more annual partial
erimental projects in the laboratory.
scholarships to undergraduate or
graduate students in the Industrial
Design Department.
296
Financial Aid
Gino and Clarice Nahum
Barbara Hauben Ross Interior
Ruth P. Taylor Scholarship
Memorial Scholarship
Design Award
Endowed Scholarship
The Ruth P. Taylor Scholarship is a fund
The Gino and Clarice Nahum Memorial
The Barbara Hauben Ross Interior
established by the estate of Ruth P.
Scholarship provides scholarships
Design Award is a fund established to
Taylor, class of 1921, for students in the
to professionally motivated and
honor two outstanding Interior Design
academically qualified students in
juniors annually.
Dorothy Toole Scholarship
Anna K. Rust Endowed Scholarship for
Created through a bequest in the will of
study at Pratt. Preference will be given
Students in Art and Design
Mrs. Dorothy Rodgers Toole, class
to undergraduate students who show
A scholarship for students in the School of
and Architecture.
of 1931, the Dorothy Toole Scholarship
great potential, and the scholarship will
Art and the School of Design established
be awarded based on merit.
by Leo Lewis Rust in memory of his wife,
Donald J. Schwarz and Anastasia
interest and talent in the field of
Anna Klenke Rust, class of 1938.
Malamas Schwarz Scholarship
fashion illustration.
undergraduate Communications Design,
who have already completed one year of
is for students who demonstrate unusual
This scholarship awards an annual
Point of Purchase Scholarship
The Point of Purchase Scholarship
David Saylor Scholarship for Design
non‑renewable scholarship to
Max Weber Scholarship
is funded by grants from numerous
The David Saylor Scholarship for
be awarded, in alternating years,
A gift given by Mrs. Max Weber and
companies with significant interest in
Design was established to benefit
to a student in Industrial Design or
Miss Frances Weber in memory of the
the design of displays used at the Point
undergraduate and graduate students
Communications Design.
well-known artist who was a member
of Purchase (POP). An annual award
in the School of Design who are
is given to either undergraduate or
studying either Industrial Design or
Seeman-Burse Fund
scholarship aid for students in the
graduate Industrial Design students who
Interior Design. Preference is given to
The Seeman-Burse Fund is a scholarship
have demonstrated design leadership
students who combine the fields of
for students in the School of Design,
Stephan Weiss Endowed Scholarship
potential in the field of POP design.
industrial design and interior design in
specifically Fashion Design.
Funded by Donna Karan’s Karan-Weiss
their studies, or who plan to do so in
Selma Seigel Memorial Scholarship
Foundation and awarded to Fine Arts
their careers.
A fund created by Morton Flaum, class
students in good academic standing, this
of 1971, in memory of Selma Seigel, that
scholarship honors Stephan Weiss.
Alan Pottasch Memorial Scholarship
A scholarship established by Lisa
of the class of 1900. It provides annual
Pottasch, honoring Alan Pottasch,
provides scholarship aid to Interior
the Alan Pottasch Memorial
Endowed Scholarship
Design students in the School of Design.
Scholarship supports undergraduate
Communications Design students, with
and Marie Schade to aid students in
Starr Foundation Scholarship
to aid students in the School of Art and
a preference given to those who have
either the School of Art, School of
A scholarship fund established by the
the School of Design who are graduates
declared a concentration in Advertising
Design, or School of Architecture who
Starr Foundation for students in the
of Washington Irving High School.
Art Direction and display financial need.
demonstrate good academic standing as
Department of Communications Design.
well as financial need.
Awards are made annually to three
Henry Wolf Scholarship
Lillian Pratt Fashion Scholarship
students majoring in Illustration, Graphic
An endowed scholarship fund, the
A scholarship benefiting outstanding
Design, or Advertising. Academic merit
income of which is used to award
juniors and seniors in Fashion Design,
being equal, preference will be given to
one or more scholarships to support
established by Pratt family member
Asian students.
economically disadvantaged students
Lillian Pratt.
Willard Scholarship
The Willard Scholarship was established
pursuing B.F.A.s or M.F.A.s in
Photography or Communications Design.
Financial Aid
297
James W. Atkinson Memorial Scholarship
Izchak Friedman Endowed Scholarship
An endowed fund established by Pratt
alumna Estelle Friedman, class of
1969, and her children. It is named in
memory of her husband, Pratt alumnus,
professor, and dean of the School
of Liberal Arts and Sciences, Izchak
Friedman, class of 1962. The scholarship
is awarded to students with an interest
in combining science and the arts, based
on merit and financial need.
Michael M. Mahoney Writers’ Fund
Named in memory of former Pratt
student Michael Mahoney, this award is
presented to undergraduate students
majoring in writing, specifically those
interested in writing for publication and
performance media. Recipients are
chosen by the dean of the School of
Liberal Arts and Sciences.
MFA Writing Scholarship
This fund is designated for scholar
ship support for students in the MFA
Writing program.
H.W. Wilson Scholarship
A fund established by the H.W. Wilson
Foundation for graduate students in
Information and Library Science or
Liberal Arts and Sciences.
All Schools
Alumni Scholarship
The Alumni Scholarship is a fund
established in 1957 by various
alumni, the income from which is
used for scholarship assistance for
worthy students.
A scholarship established from the trust
of Yvonne Atkinson, in memory of her
husband James W. Atkinson, class of
1938, a generous and active alumnus
and graphic designer who headed
Pratt’s alumni branch in Detroit. This
fund provides resources for general
scholarship purposes.
Dorothy P. Barrett Endowed Scholarship
A fund established by the estate of
Dorothy P. Barrett for general charitable
and educational uses.
William Bingham II Scholarship
A trust for charitable purposes established
by the late William Bingham II for students
from Bethel, Maine, other towns in Oxford
County, Maine, or elsewhere in the state
of Maine (in that order).
Black Alumni of Pratt Endowed
Scholarship
A fund established to provide
scholarships to students who have
completed a year at Pratt, are in good
academic standing, and demonstrate a
need for financial assistance. Academic
standing and financial need being equal,
preference will be given to students of
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.
298
Financial Aid
Financial Aid
299
Helen R. Fecke Endowed Scholarship
Wilson Y. Hancock Endowed Scholarship
MacDonald Scholarship
George D. Pratt Scholarship
Utrecht Scholarships
You Must Follow These Guidelines:
Awarded to students in good academic
A scholarship that provides general
This scholarship, named in honor of
A scholarship fund established by Vera
The Utrecht Scholarships provide
1. You must in be in good academic
standing who demonstrate financial
support for students in good academic
Helen Babbott MacDonald, provides
H. A. Pratt in memory of her husband,
four merit-based scholarships to
standing and must submit the latest
need, the Helen R. Fecke Endowed
standing, the Wilson Y. Hancock Endowed
financial resources to an undergraduate
George D. Pratt, for worthy students.
support undergraduate students at
copy of your transcript.
Scholarship is named for an alumna of
Scholarship was established through a
student at Pratt Institute. The award is
the class of 1926.
bequest from the Estate of Elizabeth
granted based on financial need and
Richardson (Jerry) Pratt Endowed
Marie Hancock in memory of her late
academic merit.
Scholarship
J. Sherwood Weber Memorial
Funded by gifts from the Pratt family and
Scholarship
Student Financial Services. Those
Margaret A. Middleditch Fund
established in honor of Richardson Pratt
A fund established in memory of J.
who have any outstanding debts
Esther Brigham Fisher Scholarship
husband, Wilson Y. Hancock, class of 1933.
A scholarship fund established by
Pratt Institute.
2.You must have been enrolled at Pratt
for at least one academic year.
3.You must have clearance from
Edward M. Fisher, in memory of his wife,
Coby Hoffman Scholarship
The Margaret A. Middleditch Fund is a
Jr., former president of Pratt, this scholar
Sherwood Weber, former provost and
with Student Financial Services will
to assist Pratt Institute students.
The Coby Hoffman scholarship was
fund established anonymously to finance
ship is awarded to outstanding students
faculty member, to be awarded annually
not be considered.
established to support students in the
scholarship or maintenance abroad, or
with demonstrated financial need.
to an outstanding student in any school.
the travel itself.
Richardson and Mary O. Pratt
The Jae Kwan Woo Scholarship
telephone, utility, and rent bills; and a
budget for the academic year.
Lewis H. Flynn Scholarship
A fund established under the will
statements for the past six months;
of Lewis H. Flynn, class of 1916, for
Ferdinand M. Junge Memorial
Leo J. Pantas Residence Center
Scholarship
Established by former Pratt trustee and
scholarship aid.
Scholarship
Scholarship
This scholarship, made possible by
alumnus Young S. Woo, class of 1980,
A fund established from the estate of
A scholarship established by Leo J.
the gifts of various donors, honors
the Jae Kwan Woo Scholarship provides
Ford-EEOC Scholarship
Ferdinand M. Junge, the Ferdinand
Pantas, class of 1937, trustee emeritus,
the legacies of Richardson Pratt Jr.,
partial scholarships to Pratt Institute
The Ford-EEOC Scholarship is an
M. Junge Memorial Scholarship is
with a matching grant from Eaton
former president of Pratt, and his wife,
undergraduate students based on merit
endowment fund established by
awarded to talented and deserving
Corporation. The scholarship is awarded
Mary O. Pratt.
and need. With the level of academic
the Ford Motor Company to provide
undergraduates who demonstrate
to a full-time student with financial need
scholarships for students with demon
financial need.
living in Pantas Residence Hall.
strated financial need. Financial need
merit and financial need being equal,
Paige Rense Scholarship
preference will be given to students
A scholarship established in honor of
from Korea or of Korean descent.
being equal, preference will be given
Herman Y. Krinsky Scholarship Fund
Pratt Art Supply Product Scholarship
to minorities, women, Ford employees,
for Disabled Students
A fund established by the Pratt
their spouses, and their children.
A fund established for disabled students
Art Supply Shop to provide supply
Raoul Settle Scholarship
The International Student Scholarship
in honor of former Pratt professor
scholarships for qualifying students.
A fund established in memory of Raoul
for the academic year 2016–17 will
Herman Y. Krinsky.
Scholarships will be awarded annually
Settle, class of 1952.
be available to those students who
General Scholarship
International Student Scholarships
have encountered financial hardship.
5.If you are sponsored, you must
submit proof of your sponsor’s
inability to continue with the financial
commitment.
6.You must submit a statement outlining
your academic goals at Pratt, as well
as what contributions you have made
as an international student to the
campus life and why you need the
scholarship.
7.You must submit a letter of
recommendation.
8.If you are receiving Pratt’s financial
assistance, your travels will be
Irene C. Shea Endowed Scholarship
Students must demonstrate unforeseen
Charles Pratt Ii Memorial Scholarship
A fund established by Irene C. Shea,
economic need. A Financial Aid
The Jacob and Gwendolyn
This endowed scholarship was
class of 1934, for students who
Committee will determine the eligibility
The above-listed documents must
Lawrence Endowed Scholarship is
established by Edmund Twining III in
demonstrate financial need and are in
of the applicant. The scholarship funds
be submitted as proof of unforeseen
a fund established for general
memory of his grandfather, Charles
good academic standing.
are very limited. Since the award is
economic need to the Office of
scholarship support.
Pratt II, to support any full-time
based only on unforeseen economic
International Affairs, attention:
Jane Bush.
from industries made as matching
Jacob and Gwendolyn Lawrence
scholarships or tuition grants, the
Endowed Scholarship
income from the General Scholarship is
used for general scholarship purposes.
Kathleen L. Gerla Endowment
Paige Rense.
during a scholarship and fall trade show.
A fund established in 1956 through gifts
4.You must submit copies of bank
Scholarship
student at Pratt Institute who best
Katherine Pratt Twitchell Fund
need, there is no application deadline.
The Kathleen L. Gerla Endowment
demonstrates the ideals of the founder
A fund established in memory of
The scholarship, if awarded, is to be
Scholarship is a fund established by the
of Pratt Institute. These are defined
Katherine Pratt Twitchell.
used for tuition and fees only.
Kathleen L. Gerla Charitable Trust.
as leadership, community service, and
self-motivation. Additionally, the award
is made to a student who demonstrates
artistic achievement at the college level.
restricted.
301
Tuition and Fees
Director Student Financial Services
and Collections
Yvette Mack
ymack@pratt.edu
Assistant Director Accounts
Receivables and Cash Controls
Loretta Edwards
ledwards@pratt.edu
Assistant Director Student Financial Services
Madeline Vega-Mourad
mvegamou@pratt.edu
Office
Tel: 718.636.3539
Fax: 718.636.3740
sfs@pratt.edu
Costs
Students provide their own
The following approximate costs are
textbooks and instructional and art
in effect at the time of publication.
supplies. These books and supplies may
They are subject to change by action
be purchased either online or at local art
of the Board of Trustees. The Institute
supply stores. Bookstore expenses are
reserves the right to change regulations
not chargeable to the student’s Institute
at any time without prior notice; it also
tuition account. For those students who
reserves the right to change tuition and
have a third party book voucher, they must
fees as necessary.
purchase their books upfront and provide
the voucher with eligible copies of the
Tuition and fees are payable in full at the
receipt in order to be reimbursed.
time of registration.
Tuition Payment
Students are charged tuition
Undergraduate
according to their enrollment status.
Credits 1–11
$1,488 per credit
An undergraduate student taking a
Credits 12–18
$46,140 annually
graduate course applicable to his or
Credits 19+
$46,140 plus $1,488
her undergraduate degree is charged
per credit in excess of
at the undergraduate rate. A graduate
18 credits
student taking an undergraduate course
is charged tuition at the graduate rate.
Fees
Fees vary according to program. For a
complete listing of fees, see the next
page. Please refer to the graduate
bulletin for graduate tuition and fees.
Books and Supplies
$3,000 per year, depending on the
program.
Other Expenses
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. We
will no longer be accepting credit cards
in person or over the phone. All credit
card transactions will be accepted
online only. All credit and debit card
payments must be made online through
For resident students (students living
the myPratt portal. Checks should be
away from home in either on-campus or
made payable to Pratt Institute. Payment
off-campus housing), an estimated $600
is also accepted online. There is a 2.5
per month (for a nine-month period)
percent convenience fee charged with
should be allowed for food, housing,
each credit card transaction. Library fines,
clothing, and other personal needs. For
lost ID cards, and fees not charged to your
commuter students (students living at
student account do not incur the fee.
home), an estimated $250 per month
Pratt Card transactions also do not incur
should be allowed for personal expenses
the fee. E-checks are free.
and transportation.
302
Tuition and Fees
Deferred Payment Plan
General Fees
Technology Fees
$50
Application fee
$325
$90
Application fee/
(Fall and Spring*)
The Tuition Installment Plan, managed
by Tuition Management Systems (TMS) of
Warwick, Rhode Island, provides a way
to pay educational expenses through
manageable monthly installments
international students
$300
$300
$165
Activities Fee Each Term
charged. The fee is $115 per semester.
$147
Open Enrollment Begins April 15 and
$87
bank checking account, eliminating the
need to write a check each month. TMS
educational expenses for the year.
A semester-based plan is also available.
For further information, call or write:
Tuition Management Systems
$165
$45
Architecture shop fee. Each fall,
A.Students and community pay 50
part-time students (11 or fewer
credits)
$185
Each fall and spring term:
$94
All 600 Level Courses
billing credits which are charged at
full-time students
$35
Fee for issuance of duplicate
30 percent of the “per credit” rate.
$195
Each summer term for all
$20
Leave of absence fee
students
$100
Portfolio/work experience
Mandatory health insurance fee
phone number if you are using TMS.
insurance.
$75
deposit
$100
Thesis Submittal Fee
(Per Copy) Library
$446
Portfolio/work experience
International student fee per
fee per undergraduate credit
semester
evaluated. Fee: 30 percent of
undergraduate per-credit rate.
$25Lost/Stolen ID Card
Replacement Fee
$45
$65 per
A.Zero credit internships may have
B.All zero credit internships are
charged 100 percent of all fees.
course
B.F.A. Senior Painting and Drawing
Refundable Studio Deposit
Deposit for the entire year
Deposits are paid to Student Financial
Services and refunded by check.
Late Payment Fees
B.F.A. Sculpture Refundable Key Deposit
A late fee of $195 will be charged for any
$10
unpaid balances after the due date.
$25
$45
All 200–600 level courses
in Jewelry
$45
in Printmaking
Students not enrolled in ceramics
and clay: $75
Photography Student Fees
$60
Basic Lab Fee for 100-500
level courses
Fee provides students access to
checking out equipment and use of the
black-and-white darkrooms. This fee is
paid once per semester regardless of
the number of PHOT 100-400 courses in
senior year
which a student is enrolled.
For returned checks
B.F.A. Printmaking Senior Refundable
Studio Deposit
$20
in Ceramics
For combined junior and
Returned Check Fees
courses, but requesting use of facilities
Fine Arts Studio Refundable Deposits
$10
in Sculpture
Digital Arts Lab Fees
Level Courses
Shop Safety Certification Class
Readmission fee
UPS Service
course
$100
$55
$50
$18.50
All 400/500
part-time students
In-person requests
$55 per
$350
diploma
$15
course.
Miscellaneous Fees
Fall and Spring
DDA Courses
Academic Facilities Fee
$195
Fine Arts Shop fee (per course)
course
Zero Credit Internships
100–400 level course
on campus)
published “per credit” rate for each
part-time students
Fee per each additional
one working day of receipt
All 100/200/300 Level
charged 100 percent of all fees.
$10
(transcript leaves Pratt within
$45 per
C.All persons auditing courses are
By Internet, www.pratt.edu/
Basic lab fee for a single
100–400 level course
registrar for express service
—Mailroom
B.Pratt Alumni pay 40 percent of the
Health Services Fees
$10
$25Unreturned Mailbox Key
Auditing Courses
By Internet, www.pratt.edu/
registrar
—Residential Life
Undergraduate activities fee
with proof of personal health
sfs@pratt.edu
—Residential Life
$3Key Replacement
credit” tuition rate for each course.
Services at the following address or
718.636.3539
$50
and part-time students
per semester. May be waived
Brooklyn, NY 11205
$7.50
spring, summer term: full-time
Please notify Student Financial
Architecture Fees
of student organizations.
$TBD
Student Financial Services
$20Lock (Core) Replacement
time students
student publications and the expenses
www.afford.com/pratt
Pratt Institute
Film/Video Student Fees
percent of the published “per
Student activities funds are used for
Warwick, RI 02886
800.722.4867
Each summer term for all
full-time students
171 Service Avenue
Second Floor
each fall and spring term:
automatically drafted from the student’s
to-use worksheet to assist in budgeting
Undergraduate activities fee
each fall and spring term: full-
you have a choice of the 3, 4 or 5
will provide the student with an easy-
Transcript Request Fees
students
is not a loan; therefore, no interest is
The monthly installments can be
Lock/Key Replacement Fees
part-time students
instead of paying one lump sum. TMS
month plans.
303
full-time students
Acceptance deposit
Residence deposit
Tuition and Fees
Studio deposit for
the entire year
$100
Digital Printing Fee required
for PHOT-210
Fee provides students access to
digital labs and unlimited printing on
small-format inkjet printers.
Tuition and Fees
304
$250
Digital Mural Printing Fee
$25New digital files per image ($25
set up fee which covers up to 5
required for PHOT-310, PHOT-
images, after that $1 add’l per
410, PHOT-455
Fee provides students access to all
digital labs and unlimited printing on
image)
$25Handling for fragile/rare
materials (add’l $50 per hour,
inkjet printers including large-format
inkjet printers.
$75
Non-Silver Photo Lab Fee
required for PHOT-415,
PHOT‑416
Fee provides students access
and chemistry materials for the
non-silver lab.
$ 75Lighting Studio Fee required
for PHOT-322, PHOT‑422
Fee provides students access to lighting
studios and equipment.
Students not enrolled in photography
courses, but requesting use of
photography labs may do so with
departmental approval and payment of
associated fees listed above.
B.F.A. Senior Jewelry Refundable
with a ½ hr minimum of $25)
Rush fees (additional 50% of total fee)
CD or DVD (additional $5 per order plus
variable shipping/delivery fee
Library Late Fines
$0.2
Circulating books - per day
$0.2 Picture files - per day per
envelope
$2Course reserve items - per
hour or portion thereof
$5Interlibrary loan items—per day
Friends of the Library Fees
$100General Public (For library
withdraw officially or unofficially from all
borrowing—2 books limit)
classes, the federal refund calculation
$50Alumni
Course Withdrawal Refunds
Procedures for official withdrawals
to withdraw must fill out the official
of the Bursar. Where a refund is required
withdrawal form (available in the
to be returned to Title IV funds, payments
student’s academic department), have
will be made in the following order:
the form signed by the Office of the
1. Unsubsidized Federal Direct
Bursar, and submit it immediately to
the Office of the Registrar. Refunds are
determined by the date the Drop/Add
or complete withdrawal form is signed
by the Office of the Registrar.
For all students, the following course
$12
Multimedia equipment—per day
withdrawal penalty schedules apply:
$0.5
35mm Slides—per day per box
writing to or visiting the Office of the
Office of Residential Life. Refunds for
Registrar. Due dates cannot be extended
withdrawn courses are not automatic
because bills have not been received.
and must be requested from the Office
If no billing address is specified, bills
of the Bursar.
are mailed to the permanent address.
Refunds on Credit Balances
Billing Schedule
A credit balance on a student’s account
For those students who have registered,
after applying Title IV funds (Federal
fall semester bills are mailed during the
Student Aid Funds) will be automatically
second week of July, and spring semester
refunded, and a refund will be mailed or
bills are mailed during the first week of
applied to the debit card within 14 days
December. All other bills including summer
of the later of any of the following dates:
are available online. Due dates cannot be
(1) the date the credit balance occurs;
extended because bills are not received.
(2) the first day of classes of a payment
If a student does not receive a bill,
period of enrollment; or (3) the date the
he or she may contact the Office of the
student rescinds his or her authorization
Bursar prior to the due date to ascertain
4.Federal Perkins Loan
to apply Title IV funds to other charges
the amount due. Consult the Costs section
5.Federal Pell Grant
or for the institution to hold excess
and the student’s housing license if an
6.FSEOG
funds.
earlier estimate is needed. Consult the
3.Federal Direct Plus Loan
annual Academic Calendar and Academic
Banking Facilities
Guide for exact payment deadlines.
9.State, private, institutional aid
Withdrawal prior to and including the
a bank on campus for students to
Notice of IRS Filing
Student Individual fees are not
open accounts, making it possible to
Any cash amount paid totaling $10,000
refundable after the first day of the
cash personal checks with the Pratt ID
or more made within a 12-month period,
term. Once the student’s request
(providing the student’s available bank
the IRS form 8300 will be completed
is received, processing takes
account balance covers the amount of
and sent to the IRS. Please be sure to
approximately 14 working days. Liability
the check to be cashed) and a primary
present photo ID.
is computed from the date the form is
ID (state issued or passport). An ATM is
signed by the registrar staff. Withdrawals
also available on campus.
Picture files
Withdrawal from the 2nd through
$90
Course reserve items
8th day of the term
Services.
$90
1 Day Loans
70 Percent Tuition Refund:
Interlibrary loan items—Lending library
Withdrawal from the 9th through
Library Reproduction Fees
determine replacement costs
15th day of the term
Image Fees Summary
Film and Videos—DVDs & 16mm—
replacement cost
Withdrawal from the 16th through
Multimedia equipment—
22nd day of the term
Replacement cost
No Refund: Withdrawal after the
35mm Slides—Determined by
22nd day of the term
Department
changed, or deleted at any time by
a completed Adjustment Form to the
Full Refund:
$25
that $1add’l per image)
Stafford Loan
based on the date the student submits
8.Other federal sources
fee for up to 5 images, after
2.Subsidized Federal Direct
305
Pratt Institute Refund Policy
is replacing a hardcover book)
$10Already digitized ($10 handling
Stafford Loan
7.Other Title IV aid
opening day of term
Deposit for the entire year
Examples of the application of each
of these policies are available in the Office
may be charged if a softcover
$25
the student has been in attendance.
are as follows: students who want
Film and Videos, 16mm—per day
Studio Deposit
will be based on the amount of Title
IV earned, based on the amount of time
$5
$90Circulating books ($15 add’l
For students receiving Title IV funds who
access privileges & book
$1
Film and Videos, DVDs—per day
Library Lost Item Replacement Fees
Federal Refund Policy
Tuition and Fees
Arrangements have been made with
may not be made by telephone. Check
Payments
Payments must include the student’s
registration schedules and the Institute’s
Billing
name and ID number. Checks and
calendar for exact liability deadline
Bills are mailed to one address. One
money orders should be made payable
dates each semester. Withdrawal from
copy of each bill will be mailed to the
to Pratt Institute in U.S. dollars and
courses does not automatically cancel
address the student lists as his or her
drawn on a U.S. bank. Checks drawn on
housing or meal plans. Penalties for
“billing” address on registration records.
an international bank may delay credit
housing and meal plans are calculated
A “billing” address may be established,
to the student’s account and may be
306
Tuition and Fees
subject to a collection fee imposed by
Adjustments
Institute, receive grades, transcripts, or
or for more information regarding
Pratt’s bank. Students may pay in person
We strongly recommend that you
diploma, or have enrollment or degrees
the debit card, please see pratt.
and receive a receipt by presenting
view your bill online periodically. In
confirmed until financial obligations are
afford.com/Refunds. If you have not
the invoice and payment to Student
addition we recommend giving parents
paid in full.
received a card and would like one,
Financial Services, Myrtle Hall 6th floor,
or any third party payer access to the
between 10 am and 4 pm, Monday,
Parent Module so they can view/pay
parent directly unless a parent gives
Tuesday, and Wednesday. Evening hours
your bill online. If a student contests
written consent to have any PLUS loan
are scheduled on Thursdays. Payment
a portion of the bill, he or she should
excess returned to the student.
online or by mail avoids waiting in line.
pay the uncontested portion by the
Please allow five working days for mail
due date and immediately contact
Pratt Tuition Refund Disbursements
ways to accommodate the busy lives of
delivery and a minimum of three weeks
the appropriate office to request an
Partnering with prattchoice.afford.com,
our students. With you in mind, Pratt
for processing.
adjustment. Adjustments should be
students have the flexibility of receiving
Institute has recently partnered with
pursued and resolved immediately to
their tuition refunds in a variety of ways.
FlyWire to offer an innovative way to
avoid a hold on registration or grades.
You can now manage and receive your
streamline your international tuition
funds faster than ever, plus have the
payments. Developed by an international
Returned Checks
The Institute charges a processing fee
Tuition and Fees
PLUS Loan checks are sent to the
please contact Student Financial Services
directly at sfs@pratt.edu.
FlyWire for International Students
Pratt Institute is always looking for
of $25 when a check is returned by the
Stafford, PLUS Direct Loans
convenience of carrying a Visa branded
student, peerTransfer offers a simple,
student’s bank for any reason. Any check
Loan funds are sent to Pratt by the
debit card. This card will serve as your
secure, and cost-effective method for
in payment of an Institute charge that is
federal government electronically (EFT).
student refund card for the duration
transferring and processing education
returned by the bank may result in a late
Funds will be disbursed in accordance
of your studies at Pratt Institute. All
payments in foreign currencies.
payment charge as well as a returned
with federal regulations, and a signature
future student refunds will be disbursed
check charge.
may be required.
through it so you must be careful not to
rates unmatched by larger financial
misplace the card.
institutions, FlyWire enables Pratt’s
Registration (First Day of Class)
Alternative Loan Checks
We reserve the right to restrict
In some instances, lenders disburse
Center is the FREE ATM where no
any country and any bank while
registration eligibility for students with
Alternative Loans in paper check form
charges are assessed for withdrawing
saving a significant amount of money.
high balances.
which may require a signature. Loan
funds. You may use the Sovereign
Furthermore, students will be able to:
checks are made payable jointly to Pratt
Bank ATM located by the guard booth;
Collection Accounts
Institute and the student. Payees must
however, fees will apply.
The student will be responsible for
endorse the checks before they can be
all collection costs associated with
applied to the student’s account. The
funds to your personal checking/savings
delinquent accounts forwarded to an
student will be held responsible for the
account or request a paper check be
outside collection agency because of
loan portion of the balance on his or
mailed to you, at no cost.
nonpayment.
her account whether or not he or she
The ATM located in the Design
You can also transfer the available
Included with your card are
By offering favorable conversion
international students to pay from
1. Track the progress of their payment
throughout the transfer.
2.Be alerted when their payment
is received.
3.Track the progress of their tuition
payments via an online dashboard and
receives the loan. It is the student’s
instructions on how to activate and
be assured that their payments are
responsibility to contact the federal
use it. The TMS Company administers
going to the correct account.
government when delays occur. A
the card. All questions regarding your
student whose Institute bills are overdue
card can be answered through the
will not be allowed to register in the
TMS website, pratt.afford.com/Home,
You can find the link to the FlyWire
solution at www.pratt.edu/student-life/
student-services.
307
309
Registration and
Academic Policies
Registrar
Lisle Henderson
lhenders@pratt.edu
In order to attend any course at Pratt
Associate Registrar
Rajeev Jayadeva
rjayadev@pratt.edu
1. Be formally approved for admission.
Assistant Registrars
Marcia Approo
mapproo@pratt.edu
Linda Bloom
lbloom37@pratt.edu
Juliet Lee
jlee170@pratt.edu
Institute, a student must:
3.Register for the approved courses
online during the designated
registration period. A student’s
• 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
registration date is displayed under
the student’s name when he or she
logs in to www.pratt.edu/myPratt.
Online registration is done on
Academic Tools.
4.Pay tuition and fees to the Student
Financial Services Office. Students—
and persons approved by that student
via the Parent Module—can view the
Matthew Townsend
mtownse@pratt.edu
school transcripts (indicating date of
bill on www.pratt.edu/myPratt. See
graduation) must be submitted to the
the Tuition and Fees section of this
TAP Certification Officer/
Veterans Advisor
Charlotte Outlaw-Yorker
coutlaw@pratt.edu
Institute prior to enrollment.
bulletin for more information.
Office
Tel: 718.636.3663
Fax: 718.636.3548
reg@pratt.edu
• Non-matriculated students will be
Students are fully responsible for tuition
provided this information once they
and fees after they complete Steps 1
submit a non-matriculated student
through 3 above. If students do not
application in the Registrar’s Office
complete Step 4 before the first day
and pay the fee. They do not have to
of class, their unpaid registrations may
follow steps two and three.
be canceled according to the payment
2.Meet with an academic advisor and
have a program of courses approved
by that advisor on Academic Tools—
the portion of www.pratt.edu/
myPratt that allows students to
schedule. Responsibility for a correct
registration and a correct academic
record rests entirely with the student.
Students are responsible for knowing
regulations regarding withdrawals,
register for classes, add or drop
refund deadlines, program changes, and
sections, view their grades, and review
academic policies.
their degree audit. Your academic
Instructors will not admit students
advisor and your appointment dates
to classes in which they are not officially
for advisement and registration
registered. Proof of official registration
are listed on your degree audit.
may be obtained in the Office of the
Students should contact their advisor
Registrar or through myPratt. Any stu
for assistance.
dent who attends a class without valid
registration (i.e., he or she is not on the
official class roster) will not have credits
or a grade recorded for that course.
Registration
310
Identification Cards and Services
Pratt online accounts must be used
As part of orientation, new students are
for all official Institute communication
issued identification cards. Students
through the Internet as an individual’s
must present their PrattCard to receive
Pratt email address is the only way
services and privileges, gain entry
to validate the authenticity of the
into campus buildings, and identify
requester. No official requests will
themselves to Institute officers as
be fulfilled from any email address
necessary. People who cannot, or will
that does not end with a pratt.edu
not, produce a student identification
suffix. Likewise, all official Institute
card are not recognized as students
communications sent electronically are
and are not entitled to student services.
emailed to this address. Some notices
To find out more about the PrattCard,
are only sent electronically. Students are
log in at www.pratt.edu/myPratt (the
responsible for the information sent to
PrattCard is on the left side of the
their Pratt email.
dashboard). The PrattCard Office is
located in the Activities and Resource
Student Registration
Center (ARC), Lower Level, Room A-109.
New Student Initial Registration
Pratt Email Accounts and
myPratt Access
The portal www.pratt.edu/myPratt is
Pratt’s interactive student gateway. It
provides access to grades, schedules,
bills, applications for graduation and
transcripts, as well as other academic
information.
No additional applications or
activations are necessary.
All student user names are
automatically assigned by the
Information Technology Office. Pratt
email and 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.
Continuing Student Registration
Continuing students are assigned a
It is the responsibility of each student
registration date based on their degree
to obtain an official schedule (printout
progress. Official registration dates can
of registered course, section, credit,
be found in the Academic Calendar or
and time) on myPratt after completion
in the Academic Guide for Students
of the registration process. Students
(emailed to all students each fall). To
are strongly cautioned to review and
avoid late fees, all registered students
confirm all data. If any course/section/
who plan to continue in subsequent
credit correction is necessary, the
semesters are required to register during
student can make advisor-approved
the open registration period. This regis
changes on myPratt through the first
tration period closes at the end of the
two weeks of classes (drop/add period)
previous semester. Failure to register
only. Students may also alter their
during the open registration period and
schedule with the assistance of their
make payment in advance may result
department or with a Drop/Add form
in late fees. Late registrations will also
available in academic offices or the
severely jeopardize a student’s chances
Office of the Registrar.
Entering new students may be required
of obtaining his or her preferred
to go online and choose courses
academic course schedule.
during the new student registration
time period. The Registrar’s Office will
provide detailed registration instruction
materials for entering new students.
Some departments provide advisement
in a group setting; others complete
advisement by phone or email. Contact
advisors for further information.
Payment of tuition and fees must
be completed before August 1 to avoid
a late fee.
All new students are required
to participate in the orientation
program before the start of their initial
semester. Contact the Office of Student
Involvement for published schedules.
Admission to Class
Veterans Affairs
Pratt Institute participates in the
Late Registration
Late registration periods are subject to
a late fee. The amounts and timing of
these fees are described in the Tuition
and Fees section of this bulletin and
the academic calendar. Registration or
reinstatement after the published add
period requires a written appeal to the
Office of the Registrar.
following Veterans Administration
Benefits:
• Chapter 33 Post 9/11 GI Bill
• Chapter 30 Montgomery GI Bill (MGIB)
• Chapter 1606 Montgomery GI Bill
(MGIB-SR)
• Chapter 31 Veterans Vocational
Rehabilitation
Registration
311
students receive monthly checks from
Office after having been programmed
the VA or the VA will send the check
by their respective departments in
directly to Pratt six to eight weeks
order to present a signed copy of the
after certification. Failure to request
authorization to the Office of Student
certification upon completion of
Financial Services. Only after receiving
registration may result in a four- to
this signed authorization will the Office
six-week delay in the receipt of the first
of Student Financial Services validate
benefit check. As of January 1976, those
tuition payment. Veterans receiving an
students receiving survivor’s benefits
allocation for books should note that
(children of deceased veterans) are
Pratt Institute does not maintain the
no longer required to be certified by
campus bookstore. The VA should be
the school. Appropriate forms may be
notified accordingly. Final and official
obtained at the student’s VA Regional
authorization cannot be forwarded to
Office. New transfer students who have
the VA until the student has completed
already received educational benefits
registration. Pratt Institute serves
should bring their VA claim number to
only as a source of certification and
the veterans’ advisor.
information to the VA Regional Office.
New students, who have been in
The student must carry out all financial
active military service, must submit a
transactions with the VA directly. All
certified copy of their DD 214 (discharge
transactions are carried out with the
papers). Students in Active Reserve
Buffalo Office:
should be certified by their commanding
P.O. Box 4616
officer, and the signature of the Pratt
Buffalo, NY 14240
veterans’ advisor should be obtained
from the Registrar’s Office. Students
The New York Regional Office is at :
who support spouses, children, or
245 W. Houston Street (at Varick Street)
parents should submit birth certificates
New York, NY 10014
or marriage certificates as appropriate.
Students in the Reserve (Chapter 1606)
seeking to obtain educational benefits
Because the New York Regional
should see their commanding officer
Veterans Administration (VA) will not
for eligibility counseling and forms and,
accept certification of enrollment
if eligible, should then see the Pratt
before the first class day of any
veterans’ advisor for certification.
session, students planning to enroll
All students receiving benefits under
under any of the VA programs should
Veterans’ Vocational Rehabilitation
initiate the certification procedure
(Chapter 31) should contact their
by making an appointment to see
counselors at the VA, who will forward
the veterans’ advisor in the Office
an “authorization form” to Pratt’s
of the Registrar after registration is
veterans’ advisor. These veterans
completed. Depending on the Chapter,
should then go to the Registrar’s
Residency Requirement
Students must complete at least 48
semester credits at Pratt. The last 32
credits must be taken in final sequence
to earn any undergraduate degree. To
be considered for graduation honors, a
student must have completed a minimum
of 50 percent of the credits required to
complete the degree at Pratt.
Registration
312
Transfer Credits
Transfer Credit Prior to Matriculation
Transfer credit is granted for courses
that are appropriate to the program
curriculum at Pratt. Only a grade of C
or better from a school accredited by
an accrediting agency or state approval
agency recognized by the U.S. Secretary
of Education or the international
equivalent, and only a numeric evaluation
of 70 or better from international
institutions, will be considered accep
table for transfer to the Pratt record.
Grades of lower than C (including C-)
or less than 70 are not acceptable for
transfer credit evaluation. Institutions
accredited by the New York State Board
of Regents will be individually evaluated,
and credits will be awarded according to
articulation agreements.
Credits may be awarded for courses
in which (1) a grade of C or better is
earned from domestic institutions (or 70
or better from international institutions
as determined by an official international
credit evaluation service) and (2) the
courses correspond to the specific
course requirements of the applicant’s
program of study. Grades lower than
C (including C-) or less than 70 are not
transferable. Grades of transfer credit
are not included in the GPA.
A maximum of six credits in foreign
International students may be
Prior to registration, the transfer
The student must first secure
313
How to Petition
Student Status
required to submit additional class hour
student receives an estimate by the
written approval on the permission form
documentation to determine a U.S.
Office of Admissions of the credit that can
available in the Office of the Registrar
semester hour equivalency or have their
be expected for work done at previous
to take courses at another college.
credentials of international credit hours
college(s). Additional documents may be
Permission for major course credit
evaluated by an official international
requested by the Office of Admissions
must be approved by the dean of the
credit evaluations service. Pratt accepts
(bulletin, course hours, syllabi, etc.)
student’s school, and permission for
international credit evaluation from any
in order to complete the estimated
liberal arts credit must be approved
member of the National Association of
evaluation. Deposited students should
only by the Dean of the School of
Credit Evaluation Services (NACES).
mail all education records to the Office
Liberal Arts and Sciences. The approved
• Present a copy of the Statement of
of the Registrar. After all final transcripts
permission must be signed for clearance
Intent to the Registrar’s Office with
Advanced Placement (AP) with a score
have been received, a complete
and filed in the Office of the Registrar
a $100 deposit. The Office of the
of four or five and the International
evaluation of transfer credit will be sent to
before the course is taken. Upon
Registrar will give you an application
Baccalaureate (IB) Higher Level with
the student.
completion, an official transcript must
form, which should be returned to
be sent to the Registrar’s Office for the
that office after completion. When
credit to be transferred.
the entire process is complete,
Pratt accepts up to nine credits for
a score of five or greater (details are
presented in the Admissions Section).
Credit may also be awarded for College
Level Equivalency Program (CLEP) tests
with acceptable scores. Only tests
taken prior to matriculation at Pratt will
be considered.
Credit evaluations will be comple
ted only after acceptance. Students
petitioning for transfer credit(s) must
submit to the Admissions Office an
official transcript from each college
attended prior to enrollment. Additional
transcripts will not be accepted for
transfer credit evaluation after the
beginning of the student’s first semester
at Pratt. Accepted students who seek
AP, IB, or CLEP credit must submit
official copies of score reports to the
Admissions Office prior to enrollment.
Transfer Credit after Matriculation
Every student, once matriculated
at Pratt, whether as a freshman
or a transfer student, is expected
to complete his or her degree
requirements at Pratt, both in major
areas and in liberal arts and sciences.
A student who is in good academic
standing may request to take a course
at another college. These students
must get permission in advance to take
courses at other colleges for transfer to
their Pratt record. Credit for courses
taken at another institution while
matriculated at Pratt is limited to a
maximum of three credits for associate
degree students and six credits for
baccalaureate students, only three
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.
deposit to a fee schedule of 30
percent of the regular per-credit
and/or portfolio, credit may be granted
tuition rate per credit evaluated.
for undergraduate professional courses
• Submit documentation as described
in the School of Architecture, School
of Art, and School of Design. When
applying for admission, the student
should indicate his or her intention
to seek credits for work experience.
Students must submit the following
documentation for credit consideration:
• Résumé
• Professional portfolio
• Letters from employers detailing
responsibilities and areas of expertise
as studio and three as liberal arts and
experience credit, the following
art, design, or architecture are required to
sciences. Transfer credit is given only for
steps must be followed.
submit a portfolio reflective of their studio
the credit-bearing course at the other
coursework completed in a prior institu-
institution and must be passed with a
tion as part of the admission application.
grade of C or higher. A grade of C- is
included in the GPA.
as to the feasibility of your request
Based on previous work experience
ing transfer credits for studio courses in
Grades of transfer credits are not
appropriate chair. You will be advised
Portfolio/Work Experience Credit
To apply for portfolio/work
not acceptable for transfer purposes.
• Petition in person at the office of the
the Registrar’s Office will apply the
credits of which can be transferred
language will be accepted. Students seek-
Registration
above to appropriate departmental
chair. Please allow one week for
evaluation.
• Return the application with the
proper authorization to the Office
of the Registrar to complete
the process. You will be billed
accordingly. Payment is due upon
billing. A maximum of 32 credits can
be evaluated for those programs
requiring fewer than 150 credits for
graduation and up to 42 credits for
those programs requiring more than
150 credits for graduation. Credits
earned through this procedure are
not included in the GPA. They will not
count toward the Institute’s minimum
residency requirement.
Full-Time Undergraduate
To be classified as a full-time student,
undergraduate students must enroll
for 12 or more semester credits (or an
equivalent combination of credits and
activities recognized as applicable).
Students registered for Intensive English
are considered registered in activities
equivalent to two credits for each section.
Part-Time Undergraduate
Undergraduate students are classified
as part-time if they schedule or drop to
fewer than 12 credits (or equivalent, see
above) of registered coursework.
Attendance Policy
Faculty members are encouraged to
take attendance. There are no excused
absences or cuts. Students are expected
to attend all classes. Any absences may
affect the final grade. Three absences
may result in course failure at the
discretion of the instructor.
314
Registration
Enrollment Verification Letters
A student may request an enrollment
Applying for a Change of Major
paying by the credit who drop a course
Students can generate a watermarked
verification letter on Pratt Institute
(Same School)
on or after the first day of the term will
accepted after the published deadline.
form is turned into the Registrar’s Office
PDF record of their periods of
letterhead several ways:
If the departments are in the same
be charged a percentage of the course
WD grades earned via the official with
is the official date used for withdrawal.
enrollment and current status at Pratt
• Through the Academic Tools student
school, a Change of Major form (available
fee. (See refund period schedule below.)
drawal procedure cannot be changed.
This date determines eligibility for WD
Institute online through the National
Student Clearinghouse. This service can
be accessed at any time through www.
pratt.edu/myPratt:
1. Log in with your OneKey at
www.pratt.edu/myPratt;
2.Click on “Academic Tools” on the
left side of the page. Click on “log in”
under “Verifications and Transcripts.”
Through the Self-Service menu, a
student may also:
• Obtain a Good Student Discount
Certificate.
• View the enrollment information
on file with the National Student
menu (under My Courses).
• A written request including ID number
and mailing/fax destination from a
student’s Pratt email account.
• In person at the Registrar’s Office
with a Pratt ID.
• A written request by fax with copy of
student ID and signature.
In all cases where the student is not
the direct recipient, the student must
provide written permission to release
the information as well as the name and
address of the company or person that
is to receive the verification letter.
Registration
in the Registrar’s Office) needs to be
student to officially withdraw from
and the chairs of both the current and
any registered course or section. This
new department.
decision must be completed online
1. Meet with an academic advisor to
through Academic Tools or by filing a
review the effect the change of major
properly completed Drop/Add form with
will have. Be sure to print out a degree
the Registrar’s Office. Failure to attend
audit for the new major before the
classes, to notify the instructor, or to
meeting to see the difference in the
make or complete tuition payment does
2.Pick up an application for a change of
not constitute an official withdrawal. A
student who does not officially withdraw
major in the Office of the Registrar;
from a registered course will receive a
complete and sign the form.
WF for nonattendance. Students who
3.Turn in the completed form,
stop attending a course without having
with required signatures, to the
officially dropped the course during
Registrar’s Office.
the published refund period will not be
Clearinghouse. (Enrollment
No course withdrawal will be
It is the responsibility of the
completed and signed by the student
requirements.
315
eligible for a retroactive refund.
grades and a student’s charges for the
Last day to add
a class or change
sections
Fall
Spring
Summer
term of withdrawal. Only the submission
Sep. 5
Jan. 30
May 21
of a Complete Withdrawal form will
deactivate your status as a currently
Last day to drop Aug. 22
a class with 100%
refund
Jan. 17
Last day to drop
a class with 85%
refund
Aug. 29
Jan. 24
N/A
Last day to drop
a class with 70%
refund
Sep. 2
Jan. 31
N/A
Last day to drop
a class with 55%
refund
Sep. 12
May 15
Feb. 7
May 22
Complete Withdrawal from the Institute
Students who are leaving Pratt without
Program/Major Changes
(Different Schools)
course during the first 11 weeks of
Complete Withdrawal form in the
Each student must follow the program
If the departments are in different
the fall or spring semesters. A class
Registrar’s Office. This form permits the
and major for which she or he has been
schools, students must apply for this
that is dropped from a student’s
Registrar to drop or withdraw a student
admitted to Pratt. The Institute will not
change in the Admissions Office (for
schedule after the second week of the
from all registered classes (a student
semester will remain on the student’s
cannot do this online). The form also
academic record with the non-credited
serves to advise relevant offices that a
designation of WD (withdrawal).
student is no longer enrolled. Students
• View the student loan deferment
recognize a change of major as official
example, School of Architecture to
notifications that the Clearinghouse
unless the change is processed with the
School of Art or School of Design).
has provided to your loan holders
appropriate approvals and recorded
causes an official withdrawal or reduces
• Notifying a faculty member,
department chair, or academic
advisor.
National Student Clearinghouse by
included.)
class absences.
financial liability for a semester:
Applying for a Change of Major
Enrollment in those schools is
and grades of WF will be issued for
None of the following actions
Changes and Withdrawals
many post-secondary institutions.
enrolled student. Until that time,
registration and billing stay in effect
information is provided to the
Students may withdraw from a
The date that the Complete Withdrawal
graduating are required to fill out a
who withdraw need to be advised
• Failure to pay the student account.
• Failure to attend classes.
The Complete Withdrawal form must be
signed by the student, their department
chair or academic advisor, Student
Financial Services representative,
and the Director of Residential Life
(if the student is living in a residence
hall). International students must also
obtain the signature of the Office of
in the student information system. A
Course/Section Changes
student who wants to change a major
The Institute recognizes no change of
the Clearinghouse has provided
must first speak with his or her academic
course(s) or section(s) as official unless
to your health insurers and other
advisor. Course requirements for the
the change is processed online through
providers of student services or
new major reflect the current catalog
Academic Tools or with a Drop/Add
products.
year. Hence, a change in major may
form submitted with the appropriate
from the Institute and will need to apply
result in more credits being required to
approvals to the Registrar’s Office.
for readmission.
graduate. It may also have an effect on
Courses and course sections may be
the number of transfer credits allowed.
changed online during the first two
(lenders and guarantors).
• View the proof(s) of enrollment that
• Order or track a transcript.
• View specific information about your
student loans.
weeks of each semester. Once this add
period is over, no courses may be added
to the student’s schedule. Students
about any financial obligations and any
academic repercussions of their actions.
They also will be required to complete
and exit interview.
International Affairs. Students who are
not enrolled during either the fall or the
spring semester and have not completed
a Complete Withdrawal or Leave of
Absence form will be officially withdrawn
316
Registration
Leave of Absence
Readmission
A student in good academic and
financial standing may request a leave
of absence for not more than two
consecutive semesters (excluding
summer sessions). Students must apply
with a Leave of Absence Request form in
the Office of the Registrar.
• Students must apply for a leave
of absence on or before the last
day to withdraw from classes for
any given semester.
• Only students in good academic and
financial standing will be approved.
• A leave of absence will not be granted
once a student’s thesis is in progress.
Students who do not attend
Pratt for a semester or more without
receiving an official leave of absence
must apply for readmission. Applications
for readmission are available from
the Registrar’s Office. Those applying
for readmission must submit a $55
application fee payable to
Pratt Institute.
Degree requirements are updated
to reflect the current catalog when a
student is readmitted to a program
(rather than the one used in the initial
acceptance).
The readmission application
deadlines for each semester are below.
• International students must obtain
authorization from the Office of
International Affairs.
• Students applying for a leave
Application
Deadline
Preferred Name
Parent Module
Pratt Institute recognizes that many
Students can authorize parents,
members of the Pratt Community prefer
guardians, or sponsors to view current
to use names other than their legal ones
schedules, grades, degree progress
to identify themselves. As long as the
and/or access the tuition bill to see the
use of this preferred name is not for
current balance and make payments.
the purposes of misrepresentation, the
Students manage (grant or rescind) these
Institute acknowledges that a “preferred
permissions through their Academic
name” can and should be used where
Tools. Parents and Sponsors can then
possible in the course of Institute
access the system and log in at parents.
business and education.
pratt.edu. To access the module:
Therefore, beginning the fall
semester of 2016-17, 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
Fall
Spring
Summer
is required. For example, some records,
Aug. 15
Dec. 15
May 1
such as paychecks and transcripts,
require use of a legal name; in such
circumstances, the Institute will not
1. Log in with your OneKey at
www.pratt.edu/myPratt;
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
Registration
317
• Official transcripts bear the Institute's
All transcript requests must have the
seal and registrar's signature.
• Partial transcripts are not issued.
A transcript is a complete record of
all work completed at Pratt.
• Allow five (5) business days after
receipt of the transcript request for
the transcript to be mailed. At certain
peak times, such as registration and
commencement, the processing time
may be longer.
• Transcripts are not released until
• Name while attending Pratt Institute
• 9-digit social security number or
7-digit Pratt ID number
• Date of birth
• Telephone number
• Dates of attendance and/or
graduation date
• Destination information where
transcript is to be mailed
a student’s account has been paid
in full.
• Copies of transcripts from other
schools that were attended must
be requested directly from those
Rights” (listed under “My Personal
schools. The Registrar’s Office cannot
Information”), students decide which
release or copy transcripts in a
information they allow each account
student’s file.
to see or even rescind previously
of absence must pay a $20
Personal Data Changes
processing fee.
be able to use the preferred name.
All personal data changes must be made
given access. Students can request
However, whenever reasonably possible,
Transcripts
in written form only by the student.
to add people not listed on this
“preferred name” will be used.
Unofficial Transcripts
screen by returning to the Students
• A student who wishes to register after
following information to be processed:
Currently enrolled students can view
Online
The easiest and most affordable way
for students and alumni to order an
official Pratt transcript is through
the National Student Clearinghouse.
This requires a valid credit/debit card
to place your order. Regular service
(three to five business days) is $7.25 per
copy. Expedited services are available
for an additional cost. You can upload
additional forms to accompany your
an undocumented leave must apply
Students are responsible for reporting
for readmission.
the following personal data changes to
name, including but not limited to
Parent/Sponsor” (under “My Personal
the Office of the Registrar:
misrepresentation or attempting to
Information”). If a person is missing
• Change of name (requires legal
avoid a legal obligation, may be cause for
an email address or other important
denying the request.
information, a request to update his
Official Transcripts
or her account can be made through
Official transcripts may be ordered in
form available on our website. Delivery
the same process.
three ways: online, by mail or in person.
and pricing information is available
• Students requesting leave for medical
reasons must obtain authorization
from Health and Counseling.
documentation)
• Change of address
• Change of major
Note: Consult the Office of the
Registrar for procedural details on
reporting these changes.
Inappropriate use of the preferred
menu and clicking “Request New
and print an unofficial transcript through
Student Planning.
transcript if needed.
By Mail
Official transcripts may be ordered by
mail by completing a Transcript Request
(NOTE: Records containing financial
on the request form. Send your request
Transcript General Policies
holds will not be processed until the
form with a check or money order
• The Registrar’s Office must have
hold is cleared.)
(no cash) to:
the student’s written request or
authorization to issue a transcript.
Parents cannot authorize the
Registrar’s Office to mail a transcript.
Pratt Institute
Office of the Registrar
Brooklyn, NY 11205
318
Registration
In Person
pending conduct investigation will
A student can still be found responsible
Semester Hour Credit
Grading System
Official transcripts may also be ordered
remain on a transcript for a minimum
in their absence. Withdrawal from the
In accordance with federal regulations,
Letter Grades That Affect the
for recording is A (4.0) and not A+; D
in person at the Office of the Registrar,
of one year. After one year’s time,
Institute will not protect a student from
a credit/semester hour is the amount of
Academic Index
(1.0), not D–, is the only grade preceding
Myrtle Hall, 6th Floor, during registrar
a student may request to have the
possible criminal or civil action(s).
work represented in intended learning
window hours. We can only accept cash
transcript notation removed by filing
or checks. (A credit card payment can
an appeal with the Vice President for
Organization of Course Offerings
student achievement. Pratt Institute
be charged at the financial services
Student Affairs. If an appeal is not filed,
Courses Numbered 100 through 499
operates on a semester calendar and
window adjacent to the registrar's
the notation will be removed after
are primarily reserved for under
awards credit on a semester basis. Each
window.) Requests for immediate
seven years.
graduates. Graduate students will not
semester is a minimum of 15 weeks.
receive credit toward graduation for
One credit is awarded for at least three
taking these courses.
hours of student work per week, or
processing and pick up are $15 per copy.
Registration
outcomes and verified by evidence of
Requests to send official transcripts by
Transcript Notation Appeals Process
regular mail service (leaves Pratt in three
To file an appeal to have the transcript
to five business days) are $10 per copy.
notation removed from an academic
through 599 may be open to both
different amount of time. Student work
transcript, a student must submit in
undergraduates with junior or senior
may take the form of classroom time,
Transcript Notation for Violent Offenses
writing to the Vice President for Student
class standing and graduate students.
other direct faculty instruction, or
—Transcript Notation Process.
Affairs the following:
Courses in this range are considered
out-of-class homework, assignments, or
As required by New York State
• A statement describing the incident
either 1) Technical Elective; 2)
other student work. A minimum of one
Qualifying; or 3) Graduate courses
clock hour per week, or equivalent time
whose content complements advanced
in variable-length courses, represents
undergraduate studies. Credit earned
classroom or direct instruction time.
Legislation Article 129-B, effective
October 5, 2015, Pratt Institute will
denote conduct outcomes on academic
transcripts of students found in violation
of any policy violation that is deemed
a violent offense as defined by CLERY
reportable crimes. Transcript notations
are applied at the conclusion of the
and what was learned over the time
away from the institution.
• Documentation of successful
completion of an in/out patient
program or therapy to address
the conduct.
• Students who withdrew from the
Courses Numbered 500
the equivalent amount of work over a
within the 500-numbered courses by
To determine the appropriate
undergraduate students may not be
amount of classroom time required for
applied toward a graduate degree.
each course, Pratt follows the standards
Graduate students enrolled in 500-level
established by its accrediting agencies.
courses are expected to perform with
Typically, for each credit hour award-
conduct proceedings and appeals
Institute prior to resolution of the
greater productivity and capacity
ed to lecture or seminar courses, the
processes. The following are examples
conduct process will need to fulfill the
for research and analysis than their
students receive 15 clock hours of direct
of language that may appear on an
sanctions found in absentia before
undergraduate colleagues enrolled in
instruction and are required to perform
academic transcript:
being permitted to appeal.
the same courses. Significantly more is
an additional 30 hours of out-of-class
expected of graduate students in course
work. For each credit awarded to a
projects, papers, and conferences.
studio course, undergraduate students
• “Expelled after a finding
• Transcript notations for students
of responsibility for a code of
expelled are permanent and cannot
conduct violation”
be appealed.
• “Suspended after a finding
of responsibility for a code of
conduct violation”
• “Withdrew with conduct
charges pending”
Transcript notations for a student
suspended or who chooses to withdraw
Withdrawal Prior to Conduct Case
Adjudication
A student who withdraws from the
Institute prior to an outcome of
a pending conduct case should
understand that the investigation will
continue without their participation.
Courses Numbered 600 and above
typically receive 22.5 clock hours, and
are generally for graduate students
graduate students receive 15 hours of
only. A graduate course embraces
direct instruction and are required to
highly developed content that demands
complete a minimum of 30 additional
advanced qualitative and quantitative per
hours of out-of-class work.
formance and specialization not normally
appropriate to undergraduate courses.
Courses Numbered 9000 and above
are elective internship courses.
A, A– excellent
The student has consistently
demonstrated outstanding ability in the
comprehension and interpretation of
the content of the course. (Numerical
Value: A = 4.0; A– = 3.7)
B+, B, B– average
The student has acquired a
319
Note: The highest grade acceptable
F (0.0). The +/– grading system went into
effect as of the fall 1989 semester and is
not acceptable for recording purposes
for prior semesters.
Grades That Do Not Affect the
Academic Index
AUD (Audit, no credit)
Students must register for courses
comprehensive knowledge of the
they plan to audit by contacting the
content of the course. (Numerical Value:
Registrar’s Office in person or by way of
B+ = 3.3; B = 3.0; B– = 2.7)
their Pratt email account.
C+, C acceptable
CR (Credit)
The student has shown satisfactory
Grade indicates that the student’s
understanding of the content of the
achievement was satisfactory to assure
course. C is the lowest passing grade
proficiency in subsequent courses
for undergraduate students. (Numerical
in the same or related areas. The CR
Value: C+ = 2.3; C = 2.0 )
grade does not affect the student’s
academic index. The CR grade is
D+, D less than acceptable
The student lacks satisfactory
understanding of course content in
to be assigned to all appropriately
documented transfer credits.
The CR grade is applied to credit
some important respects. (Numerical
earned at Pratt only if:
Value: D+ = 1.3; D = 1)
• The student is enrolled in any
F failure
The student has failed to meet
the minimum standards for the course.
(Numerical Value: F= 0)
WF (Withdrawal Failure)
Grade given to a student with a
failing grade due to lack of attendance.
course offered by a school other
than the one in which the student is
matriculated, and had requested from
the professor at the start of the term
a CR/NCR option as a final grade for
that term.
• The instructor has received approval
to award CR grades from the Office
of the Provost. (This does not apply to
liberal arts courses within the School
of Liberal Arts and Sciences.)
IP (In Progress)
320
Registration
Designation used only for graduate
NR (No Record)
student thesis, thesis project for which
Grade given for no record of attendance
satisfactory completion is pending,
in an enrolled course. (All NR desig
or Intensive English course for which
nations must be resolved by the end
satisfactory competence level is pending.
of the following term or the grade is
changed to a letter grade of F with a
INC (Incomplete)
numerical value of 0.)
Designation given by the instructor at
Registration
Repeated Courses
Quality Points
A repeated course must be the same
U
Unsatisfactory
A = 4.00
C+ = 2.30
Withdrawal
course as the one for which the previous
WD
A– = 3.70
C = 2.00
final grade was awarded. Undergraduate
AUD
Audit
B+ = 3.30
C– = 1.70
NCR
No Credit
B = 3.00
D+ = 1.30
IP
In Progress
B– = 2.70
D = 1.00
left side of the page, and click “log in”;
4.Choose from the options offered
under “My Grades and Transcripts.”
Final Grades, Grade Disputes,
and Grade Appeal Policies
students must repeat all required
courses in which F is the final grade.
(HMS 101 and 103 courses must be
No undergraduate student may choose
WD (Withdrawal from a registered class)
available only if the student has been
Indicates that the student was permitted
All grades are final as assigned by the
to repeat a course that was passed with
in regular attendance, to indicate the
to withdraw from a course in which he
instructor. If a student feels that a grade
a grade of D or higher without specific
student has satisfied all but the final
or she was officially enrolled during the
received is an error, or that he or she
authorization from the chair or dean.
requirements of the course, and has
drop period for that semester.
was graded unfairly, it is the student’s
Graduate students must repeat all
furnished satisfactory proof that the
responsibility to make prompt inquiry
work was not completed because of
of the instructor after the grade has
grade. The initial grade will remain, but
been issued. Should this procedure not
only the subsequent grade earned will
his or her control. The student must
understand the terms necessary to fulfill
the requirements of the course and the
date by which work must be submitted.
If the work is not submitted by the
understood date of submission, the
incomplete will be converted to a failure.
If unresolved at the end of the following
semester, the grade is changed to failure
with a numerical grade value of 0.
NCR (No Credit)
Indicates that the student has not
demonstrated proficiency. (See CR for
conditions of use.)
NG (No Grade Reported)
Indicates that the student was properly
registered for the course but the faculty
member issued no grade. The student
should contact the professor. Students
cannot graduate with an NG on
their record.
Grade Reports
Grade reports are not mailed to
students. Grades may be obtained via
www.pratt.edu/myPratt (see instructions
below). Professors submit final
grades online and students are able
to view their grades as soon as the
instructor enters them. If there 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 submitting a Change of
Grade form directly to the Office of
the Registrar. Time limits have been
allotted for resolving grade problems.
Spring and summer grades may not
be changed after the last day of the
following fall semester. Fall grades
cannot be changed after the last day
of the following spring semester. Once
this time limit has passed, all INC and
NR grades will convert to grade of F. To
view grades online:
1. Log in with your OneKey at www.pratt.
edu/myPratt;
prove to be an adequate resolution, the
student should contact the chair of the
required courses in which F is the final
(If unresolved at the end of the
following semester, INC = F = 0.00
and NR = F = 0.00)
Final grades for credit transferred from
other institutions to the student’s Pratt
record are not computed in the GPA.
Academic Standing
Pratt Institute’s policies on academic
In the following example the GPA is 3.33:
Grade = Quality Points × Credits Earned =
Grade Points
standing intend to ensure that all
students receive timely notification
when they are subject to academic
discipline or achieve academic honors.
be averaged in the cumulative index
A=
4.00 × 3 =
12.00
Each student is responsible at all
from the point of repeat onward.
B+=
3.30 × 3 =
9.90
times for knowing his or her own standing.
B–=
2.70 × 3 =
8.10
These standings are based on the
=30.00
published academic policies, regulations,
department in which the course was
taken to arrange a meeting and appeal
Grade Point Average
the grade. If this appeal is unsuccessful,
A student’s Grade Point Average is
a further and final appeal can be made
F = 0.00
repeated if a grade of C is not earned.)
the written request of the student and
illness or other circumstances beyond
321
and standards of the Institute. Students
calculated by dividing the total Grade
Total Grade Points ÷ Total Credits
to the dean of the school in which
Points received by the total Credits
Attempted = Grade Points
encouraged to take advantage of support
the course was taken. It is important
Earned. A Grade Point is computed by
30 ÷ 9 = 3.33
services available to them, including
to note that the faculty member who
multiplying the Credits Attempted for
30 (total grade points) divided by 9 (total
academic advisement, in an effort to help
issued the grade holds the authority
each class by a numerical value called
credits) makes a GPA of 3.33.
them meet Institute academic standards.
to change the grade except in cases of
Quality Points earned for completing
appealed grades.
If a grade is to be changed, the
All students’ records are reviewed
that class. Only credits evaluated
INC (incomplete) and NR (no record)
at the end of each semester to
with letter grades that earn quality
carry no numerical value for one semester
determine whether any student who has
failed to remain in Good Standing may
continue in the program.
points (see table below) are used in
after the grade is given. Thereafter,
is submitted within the following
GPA calculations. Each semester has a
if unresolved, the INC and NR grades
semester. Petitions of change of any
minimum length of 15 weeks. In courses
convert to an F and carry
grade will be accepted only up to the
that are passed, a credit is earned for
a numerical value of 0.
last day of the semester following the
each period (50 minutes) of lecture or
The following grades do not
one in which the grade was given. Other
recitation, and for approximately one
carry numerical values and are never
than resolution of an initially assigned
and one-half periods of laboratory or
calculated in the GPA:
incomplete grade or of a final grade
studio work, each week throughout one
reported in error, no letter grade may
term or the equivalent.
student must be sure that the change
be changed following graduation.
subject to academic discipline are
Good Standing
All undergraduate students must
maintain a cumulative GPA of at least a
2.0 (equivalent of a C) to remain in Good
P
Pass
Standing. An undergraduate student
CR
Credit
whose GPA falls below a 2.0 at any time
Registration
322
Registration
323
Standards of Degree Progress and Pursuit
No indication of academic probation will
Associate Degree
The specific conditions under which this
are defined as students whose term GPA
appear on a student’s transcript, but a
Credits Completed
Cumulative GPA
Students must make reasonable progress
policy will be invoked are as set forth
is 3.6 or higher, and who have
record of probation will be maintained
1–23
< 1.500
in terms of credits completed each term
4-Year Bachelor’s Degree
201
by the dean of each school. Written
completed 12 or more credits in that
in the student’s academic file.
24–58
< 1.500
in addition to meeting the standard for
term with no incomplete grades.
< 2.00
cumulative GPA. These standards ensure
4-Year Writing Bachelor’s
Degree
195
notification will be furnished to the
that students are making steady progress
5-Year Bachelor’s Degree
263
toward graduation and can help students
2-Year Associate’s Degree
104
may be subject to academic discipline.
President’s List Honors recipients
student by the dean.
Dean’s List Honors recipients are
Academic advisement staff sche
59 or more
dules progress meetings as necessary
Maximum Number of
Attempted Credits
defined as students whose term GPA
with each student during his or her
4-Year Degree
Qualitative Standards of
is between 3.0 and 3.5, and who have
probation semester.
Credits Completed
Cumulative GPA
avoid excessive student loans. The total
Academic Standing
completed 12 or more credits in that
1–23
< 1.500
number of semesters a full-time student
Transfer students are evaluated for
Academic Dismissal
24–58
< 1.500
may be awarded financial aid is indicated
quantitative standards based on the
Students are limited to two non
59–97
< 1.700
in the table below. In order to be
number of transfer credits accepted.
consecutive probation semesters.
98–134
< 2.00
considered in good academic standing
For example, a student entering a
135 or more
< 2.00
and to remain eligible for financial
four-year degree program who has 42
aid, full-time students must meet the
transfer credits accepted would need
following completed credit requirements
59 credits completed at the end of his
to start the term shown.
or her first semester to start the next
The staff of each school’s advisement
office evaluates the academic standing
of its students twice during the academic
term with no incomplete grades.
Academic Probation
year. The evaluations take place at the end
Students are, without exception, placed
Students who complete their first
of each major semester (fall and spring).
on academic probation in the first
probation semester without achieving
semester that their cumulative GPA falls
the required 2.0 cumulative average
5-Year Degree
in the ranges shown below:
are subject to dismissal as described
Credits Completed
Cumulative GPA
in item 1. If a student has been granted
1–23
< 1.500
two prior probationary semesters, and
24–58
< 1.500
Academic standing is based
on cumulative GPA (for academic
discipline) and term GPA (for academic
honors). Beginning with the spring 1992
Associate Degree
semester, a student’s GPA above 2.0
Credits Completed
Cumulative GPA
his or her cumulative average falls below
59–97
< 1.700
will be rounded to one decimal point in
1–23
1.500–1.999
2.0 for a third time, that student is
98–134
< 2.00
evaluating eligibility for President’s List
24–58
1.500–1.999
subject to dismissal. Students who are
135 or more
< 2.00
and Dean’s List honors and eligibility for
59 or more
< 2.00
dismissed can apply for readmission to
restricted and/or endowed scholarships.
Standard notification letters are
4-Year Degree
Pratt and can seek advice on readmittance
Extenuating circumstances such as
from the academic advisement staff of
serious medical or personal disorders
their school.
can lead to waiver of the academic
mailed to students in the following
Credits Completed
Cumulative GPA
categories:
1–23
1.500–1.999
24–58
1.500–1.999
dismissal if their cumulative GPA is 2.0 or
a student who completes an Appeal of
59–97
1.700–1.999
less at the end of an academic probation
Academic Dismissal form and obtains
98–134
< 2.00
semester. Students are also subject
written approval from the dean of the
135 or more
< 2.00
to dismissal without prior probation if
school in which he or she is enrolled.
• President’s List Honors recipients
• Dean’s List Honors recipients
• Academic probation standing
• Candidates for academic dismissal
Semester-based distinctions are only
Students are subject to academic
they do not meet minimum cumulative
averages for their grade classification:
5-Year Degree
dismissal. Probation may be offered to
Summer sessions do not count as
semester in good academic standing.
terms in the table. Students do not
Transfer students must comply with
have to meet credit requirements to
Institute qualitative standards from the
enter those terms and, if needed, can
time of enrollment.
use those periods to “catch up” to meet
Part-time students have double
the credits required for the next fall or
the time frames shown on page 324
spring term.
to complete their studies. Credit
In order to maintain financial aid
requirements for students who combine
eligibility, the maximum number of
full- and part-time studies will be
attempted credits for completion of a
evaluated on an individual basis.
degree is 150 percent of the required
Students who are recipients under
credits for that particular degree. Pratt
the New York State Tuition Assistance
will review each student’s eligibility at
Program must also meet academic
the end of each year. If the student
standards mandated by the State of
has exceeded the maximum number
New York.
of attempted credits for their degree
• Be a U.S. citizen or eligible noncitizen.
• Be a legal resident of New York State a
program, the student will no longer be
available to undergraduate students
Credits Completed
Cumulative GPA
eligible for financial aid (grants or loans)
registered for 12 or more credits.
1–23
1.500–1.999
during any future semesters.
Semester-based distinctions are only
24–58
1.500–1.999
• Be a graduate of high school within
available to students without any
59–97
1.700–1.999
the U.S., earned a GED or passed
incomplete grades.
98–134
1.700–1.999
a federally approved “Ability to
135 or more
< 2.00
Benefit” test.
year prior to matriculation.
324
Registration
Be registered for 12 credits or more in
Degree Audits
the requirements are being checked
and electives specific to the academic
published required courses.
Degree audits are computerized
against, and the student’s anticipated
program being evaluated. Fulfilled
• Complete minimum 12 credits from
checklists of graduation requirements.
graduation date (based on the date
requirements will be listed with the
These reports are similar to transcripts
of admission). This section may also
grade earned (or CR for transfer
because they list all academic activity.
contain one or many text messages
credit). Missing requirements are also
They are different from transcripts,
specific to the student, depending on
noted with credits needed.
however, because they organize the
his or her status at Pratt.
previous semester in published
required courses.
Be in good academic standing with a
cumulative grade point average of 2.00
or better.
4.Other Courses
2.Credit and GPA Information
coursework attempted into logical
Courses that usually do not count
blocks that represent what is required.
This area lists the total credits
towards a program’s requirements
They also clearly flag what has been
required for graduation, the number
are listed in this bottom section.
taken and what has yet to be taken.
required to be taken at Pratt
Sometimes a course will not count
There are four parts to an audit:
(residency), and the GPA required for
toward graduation because it was
1. Student Information
graduation.
dropped, or carries a grade that
The top of the first page lists the
3.Required Course Information
325
How to Get a Copy of a Degree Audit
number of credits in Liberal Arts and
Students may view or print an audit at
any time using their Academic Tools.
1. Log in with your OneKey at www.pratt.
edu/myPratt;
left side of the page;
4.Click on “Degree Audit” under
“Course Planning”;
5.In order to review an audit for the
makes it ineligible for consideration
current academic program (major),
Sciences and in History of Art and Design
or History and Theory of Architecture
specified below. Students may be
prevented from registering for further
courses in their major until these
requirements have been met.
School of Art and School of Design
At Junior Class Standing
Credits
Students are expected to have completed:
HMS–101
Introduction to Literary/
Critical Studies I
3
HMS–103A
Critical Studies II
3
student’s name, the academic program
This section is usually the longest. It
such as an F or an INC. Also, some
click appropriate radio button. In
being evaluated, the catalog year that
lists the entire range of requirements
students choose to take an extra
order to see what the results would
HA-111
Themes in Art and Culture I 3
class for additional knowledge even
look like in a different program, use
HA-112
Themes in Art and Culture II 3
though it doesn’t fulfill any particular
the drop down list of majors next to
degree requirement.
Evaluate New Program to select a
Standards of Degree Progress and Pursuit
Bachelor’s Degree
4 Year
Registration
(Writing Major Only)
Bachelor’s Degree 4 Year
Bachelor’s Degree
5 Year
Associate’s Degree
2 Year
Master’s and Post
Master’s
9
Total credits (depending on program)
68–72
Credits
potential major to review.
Students may go online and receive
At Senior Class Standing
Term
Cumulative
GPA
Credits
Completed
Cumulative
GPA
Credits
Completed
Cumulative
GPA
Credits
Completed
Cumulative
GPA
Credits
Completed
Cumulative
GPA
Credits
Completed
a degree audit at any time. If you do
Students are expected to have completed
the above courses plus:
1
N/A
0
N/A
0
N/A
0
N/A
0
N/A
0
computer lab, come to the Office of the
CH–300
3
2
2.0
22
2.0
20
2.0
22
2.0
23
2.0
12
Registrar. Students who have questions
CH–400
3
3
2.0
33
2.0
31
2.0
33
2.0
35
2.0
21
about how to read the audit should visit
9
4
2.0
44
2.0
42
2.0
44
2.0
46
2.0
30
their academic adviser’s office or stop
5
2.0
55
2.0
53
2.0
55
2.0
58
2.0
39
by the Office of the Registrar during
6
2.0
66
2.0
64
2.0
67
2.0
69
2.0
48
office hours for an explanation.
7
2.0
77
2.0
75
2.0
78
2.0
57
8
2.0
88
2.0
86
2.0
90
2.0
66
Satisfactory Academic Progress Policy
9
2.0
100
2.0
97
2.0
101
2.0
75
Undergraduate students in the School
10
2.0
111
2.0
108
2.0
113
of Art, School of Design, and School
not have a computer or access to a
At Junior Class Standing
11
2.0
123
2.0
119
2.0
124
of Architecture are expected to make
12
2.0
134
2.0
130
2.0
136
appropriate academic progress in their
13
2.0
147
major, as well as in Liberal Arts and
14
2.0
159
Sciences and in History of Art and Design
15
2.0
170
or History and Theory of Architecture.
To ensure a smooth progression and
timely graduation, by the time they attain
junior and senior class standing, students
are expected to have completed the
104–107
Credits
Students are expected to have completed:
HMS–101B
Critical Studies I
3
HMS–103B
Critical Studies II
3
ARCH–106
History and Theory
of Architecture I
3
ARCH–107
History and Theory
of Architecture II
3
9
102
Registration
326
At Senior Class Standing
Credits
Students are expected to have completed
the above courses plus:
Examples of violations include but
are not limited to the following:
1. The supplying or receiving of
CH–300
3
completed papers, outlines, or
CH–400
3
research for submission by any person
9
other than the author.
136
2.The submission of the same, or
essentially the same, paper or report
for credit on two different occasions.
Academic Integrity Code
When a student submits any work for
academic credit, he or she makes an
implicit claim that the work is wholly his
3.The supplying or receiving of
assignments unless specifically asked
papers, the source is acknowledged in a
date should attend the ceremony
or complete answers, or suggestions
footnote; in informal papers, it may be
that is held the May following their
for answers, of assistance in
put in parentheses, or made a part of
graduation. Students who will graduate
the text: “Robert Sherwood says...”
in Summer/October and cannot attend
sources during examinations.)
also implicitly claims that he or she
has obtained no prior unauthorized
information about the examination, and
neither gives nor obtains any assistance
during the examination. Moreover, a
student shall not prevent others from
completing their work.
undergraduate degree audit.
a Summer/October completion
examination from any source not
5.Plagiarism. (See statement following
which defines plagiarism.)
6.Copying or allowing copying of
This first type of plagiarism, using
Commencement the following spring
without acknowledging the language
may apply for Permission to Walk in
of someone, is easy to understand and
May Commencement in the Registrar’s
to avoid. When a writer uses the exact
Office. Their names will not appear
words of another writer, or speaker,
in the commencement program, nor
he or she must put those words in
will they receive their diplomas early.
quotation marks and give their source.
Attendance at commencement does not
A second type of plagiarism is
guarantee graduation from the Institute.
more complex. It occurs when the
information.
writer presents, as his or her own, the
Graduation with Honors
sequence of ideas, the arrangement of
Undergraduate
sary “hoarding” of study or research
material, or the pattern of thought of
materials or equipment intended for
someone else, even though he or she
common use in assigned work, including
expresses it in his or her own words. The
the sequestering of library materials.
language may be his or hers, but he or
8.Alteration of any materials or
she is presenting as his or her work, and
apparatus that would interfere with
taking credit for, the work of another. He
another student’s work.
or she is, therefore, guilty of plagiarism
9.Forging a signature to certify
completion of a course assignment or
a recommendation and the like.
if he or she fails to give credit to the
original author of the pattern of ideas. Application for Graduation
Students wishing to be considered
for graduation must file a Graduation
Application. The application is available
to the students online through myPratt.
Applications must be filed on or before
the following deadlines:
For all associate and baccalaureate
degrees to be graduated with honors,
a student must have earned a final
cumulative GPA no lower than 3.5 in all
work. A minimum final cumulative GPA
Only after the application has been
submitted to the Office of the Registrar
will the candidate’s name be placed on
a tentative graduation list. At that time,
the graduation review is scheduled.
Diploma Clearance
Students who have completed their
academic requirements but who have
outstanding financial obligations to the
Institute will be graduated; however, the
diploma will be held and no transcript
will be released until their financial
account is cleared in full.
Graduation
File on or Before
Summer Term/October
March 25
Fall Term/February
August 25
Final graduation requirements include
Spring Term/May
December 15
the following:
Graduation Requirements
1. Grade Requirements
Using the application, candidates
indicate:
1. Their anticipated graduation term.
2.The exact spelling and punctuation
assigned work or falsification of
7.Unauthorized removal or unneces
must satisfy all Institute, school, and
held each year at the end of the spring
graduation. Students who anticipate
interpretation of questions on any
To be eligible for a degree, the student
department requirements as stated in
Shakespeare, for example.) In formal
4.The supplying or receiving of partial
subsequently requested graduation.
Graduation Procedures
One commencement ceremony is
known quotations, from the Bible or
work or consultation of notes or other
(tests, quizzes, etc.), the student
Commencement Ceremony
ceremony that is held following their
editorial assistance they may need
students. In the case of examinations
done three times a year.
February are invited to attend the
students, are encouraged to seek the
writing and tutorial help for all Pratt
Plagiarism occurs when one uses
and faculty of the various schools. This is
source. (Exceptions are very well
copying or reading of another student’s
of academic standards and to provide
or she deserves no credit.
a new application must be filed for each
in quotation marks and giving its
prior to its first being given, specifically
students, especially international
Center staff is available to clarify issues
or information or thought for which he
semesters evaluated with a GPA.
form or content of an examination
explicitly authorized. (This includes
and theses. The Writing and Tutorial
his or her own, for credit, the language
cleared for the announced graduation,
upon the recommendation of the dean
complete their studies in October or
not to by the instructor. In addition,
for writing assignments, term papers,
dishonest, since the plagiarist offers, as
application again. If the candidate is not
at Pratt. These credits must be earned in
without putting the quoted material
exam material prior to the exam.
study and work together on homework
or the opinions of someone else. It is
minimum of 50 percent of degree credits
Degrees are conferred by the Institute
semester. Students who successfully
of any person or source not explicitly
credit in any area. Students are free to
own, the words, the work, information,
Graduation and Degrees
the exact language of someone else
including unauthorized possession of
previously been submitted for academic
Plagiarism means presenting, as one’s
327
unauthorized information about the
or her own, done without the assistance
noted, and that the work has not
Plagiarism*
Registration
of their name as it is to appear on
the diploma.
3.Their hometown and state/country
Undergraduate students must be in
good standing, with a cumulative GPA
of at least 2.0. In courses constituting
the student’s major as formally
specified in advance by his or her
departmental chair, the student must
have received a grade of C or better
in each or have a cumulative GPA in
as it is to appear in the
these courses of at least 2.0. Any
commencement program.
outstanding INC, NG, or NR grades
4.The Diploma Mailing Address to be
used to mail diplomas.
of 3.75 is required for graduation with
Information can be updated before the
highest honors. To be considered for
application deadline by simply filling
honors, a student must have completed a
out and submitting the graduation
from any previous semester(s) that are
pending resolution must be resolved.
Failure to do so will result in
removal from the graduation list.
When final grades are reported for
the last term of active registration,
328
Registration
329
Student Affairs
any reported INC or NR grade
for a graduation candidate will
automatically remove the candidate
from the graduation list. Students
who have been removed from
consideration must complete a
new application for graduation in
order to be considered for another
graduation date.
2.Curriculum Requirements
Pratt Institute
Persons holding a baccalaureate
degree from Pratt Institute and
who are matriculated for a second
baccalaureate degree from the
Institute will be evaluated according
to the major background to determine
their remaining program and credit
requirements. Of these, a minimum
of 32 additional credits in residence
Each student must fulfill all require
for a four-year program of study, or a
ments for graduation. No credits
minimum of 48 additional credits of
required for graduation will be waived.
residence in a five-year program of study
All requests for an exception to this
rule must be referred to the Dean’s
office for consideration. A course
requirement in a student’s major may
be substituted by the Department
must be taken within the new program.
An Accredited Institution other than
Pratt Institute
Chair/Advisor of the department
Persons holding a baccalaureate degree
in which the student is enrolled;
Vice President
Helen Matusow-Ayres
Life at Pratt can be intense. Often
The Department of Student Involvement
students need assistance to cope with
coordinates and assists students in
Assistant to the Vice President
Grace Kendall
challenges encountered at Pratt and in
planning social, cultural, educational,
the city of New York. The staff members
and recreational programs. Student
Nadine Shuler
of the Office of Student Affairs are able
activities at Pratt are planned to
and willing to help each student in as
contribute to each student’s total
Office
Tel: 718.636.3639
Fax: 718.399.4239
studaff@pratt.edu
www.pratt.edu/student-affairs
many ways as necessary and possible
education, as well as to meet social
to make meeting these challenges a
and recreational needs. Students are
positive experience. In addition, the
responsible for managing their own
Office of Student Affairs performs many
group activities, thus gaining experience
ombudsperson services.
in community and social affairs and
The Office of Student Affairs is
playing a role in shaping Institute policy.
from an accredited institution other
located on the ground floor of the Main
Students are represented on Institute
however, another course in the same
than Pratt Institute will be evaluated
Building and can be found on the Web
decision-making bodies such as the
subject area must be taken.
according to the type of baccalaureate
at www.pratt.edu/student-life/student-
Board of Trustees, trustee committees,
and the major background in order to
affairs. Student Affairs also has an office
and the Student Judiciary.
students are required to complete a
determine their remaining program
in Room 207A on the Pratt Manhattan
minimum of 48 credits of work
and credit requirements, of which a
campus. Specific hours and services
ment of Student Involvement are:
at the Institute, 32 of which are the
minimum of 48 credits must be taken in
provided are posted there and on the
last chronological credits registered
residency at Pratt.
Student Affairs website.
• Allocating and administering the
Changes to this Bulletin
Student Involvement
3.To earn a baccalaureate degree,
within Pratt.
Requirements for a Second Pratt
While every effort has been made
Baccalaureate Degree
to make the material presented in
Director
Candidates for a second baccalaureate
this Bulletin timely and accurate,
Emma Legge
degree must first be accepted by
the Institute reserves the right to
the Office of Admissions for degree
periodically update and otherwise
Associate Director
matriculation in an area essentially
change any material, including faculty
Meredith Klauss
different in content from that of the first
listings, course offerings, policies,
degree. The following conditions are
and procedures, without reprinting
Assistant Director
applicable when the first baccalaureate
or amending this Bulletin.
Alex Ullman
degree was granted by:
Office Manager
Karen Smith
Office
Tel: 718.636.3422
studentactivities@pratt.edu
www.pratt.edu/involvement
The main functions of the Depart
funds collected through the student
activity fee.
• Overseeing the Student Union
complex.
• Programming of student activities.
• Promoting leadership and
professional development.
330
Student Affairs
Student Organizations
New student orientation is an exciting
Student Government Association (SGA)
time at Pratt. In order to acclimate
The Student Government’s primary
to campus, students have a four-day
responsibility is to represent the
orientation during the week before classes
student body’s interests and to
begin. Brooklyn campus students attend
encourage students’ involvement in
orientation on that campus, while students
the life of the Institute.
attending Pratt Manhattan will attend
orientation at 14th Street.
Detailed information will be sent to
new students beginning in June.
The orientation program is staffed
The Student Government has
an Executive Committee in which
Sorority Governing Body)
on campus, is the setting for meditation
Director
and for interdenominational and
Christopher Kasik
•Prattonia—Yearbook
•Kappa Sigma Fraternity
•Static Fish—Comic Book
•Pi Sigma Chi Fraternity
important events of the campus
Associate Director
•Ubiquitous—Arts and Literary Magazine
•Sigma Sigma Sigma Sorority
community. Currently, services are
Katherine Hale
•WPIR—Pratt Radio
•Theta Phi Alpha Sorority
offered on a regular basis for those who
denominational rites to celebrate
are Jewish, Catholic, and Protestant
Associate Director for Housing
(in English and Korean). Any group
Administration
wishing to use the chapel may contact
Tuan Vu
•AIGA
involved. The SGA can be reached by
•Art/Faith Collective
•American Institute of Architecture
•Jewish Student Union
the only requirement is respect for the
Assistant Director North Campus
•Newman Club
space and its purpose.
Christopher Ruggieri
sga@pratt.edu.
many ways.
Active Organizations
Parent and Family Programs
Cultural
The mission of Parent and Family
•Bako Tribe
Programs at Pratt is to provide parents
•Chinese Student Scholars Association
that parents are valuable members of
•Inter-Greek Council (Fraternity/
Residential Life and Housing
The chapel, one of the central spaces
dents are encouraged to become
who assist new students in any way and
students. Pratt Institute recognizes
•The Prattler—Student Newspaper
Campus Ministry
undergraduate and graduate stu
calling 718.399.4468 or by emailing
encourage the success of their Pratt
•Belvedere—Journal of Art History
Greek Letter Organizations
331
Professional and Academic
by an exemplary group of student leaders
with the resources to support and
Student Media
Student Affairs
•Korean Student Association
•Pratt International Student Association
•Queer Pratt
Students
•Art and Design Educators
Religious and Spiritual
•Remnant Christian Fellowship
•Association for Information Science &
Technology
•Club of Fashion
•ComD Agency
•Diversity Initiatives Group
Assistant Director South Campus
Community Engagement Board
Also known as C-Board, these students
are dedicated to giving back to their
community, both local and global.
•Graduate ComD
•History of Art and Design Student
Association
Program Board
The Program Board is a group of
the Pratt community and have much
•South Asian Student Association
•Jewelry Club
students who plan many on- and off-
to contribute to Pratt. We encourage
•Turkish Student Association
•Keyframe Animation Club
campus events.
parent involvement in the Pratt
the director of Student Involvement;
Kim Mortreuil
Assistant Director Housing
Jason LeConey
Lillian Jennas
Receptionist
Steven Spavento
•Leadership in Environmental
community. We offer programs for
Special Interest
parents including Parent Orientation,
•Anime Club
•Leading Edge Professionals
Tel: 718.399.4550
•Ceramics Club
•Painting Club
reslife@pratt.edu
•Comic Club
•Photo League
www.pratt.edu/reslife
•Compassionate Pratt
•Pratt Artists League
by calling 718.636.3422 or emailing
•Drawing Club
•Pratt Historical Preservation
family@pratt.edu.
•Envirolutions
our Annual Family Weekend, and
our quarterly parents’ newsletter,
The Institute Insider. For further
information, please contact our office
•Founders Entrepreneurship Club
•Games Club
Advocacy and Policy
Organization
•Pratt Institute Planning Student
Association
•Pratt Feminists
•Pressure Printmaking
•Pratt Film Cult
•School of Information Student
•Reef Club
•Strive Student Mentors
•Weightlifting Club
•Women Writers of Color
Association
•Sculpture Club
•Special Archivists’ Association
•Special Libraries Association
•Type Directors Club
•User Experience/Information
Architecture
Office
The mission of Residential Life and
Housing is to efficiently and effectively
administer a housing program in a
learning-centered environment that
supports students while challenging
them to:
• Enhance self-understanding.
• Value community responsibility.
• Learn from their experiences.
Student Affairs
332
Residential Life and Housing holds the
Residential Life and Housing at
belief that student development and
Pratt Institute is based on a specific
learning goes on outside the classroom,
set of values. These values guide the
as well as inside the classroom. The
expectations the department has for
policies, procedures, and programs
itself and for the students who reside
that are established and encouraged by
on campus, and extend to the residence
Residential Life and Housing are those
halls in many direct ways. They are:
that enhance student learning and
involvement outside the classroom.
The department takes very
seriously its role as guarantor of a
residence-hall atmosphere conducive
to work and study. We also strive
to provide an atmosphere in which
students are encouraged to make
• Personal rights and responsibilities
• Integrity
• Respect
• Fairness and justice
• Open communication
• Involvement
informed decisions on their own, take
responsibility for their actions, and learn
from their experiences.
Leadership development
opportunities are offered to students
in the residence halls through
participation in Residence Hall Councils,
the Residence Hall Advisory Committee
(a student advisory committee
to Residential Life and Housing),
Sustainability Reps, Dining Services Reps,
and the Connections leadership class.
The Residential Life staff wants to
provide a memorable, enjoyable, and
successful academic year but reminds
students that we are jointly responsible
for the success of this experience.
Through participation, cooperation,
understanding, and communication,
all can enjoy the time spent in the
residence halls at Pratt Institute.
The Residence Halls
Pratt Institute maintains six under
graduate residence halls that accom
modate approximately 1,790 students.
The focus of our residential life
program is on providing a comfortable
yet challenging environment in which
students will become integral members
of the campus community. This is
fostered by educational approaches
and programming.
Pratt residence halls offer a variety
of housing options, including rooms with
and rooms without kitchens, doubles,
and singles. All rooms on campus have
CATV and Internet access. All residence
The educational mission of Pratt
halls have laundry facilities, with the
Institute is actively pursued in the
cost of laundry included in the room
residence halls. An expected outcome
fee. Pratt also offers campus meal plans
of the on-campus experience is to
for students who like the convenience
have students learn to cope and deal
of eating on campus. Those students
with problems that arise. Though this is
who live on campus in rooms without
not always an easy task, if a student is
kitchens are automatically enrolled in a
able to learn from an adverse situation,
mandatory meal plan.
the goal has been achieved. Along
with this is the ability for students to
Cannoneer Court
take responsibility for their choices
Cannoneer Court accommodates
and behaviors. If students make an
180 first-year students. This traditional
inappropriate choice, they should expect
corridor-style residence houses
to be held accountable. The hope is
students in double rooms. Rooms
that a different choice will be made
are single-sex, but floors are co‑ed.
the next time, more in keeping with the
Bathrooms are communal. The
community expectations set forth.
traditional nature and small size of
this residence hall promote strong
community and allow a great deal of
building-wide student social exchange.
The building has a TV lounge and work
area as well as a garden courtyard.
The rooms are air-conditioned and
carpeted. Room measurements
Student Affairs
333
are 15 x 12 feet. Students may not
The Townhouses
Willoughby Residence Hall
reside in Cannoneer Court during the
Pratt Institute’s newest and most exciting
Willoughby Residence Hall is a former
summer months.
housing option, the Townhouses are
17-story apartment co-op and is the
remodeled historic row houses located
largest residence hall. It accommodates
Esther Lloyd-Jones Hall
near the center of campus. Six students
about 900 upperclass and graduate
Esther Lloyd-Jones Hall (ELJ) is named for
reside in each house in single rooms on
students. The building houses offices
a trendsetter in modern American higher
three floors. Each house is co-ed and
(Residential Life and Housing, Health and
education. ELJ accommodates a total
offers a full kitchen, living room, parlor,
Counseling, and the Disability Resources
of 80 upperclass students in suite-style
backyard area, and basement. Each room
Center) as well as a student workroom,
accommodations of single- and double-
is provided with the standard campus
TV lounge, convenience store, and other
occupancy rooms. Suites are single-sex,
furniture (bed, armoire, dressers, desk,
common student lounge areas. Suites
but floors are co-ed. Rooms vary in size
chair, and bookshelf). Amenities include
are single-sex, but floors are co-ed.
from 11 x 16 feet to 12 x 18 feet. Students
CATV and Internet access. Preference for
Rooms vary in size from 9 x 12 feet to
are responsible for the healthy upkeep
this housing option, which accommodates
15 x 18 feet. In addition to the standard
of their rooms, including shared suite
120 upperclass students, is given to junior-
furniture, all suites have a kitchen table,
bathrooms. The building has a TV lounge
and senior-level students.
stove, and refrigerator. Each resident is
provided with a bookcase. All students
on the first floor.
Leo J. Pantas Hall
Leo J. Pantas Hall is a suite-style
undergraduate hall that accommodates
212 first-year residents. Students live
in four–person suites, which consist of
two double rooms (two people in each
double room). Each 10 x 16-foot bedroom
has a separate 8 x 9-foot entry from the
hallway. All rooms are air-conditioned.
Each suite has its own bathroom. Each
suite is responsible for the healthy
upkeep of the common bathroom area.
Suites are single-sex, but floors are coed. The building boasts a large work area
in addition to a dramatic main lounge
area with large-screen TV, foosball table,
and kitchenette. Its central location on
campus makes it desirable to students.
Its clock tower serves as a campus land
mark. Pantas Hall is not open during the
summer months except to house special
conference groups.
Vincent A. Stabile Hall
Vincent A. Stabile Hall opened in fall 1999.
Named for the donor, a graduate of the
former Engineering School, Stabile Hall was
designed for new students. It houses 225
first-year students in four-person suites.
Each suite consists of two double rooms
and its own bath. Suites are single-sex,
but floors are co-ed. With few exceptions,
the room dimensions, not including
the small entry foyer, are 12 x 12 feet.
Each suite is responsible for the healthy
upkeep of the common bathroom area.
There are kitchenettes located on each
floor. The award-winning design of the
building boasts a large common lounge.
Smaller work and lounge spaces on
each floor contribute to a vital living
and working environment. All rooms are
air-conditioned. Stabile Hall is not open
during the summer months except to
house special conference groups.
assigned to double, triple, and single
spaces will share kitchen and bathroom
facilities with other residents of the
suite. The converted apartments consist
of at least one double or triple that occ
upies the former living-room space of
the apartment and at least one private
single room that occupies the former
bedroom space of the apartment. The
number of students residing in a given
suite usually ranges from three to six
students (depending upon the size of the
converted apartment—one-bedroom,
two-bedroom, or three-bedroom).
Willoughby Residence Hall remains open
all year. However, residents on certain
floors might have to relocate to different
floors during the summer months for the
purpose of maintenance and upkeep.
334
Student Affairs
Special Housing Options
students to live with others of differing
Global Learning Community
genders in a community supporting
Global Learning Community is a living
identity understanding. Students are
In addition to the traditional housing
choices offered, several special housing
options are provided for undergraduate
students. Students indicate their
preference for these options during the
online housing preference process.
Quiet Floors
Quiet Floors are an option for both
continuing and new students. Though
all residence hall floors have quiet
hours (10 PM–9 AM weekdays and
11 PM–9 AM weekends), some students
desire a more controlled environment.
Students who choose to live on a
Quiet Floor are provided a living and
working environment where noise
levels are kept to a minimum 24 hours
a day. Noise levels include sound inside
student apartments, in the hallway,
and among apartment mates. Students
residing on the Quiet Floors will serve
as self-regulatory agents. As is the
case with the courtesy-hours policy on
non-quiet floors, it is expected that all
students on the quiet floors will abide
by requests of fellow students to lower
noise levels.
Gender Inclusive Community
Gender Inclusive Community has been
operating since 2003 and continues to
be an option for upperclass and transfer
students in Willoughby Hall. It provides
an alternative to single-sex housing. This
opportunity allows
Student Affairs
335
Community Service Floor
Art History Learning Communities
Room Rates
The Community Service Floor is an
Art History Learning Communities are
environment that promotes cultural
option for first-year students. The floor
available in all first-year halls. Students
placed in apartments with roommates
exchange among first-year resident
provides an opportunity for students to
from one residence hall make up
and/or apartment mates who may not
students. The community, composed
work to improve their communities and
an entire Themes in Art and Culture
be of the same gender.
of both international and domestic
learn from their service. The floor is a
section (required of all School of
students, is a diverse group willing
great place for like-minded individuals
Art and School of Design students).
Healthy Choices Floors
to learn from others and share their
to meet and interact. The community’s
The learning community emphasizes
Healthy Choices Floors provide an
experiences. Programs focus on
mission is to explore service initiatives
engagement and discussion and
environment conducive to living and
social interactions promoting cultural
that improve the quality of life for others
receives special funding to attend a
study while promoting healthy life
exchange, exploring diverse resources
around them. Previous projects include
course-related performance or tour.
choices. The floors are substance-
in the city, and connecting culture
art murals, park beautification, animal
Learning communities allow students
free. This means there is no smoking;
to the students’ work. Students in
shelter work, card making, and food
to interact more with their Art History
consumption, serving, or possession of
the community agree to be active
and clothing drives. Residents of the
faculty and make it easier to seek
alcohol is not permitted regardless of
participants through attending programs
floor determine service projects and
out study partners, ask homework
age; and, as in all residence halls, illegal
and getting to know others. Students
topics of interest. On the Community
questions, and share insights and
drugs are prohibited. The guidelines
are also encouraged to plan events and
Service Floor, residents have a unique
information with classmates who are
for the Healthy Choices Floors indicate
programs. A central goal of this housing
experience that pairs their Freshman
also neighbors.
that, while on the floor, residents will be
option is to enhance understanding
English class with the special-interest
substance-free. However, it is expected
of the global community and various
housing theme. The English class
that respect be shown to those who
cultures and nations. Residents have
incorporates social justice issues and
choose to lead a substance-free lifestyle
a unique experience that pairs their
receives special funding to attend
on and off the floor. Therefore, residents
Freshman English class with the special-
a course-related performance off
must acknowledge that choices they make
interest housing theme. The English class
campus and other exceptional activities.
off campus have an effect on the floor
incorporates global issues and receives
Learning communities allow students to
community and make these choices with
special funding to attend a course-
interact more with their English faculty
respect for others on the floor.
related performance off campus and
and make it easier to seek out study
other exceptional activities. Learning
partners, ask homework questions,
participating as positive members of the
communities allow students to interact
and share insights and information with
community. For example, this may take
more with their English faculty and make
classmates who are also neighbors.
the form of participating in or planning
it easier to seek out study partners, ask
programs that center on making
homework questions, and share insights
healthy life choices. Floor activities
and information with classmates who are
will be planned based on the concept
also neighbors.
All residents are responsible for
of making healthy lifestyle choices and
providing alternative social activities.
Healthy Choices Floors are offered in
both first-year and upperclass halls.
Room Assignment
Upon acceptance to the Institute,
Room rates vary according to the type
of accommodation. Typical costs for
each residence hall for an academic
year are as follows:
Cannoneer Court
$7,650 (double room)
Esther Lloyd-Jones Hall
$8,722 (shared single)
$6,372 (double)
Leo J. Pantas Hall
The Townhouses
$10,180 (single room)
Vincent A. Stabile Hall
students are sent an Accepted Student
Guide, which includes a housing
Willoughby Hall
request and a brochure describing
$5,304 (triple with kitchen)
each housing option. The process
$6,808 (double with kitchen)
is two-part: (1) paying the deposit
$8,396 (single with kitchen)
and (2) stating housing preferences
$9,822 (single with kitchen and
online. Students are assigned rooms
private bath)
in the order their applications were
received. Space is limited, and students
are advised to meet all deadlines.
Assignment notifications are made
in early July.
Students who have not applied by
May 1 can anticipate being assigned only
if and when space becomes available.
All correspondence should be
addressed to:
Residential Life and Housing
reslife@pratt.edu
336
Student Affairs
Meal Plan
Athletics and Recreation
In an effort to ensure that students
receive options for meeting proper
daily nutritional requirements, Pratt
Institute offers its students a number of
meal plans. The meal plans are designed
on a debit card system; the student’s
meal plan points decrease as he or
she purchases items in the main dining
room, convenience store, or pizza shop.
A meal plan point equals $1.
All students living in residencehall rooms without kitchens and
all freshmen, regardless of their
assignment, are automatically enrolled in
the minimum mandatory meal plan. This
meal plan is in effect for both semesters
and provides the student the purchasing
power for roughly 14 meals per week.
Students may opt for a larger plan that
offers additional purchasing power for
roughly 19 meals per week. The cost
for meals does not include incidental
purchases students may make at the
convenience store. The annual meal plan
rates for 2016–17 are $1,050, $1,770, and
$2,063 per semester.
Students not living in mandatory
meal plan areas, upperclass students,
and commuters may opt for any annual
or semester-only plan. Two semester
plans exist to accommodate a variety
of student needs. These plans are per
semester only. The semester meal plan
rates for 2016–17 are $250 and $710.
Purchasing a meal plan can save the
student almost 10 percent versus paying
cash. With all meal plans, students
have the option to add points online
(www.prattcard.com) at any time
during the semester in $25 increments.
Additional details pertaining to the meal
plans are provided in the Enrollment
Guide and are available from Residential
Life and Housing.
Student Affairs
There are full locker room facilities with
Career and Professional Development
saunas for men and women. The second
CCPD staff members stay abreast of
337
• Entrepreneurship Training
changing trends and employer needs, and
The CCPD has developed resources
Director
floor houses a fully equipped and newly
Director
guide Pratt students into an easy transition
to help students and alumni build
Walter Rickard
renovated weight and fitness room, a
Rhonda Schaller
from college into the work environment.
skills and strategies to become
We maintain relationships with employers
successful entrepreneurs. The
dance studio, and administrative offices.
Associate Director for
Associate Directors
and internship providers nationally and
Meditation Incubator project offers
Intercollegiate Athletics
activities are scheduled throughout
Hera Marashian
internationally, and offer many ways for
the Creative Mind, Business Mind
Ryan McCarthy
the year in conjunction with PrattFit
Brynna Tucker
employers to reach and recruit from the
course, which teaches participants
talented Pratt community.
meditation, visualization, and self-
Recreational and intramural
programming and range from individual
Associate Director for
and team sports to special events.
Assistant Directors
Wellness and Recreation
Men’s intercollegiate athletics teams
Karen Rose Cover
dents on professional learning goals for
their creative process and use as
TBA
include basketball, cross-country,
Deborah Yanagisawa
internship placements and career goals
business planning tools. The Student
for their job search and small business
Startup Center provides resources
indoor and outdoor track and field,
Professional staff work with stu
reflection techniques to deepen
Assistant Director for Athletics
tennis, and volleyball. Women’s teams
Communications Manager
planning. Extended support is offered
that help students and alumni pursue
Facilities and Event Management
include basketball, cross-country,
Robert Carabay
in the areas of exhibition submissions,
entrepreneurship, intrapreneurship,
Keisha Lynch
indoor and outdoor track and field,
grants, fellowships, and residencies.
and business development goals. The
tennis, and volleyball. Pratt Institute
Career Development and Industry
We encourage peer learning through
Refinery, launched in fall 2015, is an
Administrative Secretary
is a member of the Hudson Valley
Relations Coordinator
our Pratt Success program to expand the
intensive training program for aspiring
Linda Rouse
Intercollegiate Athletic Conference
Alex Fisher
leadership opportunities on campus.
entrepreneurs culminating in a pitch
Office
Office
signed to foster meaningful connections
Tel: 718.636.3773 | Fax: 718.636.3772
Tel: 718.636.3506
between emerging artists and professionals
www.pratt.edu/athletics
career@pratt.edu
through the following services:
www.pratt.edu/ccpd
• Professional Development Programming
The CCPD manages the Pratt Pro
We welcome classroom visits to the
job board, on which thousands of
center every semester and offer
new positions are posted each year.
presentations on résumé building,
We perform outreach to employers
networking, interviewing skills,
around the world, developing a
developing an online presence,
pipeline to help move Pratt students
portfolio presentation, self-
and alumni into their job openings.
promotion, freelancing, and starting
We visit studios and organize firm trips
your own business. Guest speakers
for students so that they can learn
and recruiters come to campus every
about the latest industry trends. Pratt
semester to speak about careers in
Institute hosts numerous portfolio
creative industries, review portfolios,
reviews and thesis exhibitions of
and hold interview sessions.
current and graduating students’
and fields a total of 12 teams.
The CCPD provides resources de
The Activities Resource Center (ARC)
houses a 325 x 130-foot athletic area,
The Center for Career and Professional
the largest enclosed clear-span area
Development (CCPD) inspires and
in Brooklyn aside from the newly
supports students and alumni while
constructed Barclays Center. The
educating them about emerging trends,
complex includes five regulation-size
the job market, and what it takes to be a
tennis courts, two volleyball courts, and
professional creative in the workplace.
an NCAA basketball court. This same
We believe that preparing for a fulfilling,
area provides 650 bleacher seats for
meaningful, and productive career
intercollegiate basketball, volleyball,
is one of the most important co-
the Colgate Women’s Games, and other
curricular activities for Pratt students.
spectator sports events. This enclosed
The CCPD augments the state-of-
area has a seating capacity for up to
the art curriculum with career and
1,000 people for special events. The four-
internship advising, industry mentoring,
lane, 200-meter indoor track completely
professional development resources,
encircles the athletic court areas.
workshops, and entrepreneurial
education. We combine an excellent
academic creative experience with
a lifetime job and career transition
support system.
• 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 advising sessions
and discipline-specific career
workshops are scheduled through
out the year.
competition, and the first program of
its kind at a school of art and design.
• Industry Outreach and Pratt
Pro Job Board
work, including multiple end-of-year
events highlighting the best work
of the graduating class. Each year,
the CCPD hosts opportunity fairs,
roundtable discussions, and creativecareer conferences with visiting
partners, recruiters, and industry
leaders. All of our programs are
developed to educate students and
338
alumni as well as provide networking
opportunities with the creative
professional community.
• Developing an Online Portfolio
Student Affairs
Pratt Institute Internship Program
Each Pratt student has the opportunity
to gain hands-on professional
experience in New York City and
The CCPD professional staff can
beyond through an academic internship
help students develop their portfolio
program administered in collaboration
and online presence. Pratt Institute
with department faculty. The CCPD
and the CCPD have partnered with
supports students in gaining hands-on
Behance to launch Pratt Institute
professional experience interning at
Portfolios at portfolios.pratt.edu.
companies such as Condé Nast, Unified
This is an exciting opportunity for
Field, Knoll, and many more.
students to promote their work under
Internships play a crucial role
also allow students to develop a network
relationships in the field, which will serve
Director
them well as emerging professionals.
Mai McDonald Graves
Some key components of a
mcdonald@pratt.edu
Pratt Internship:
• The experience is a full semester.
• The experience can be paid or unpaid.
• Internships are available to all
Learning Specialist
domestic, international, and transfer
Learning Specialist
students during their time at Pratt.
Maegan D’Amato, L.M.S.W.
• Internship credits vary from 0 to
the Pratt brand. With the Behance
in developing skills and offering
platform, Pratt Institute Portfolios
professional perspectives. An internship
3 credits based on student need,
reaches a wide audience of industry
at Pratt is an academic opportunity
number of hours worked, and
professionals on the lookout for the
available to full-time matriculated
individual departmental policy.
best creative talent.
students every semester, including
• To obtain academic credit for an
summer semester. For more information
The staff of the CCPD welcomes your
about internships, such as eligibility,
questions. To make an appointment
the registration process, and deadlines,
or to find out how the CCPD can help
visit www.pratt.edu/career and click on
you, contact career@pratt.edu or call
“Students and Alumni,” then “Internship
718.636.3506.
Program.” In most cases, students must
complete one full semester to be eligible
for academic credit for an internship.
What Are Internships?
Internships are learning experiences in
the workplace that relate to students’
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
Disability Resource Center
of professional contacts and build
internship, students must be enrolled
in an internship course at the same
time they are participating in the
internship.
Anna Riquier, L.M.H.C.
ariquier@pratt.edu
Student Affairs
339
Services to Students
• Collaborates with Health and
In providing its services directly to
students, the DRC:
• 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.
mdamato@pratt.edu
Assistant to the Director
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,
Counseling in meeting the needs of
students with medical or psycho
logical 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
and determines appropriate,
the effectiveness of services and
individualized classroom accom
accommodations.
modations and support services.
• Responds to inquiries from
prospective students and parents.
• Coordinates support services
• Develops and administers appropriate
assessment tools to determine
the efficacy of accommodations
and services.
drc@pratt.edu
for students, such as note taking,
www.pratt.edu/disability
tutoring, time management coaching,
Students with disabilities may utilize the
and counseling.
DRC to receive various support services,
Students are required to attend
one of the internship information
The mission of the Disability Resource
sessions offered throughout the year
Center (DRC) is to ensure that students
in the CCPD to learn more about the
with disabilities can freely and actively
internship program, how to begin an
participate in all facets of Pratt life.
internship search, and how to find
To this end, the office provides and
departmental eligibility information.
coordinates services and programs
To make an appointment or
that support student development,
to learn the dates of the next intern
enable students to maximize their
ship information session, contact
educational and creative potential,
career@pratt.edu or call 718.636.3506.
and assist students in developing their
independence to the fullest extent
• Arranges assistance for deaf and
hard‑of-hearing students. Available
services include sign language
interpreters, and remote and inclass 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
possible. The DRC aims to increase the
instructional needs of students.
level of awareness among all members
• Consults with campus department
of the Pratt community so that students
with disabilities are able to perform at
a level limited only by their abilities, not
their disabilities.
administrators regarding specific
needs of students, such as special
housing and dietary accommodations,
and access to campus facilities.
including time-management and selfadvocacy workshops, and weekly oneon-one sessions with staff. Students
may work on writing and reading
assignments on computers equipped
with assistive learning technologies, and
may also arrange to take quizzes and
exams in our distraction-free study and
exam room.
340
Student Affairs
We encourage students who want to
Health and Counseling
receive classroom accommodations
and/or support services through the
Director
DRC to schedule an appointment to
Martha Cedarholm, A.R.N.P.-B.C., F.N.P.
meet with DRC staff and discuss their
mcedarho@pratt.edu
needs. Students may also be referred
for formal evaluation that is conducted
Associate Director for Counseling
by appropriate professionals to receive
Vincent Kiefner, Ph.D.
documentation of recommended
vkiefner@pratt.edu
academic support.
For more information about
Nurse Practitioner/Associate Director
Student Affairs
The counseling staff includes clini-
341
Students are automatically enrolled
Case Manager and Staff Counselor
Health and Counseling operates both
Hali Brindel, L.C.S.W.
by appointment and as a walk-in clinic.
cal psychologists, clinical social workers,
in a health and accident insurance plan.
hbrindel@pratt.edu
All care provided is strictly confidential,
and a consulting psychiatrist, who are
They may waive this insurance fee,
and information about care remains
available by appointment to meet with
which will be deducted from their bill,
Student Health Insurance Specialist
separate from a student’s academic
students. Students may receive counsel-
by providing insurance information in
Josefina Soto
and social conduct record. The office is
ing on a short-term basis for personal,
the online student insurance system,
jsoto4@pratt.edu
open on weekdays from 9 AM to 5 PM,
emotional, family, interpersonal, and
Aetna Student Health, prior to the
with the last appointments made at
situational problems. Consultation is
waiver deadline. This deadline always
Nurses
4 PM. Check the website for up-to-date
available on campus, and referrals for
falls on the same day as the last day to
Christine Susca, R.N.
information about hours and services.
specialty services are made.
drop or add courses for the semester.
csusca@pratt.edu
The medical staff includes the
Since Health and Counseling is
All students who were born after
the Disability Resource Center,
for Health
director, who is a family nurse prac
not designed to meet the total health
January 1, 1957, must provide proof
visit our website at www.pratt.edu/
Debbie Scott, A.R.N.P.-B.C., F.N.P.
Sheriezah Shiwprashad, L.P.N.
titioner; two nurse practitioners;
care needs of students, referrals are
of immunity against measles, mumps,
disability. You may also contact the
dscott2@pratt.edu
sshiwpra@pratt.edu
a physician attending the clinic weekly
sometimes made to outside clinics and
and rubella. New York State law
during the academic year; and two
agencies. The staff is committed to
requires written documentation of
an appointment to discuss classroom
Nurse Practitioner
Administrative Aides
nurses. Services provided include
helping students find the best source of
two measles-mumps-rubella vaccines
accommodations and services you
Alison Altschuler, A.R.N.P.-B.C., F.N.P.
Giovanni Glaize
treatment of illnesses; first aid for
health care at the lowest cost. Hospital
or written documentation of immunity
may need.
aaltsc34@pratt.edu
gglaize@pratt.edu
injuries; physicals, including sports and
and medical care beyond that provided
to these diseases proved by a blood
women’s health examinations; health
by Health and Counseling is the financial
test. Students are absolutely required
education; and medical testing.
responsibility of the student and his
to have written documentation in
or her family. For this purpose, Pratt
order to attend classes.
DRC at 718.802.3123 to schedule
Consulting Physician
Sandra Davis
Kristen Harvey, M.D.
sdavis@pratt.edu
Pregnancy testing is performed
in the office for free; however, other
Institute requires all students to carry
health and accident insurance.
Immunization against
meningococcal meningitis is strongly
Staff Counselors
Consulting Psychiatrist
tests are sent to a laboratory ser-
Sarika Seth, Ph.D.
Jane Zirin, M.D.
vice, which will bill the student or the
recommended for students planning to
student’s insurance provider. Some
live in on-campus housing.† A complete
sseth@pratt.edu
Psychiatric Nurse Practitioner
commonly used medications (over-the-
medical history and a comprehensive
Victoria Chun Kwon, Ph.D.
Lori Neushotz, D.N.P.
counter and prescription) are dispensed
physical examination are also required
vchun20@pratt.edu
lneushot@pratt.edu
free or for a nominal fee. Students
for all new students.
must purchase all other medication at a
Assistant Director for Counseling and
Office
pharmacy. Referrals are made to local
Staff Counselor
Tel: 718.399.4542 | Fax: 718.399.4544
medical resources for care not provided
Lonette Belizaire, Ph.D.
health@pratt.edu
on campus.*
lbelizai@pratt.edu
www.pratt.edu/health
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.
342
Student Affairs
343
Libraries
International Affairs
The Office of International Affairs (OIA)
welcomes about 600 new international
Director
students each year. There are about
L. Jane Bush
1,500 international students from
80 countries. In addition to providing
Associate Director
services to international students, the
Saundra Hampton
OIA takes care of J-1 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
Dawn Hoffman
of State.
International Student Adviser
staff members are here to help students
Emilie Buse
make a successful transition to the
The well-traveled and experienced
Pratt community and help address
Director
Russell S. Abell
The Libraries are dedicated to an
and a half-dozen laptops. The Visual
active partnership in the academic
Resources Center holds a collection
Head of Public Services
Lore Guilmartin
process. The Libraries’ primary mission
of 35mm slides and provides access
is to support the Institute’s academic
to over 1.3 million images through
Head of Technical Services
John A. Maier
programs by providing materials and
ARTstor. Comfortable reading and
information services to students,
study spaces are available in this New
Library Services Coordinator,
Manhattan Campus
Jean Hines
faculty, staff, alumni, and visiting
York City landmark building on the
scholars. A state-of-the-art integrated
Brooklyn campus.
Evening and Weekend Library Manager
Kate McDermott
Visual and Multimedia Resources Director
Chris Arabadjis
Visual Resources Curator
Johanna Bauman
library system interfaces with an
The Pratt Manhattan Library
up-to-date website providing broad
holds more than 17,024 monographs,
access to electronic materials as well
subscribes to over 170 current
as information about the Libraries.
periodicals, and maintains a small
Connect to the Libraries’ website and
fiction collection. The book and
catalog at library.pratt.edu.
periodical collection provides support
Receptionist
some of the challenges that students
Zoila Dennigan
might encounter during their academic
Campus Library provides broad-
Communications Design, Information
program. They create a friendly envir
based coverage of the history, theory,
and Library Science, Creative Arts
Office
onment, providing direct support
criticism, and practice of architecture,
Therapy, Facilities/Construction
Tel: 718.636.3674
with immigration issues, employment
fine arts, and design, while also support
Management, Historic Preservation,
oia@pratt.edu
authorization, financial issues, personal
ing the liberal arts and sciences. The
Arts and Cultural Management, AOS/
www.pratt.edu/oia
issues, and cross-cultural events.
collection encompasses over 200,000
AAS Program, Design Management, and
monographs and bound periodicals and
Continuing and Professional Studies.
The OIA advises the Pratt
The collection at the Brooklyn
for the following programs: Graduate
International Student Association (PISA),
also maintains 776 current periodical
which is open for all to join.
descriptions. The Libraries also provide
instructional programs to help patrons
students access to 38 online resources
use information resources more
and electronic periodical indexes.
effectively. Other services offered
Through these resources over 11,474
throughout the year include orientation,
full‑text periodical titles are accessible.
individualized instruction, information
The Brooklyn Campus Library houses
literacy instruction, and research assis
microfilm, multimedia, rare books,
tance and referrals to other libraries in
and the college archives. Visual and
the metropolitan area.
Multimedia Resources has a collection
Librarians at both facilities offer
All of the Library units are ded
of DVDs, VHS tapes, and 16mm films. The
icated not only to providing access to
department also circulates cameras,
information, but to assisting information
projectors, light kits, audio recorders,
seekers in developing successful
Libraries
344
345
Library Faculty
strategies to locate, evaluate, and
employ information to meet a full range
of needs.
The Pratt Institute Libraries are
members of ConnectNY, a consortium
of libraries serving 20 prestigious
independent academic institutions in
New York State. From the library online
catalogue, Pratt students can easily
access an impressive collection of
ebooks and request over 10 million print
books from the college and university
libraries of; Adelphi, Bard, Canisius,
Colgate University, Hamilton, Hobart
& William Smith Colleges, Le Moyne,
Medaille, Pace University, Rensselaer
Polytechnic Institute, Rochester Insitute
of Technoloy, St. Lawrence University,
Siena, Skidmore, Union College, the U.S.
Military Academy, and Vassar College.
Steven J. Cohen
Paul Schlotthauer
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.
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, Mid-Atlantic Regional
Archives Conference, Archivists Round Table of
Metropolitan New York, New York Library Club
(board member), American Library Association,
Association of College and Research Libraries,
American Association of Museums.
Cheryl M. Costello
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.
Maggie Portis
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.
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.
347
Board of Trustees
Bruce J. Gitlin
Gary S. Hattem
Juliana C. Terian
Chair of the Board
President and CEO, Milgo Industrial Inc.
Managing Director, Global Head of Centre
for Sustainable Finance, Deutsche Asset
Wealth Management
President, Deutsche Bank Americas Foundation
Chairman of the Rallye Group
Vice Chair of the Board
President and Executive Director,
The Scherman Foundation
June Kelly
Anne H. Van Ingen
Robert H. Siegel
Roelfien Kuijpers
Vice Chair of the Board
Founding Partner, Gwathmey Siegel & Associates
Architects, LLC
Global Head of AWM Relationship Management,
Institutional Head of WM Relationship
Management, Americas, Deautsche Bank
Thomas F. Schutte
David S. Mack
President, Pratt Institute
Senior Partner, The Mack Company
Founding Partner, Two Trees
Management Co., LLC
Dr. Joshua L. Smith
Carolyn Bransford MacDonald
Ellery Washington
Secretary
Professor Emeritus, New York University
Trustee, The Halycon Foundation, Trustee
Emerita, The American Museum in Britain,
Member of the Board, The American Associates
of the National Theatre in London
Faculty Trustee
Treasurer
Retired, Managing Director, Operational Risk
Global Corporate and Investment Bank, Citigroup
Katharine L. McKenna
Michael S. Zetlin
Kurt Andersen
Kelsey Miller
Writer
Recent Graduate Trustee
Deborah J. Buck
Diane Hang Nguyen
Artist, Interior Designer, and Owner, Buck House
Recent Graduate Trustee
Richard W. Eiger
Amy Cappellazzo
David O. Pratt
Charles J. Hamm
Founder and Principal, Art Agency, Partners
Not-for-Profit Consultant
Kathryn C. Chenault
Ralph Pucci
Attorney
President, Ralph Pucci International
Malcolm MacKay
David Cutler
Stan Richards
Leon Moed
Undergraduate Student Trustee
Principal, The Richards Group
Anne N. Edwards
Kate Selden
Arts Activisit
Graduate Student Trustee
Heidi Nitze
Susan Hakkarainen
Christopher D. Shyer
Marc A. Rosen
Chief Marketing Officer, Lutron Electronics,
and Chief Creative Officer, Ivalo Lighting
Incorporated
President, Zyloware Eyewear
Mike Pratt
Howard S. Stein
June Kelly Gallery
Artist, Designer, and Owner, KLM Studios
Mark D. Stumer
Principal, Mojo-Stumer Associates, P.C.
Adam D. Tihany
Principal, Tihany Design
Former Director, Architecture, Planning and
Design Program and Capital Projects, NYSCA and
Adjunct Assistant Professor, Graduate School
of Architecture, Planning and Preservation,
Columbia University
David C. Walentas
Susan Young
Faculty Trustee
Attorney, Zetlin & De Chiara LLP
Trustees Emeriti:
Young Ho Kim
Bruce M. Newman
349
Administration
Dr. Thomas F. Schutte
Russell Abell
Christopher Gavlick, CLARB
President
Director of Libraries
Executive Director, Chief Facilities Officer
Kirk E. Pillow
Walter Rickard
Anthony Gelber
Provost
Director of Athletics and Recreation
Director of Administrative Sustainability
Donna Heiland
Sinclaire Alkire
Mai McDonald-Graves
Associate Provost
Director of Enrollment Marketing and Research
Director of the Disability Resources Center
Judith Aaron
Nedzad Goga
Thomas Greene
Vice President for Enrollment
Executive Director of Financial Services
Director of Human Resources
Helen Matusow-Ayres
Christopher Arabadjis
Imani Griszell
Vice President for Student Affairs
Director of Multi-Media Services
Director of Events and Diversity Recruitment
Joseph M. Hemway
Drew Babitts
Young Hah
Vice President for Information
Technology and CIO
Interim Executive Director of Campaign
and Major Gifts
Director of Graduate Admissions
Joan McCormick
Nicholas Battis
Vice President for
Institutional Advancement
Director of Exhibitions
Cathleen Kenny
Vice President for Finance
and Administration
Thomas Hanrahan
Vladimir Briller
Executive Director of Strategic Planning
and Institutional Research
L. Jane Bush
Registrar
Dustin Liebenow
Director of Marketing Communications and
Enrollment Management
Christopher Kasik
Director of Residential Life and Housing
Director of International Affairs
Dean, School of Architecture
Gerald Snyder
Lisle Henderson
Martha Cedarholm
Grace Kendall
Director of Health and Counseling Services
Director of Special Projects/Assistant to the
Vice President for Student Affairs
Randy Donowitz
Emma Legge
Director of the Writing and Tutorial Center
Director of Student Involvement and Parent
and Family Programs
Dean, School of Art
Anita Cooney
Dean, School of Design
Andrew Barnes
Michael Farnham
Director of Academic Advisement
Dean, School of Liberal Arts and Sciences
Tula Giannini
Dean, School of Information and
Library Science
John Maier
Head of Technical Services
Adam Friedman
Director of Pratt Center for
Community Development
Emily Mack Marshall
Director of Foundation Relations
350
Administration
351
Academic Calendar
Ellery Matthews
Richard Soto
Director of Academic Computing
Director of Budget
Patti McCall
William Swan
Head of Public Services
Director of Undergraduate Admissions
Mara McGinnis
Warren White
Executive Director of Communications
Director of HEOP
Thomas Nawabi
Bryan Wizemann
Comptroller
Director of the Web Group
Christopher Paisley
Director of Processing and Technology
Dmitriy Paskhaver
Director of Research
Last day for 100% tuition refund
First day of classes
Summer 2017
August 22
January 17
May 15
August 22
January 17
May 15
(See schedule of classes)
Last day to add or drop without a
September 5
January 30
May 21
November 11
April 7
May 30
Dates that classes do
September 5 (Labor Day)
January 16
May 29
not meet
October 10–11 (Midterm
(Martin Luther King Day)
(Memorial Day)
Break)
March 13–19
July 4 (Independence Day)
November 23–27
(Spring Break)
WD grade
Last day to withdraw (WD) from a
course
Director of Facilities Planning
and Design
Director of the Center for Career and
Professional Development
Spring 2017
upon withdrawal (WD)
Kimberlae Saul
Rhonda Schaller
Fall 2016
(Thanksgiving)
Studio Days
December 6–9
May 2–5
n/a
Final exams
December 10–16
May 6–12
n/a
Last day of classes
December 16
May 12
July 21
(See schedule of classes)
William J. Schmitz
Director of Safety and Security
Maira Rey Seara
Dean, School of Continuing and
Professional Studies
Nancy Seidler
Director of Intensive English
Lorraine Smith
Curator, Visual Resource Center
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
Admissions: 718.636.3514
Career Services: 718.636.3506
Financial Aid: 718.636.3599
Health and Counseling Services: 718.399.4542
International Affairs Office: 718.636.3674
Library (Circulation Desk): 718.636.3420
Registrar: 718.636.3663
Residential Life: 718.399.4550
Security: 718.636.3540
Student Activities and Orientation: 718.636.3422
Architecture: 718.399.4333
Art and Design: 718.636.3611
Information and Library Science: 212.647.7682
Intensive English Program: 718.636.3450
Writing Programs: 718.399.4497
352
Academic Calendar
Academic Calendar
353
Fall 2016
Registration
Academic
Tuesday, December 15
Refund Schedule
Monday, February 8
Tuesday, August 16–Sunday, August 21
Friday, March 11–Friday, September 2
Last day for students to submit
Course Withdrawal Refund Schedule
graduation applications to the
Fall 2016
SU/FA schedule due to
New student orientation held; loan
Math Placement Exam for Fall 2016
Registrar’s Office.
entrance interviews.
Monday, August 15
Arts and Cultural Management
Monday, March 3
Fall schedule goes live on the Web.
Payment/Financial
Monday, March 21
Friday, July 1
Wednesday, August 17
Academic advisement begins.
Student loan application deadline.
Design Management classes begin.
classes begin.
Monday, April 4
Monday, August 1
Monday, August 22
Online registration begins for
Continuing students’ tuition
Classes begin.
continuing students.
payment deadline.
Friday, May 13
Monday, August 1
Last day of preregistration for
New students’ tuition payment deadline.
continuing students.
Tuesday, August 2
Last day to add a class.
Monday, June 13–Friday, June 17
Late payment fee of $195 in effect for all
Last day to drop a class without a WD
Tentative date for new student online
students.
grade recorded.
registration.
Monday, August 24
Monday, October 10–Tuesday,
Monday, September 5
Last day for 100 percent tuition refund
October 11
upon withdrawal.
Midterm Break. No classes.
grade recorded. No new registrations
Housing
accepted after this date.
Tuesday, August 16
Friday, November 11
Entering freshman, transfer, and grad
Last day for course withdrawal.
uate students check in to residence
halls, 9 AM to 5 PM.
Friday, August 19–Saturday, August 20
Continuing students check in to
residence halls, 9 AM to 5 PM.
Saturday, December 17
Noon checkout deadline for graduating
students and those who cancelled spring
residence hall license.
Note: Students residing on campus spring
2017 do not check out of their fall rooms.
Monday, September 5
Labor Day. No classes.
Monday, September 5
Monday, October 10
Columbus Day. Institute offices closed.
Registrar’s Office for May graduation.
Review for graduation begins January 4.
Prior to and including August 22
August 23–August 29
Full refund
85% refund
August 30–September 5
70% refund
Last day to change grades from previous
September 6–September 12
55% refund
spring/summer semesters.
After September 12
All final grades due online by 3 PM.
Thursday, December 24–
Sunday, January 3
Winter vacation. No classes.
Institute offices closed.
International Students
Friday, August 12; Monday, August 15;
Tuesday, August 16
Mandatory compliance and check-in
workshops with OIA (choose one day
on MyPratt).
Thursday, August 11; Friday, August 12;
Friday, November 11
Saturday August 13
Mandatory English Proficiency exams
Wednesday, November 23– Sunday,
given for international students (choose
November 27
one day on MyPratt).
Thanksgiving. No classes.
Saturday, August 13
Offices open on 11/23 only.
New international students check in to
Tuesday, December 6– Friday
residence halls, 9 AM to 5 PM.
December 9
Sunday, August 14
Studio Days
Welcome dinner for all new international
Saturday, December 10– Friday,
students and their families
December 16
Tuesday, August 16–Sunday August 21
Final exams week. Fall semester ends.
New student orientation.
No refund
The refunds above are calculated using
the date you dropped your course
online or submitted your completed
drop/add form to the Office of the
Registrar (Myrtle Hall 6th Floor). No
penalty is assessed for undergraduate
withdrawals when a full-time credit load
(12–18 credits) is carried before and
after the drop/add date.
Housing Cancellation Refund
Schedule Fall 2016
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.
354
Academic Calendar
Academic Calendar
355
Spring 2017
Registration
Payment/Financial
Housing
Academic
Friday, May 12
Housing Cancellation Refund Schedule
Friday, September 16
Tuesday, November 1
Thursday, January 12
Saturday, January 7
Last day of Classes.
Spring 2017
Spring schedule due to Registrar’s
Recommended date to file spring
New international students’ residence
Graduate Design Management and Arts
Last day to change grades from Fall 2016
Office.
financial aid and student loan
hall check-in, 9 AM to 5 PM.
and Cultural Management classes begin.
semester.
Monday, October 3
applications for students who did not
Friday, January 13
Sunday, January 15
Monday, May 15
Spring schedule goes live on Web.
file for fall term.
Entering freshman, transfer, and graduate
English proficiency exam for
All final grades due online by 3 PM.
Wednesday, October 12
Monday, December 19
students’ check-in to residence hall,
international students.
Thesis submission deadline for Spring
Academic advisement begins.
Continuing students’ tuition payment
9 AM to 5 PM.
deadline for spring.
Saturday, May 13
Martin Luther King Day.
Continuing students’ online registration
Monday, January 2
Noon check-out deadline for non-
No classes.
Commencement Ceremony
for spring begins.
All continuing students should begin to
graduating students and those students
Tuesday, January 17
TBA
penalty/refund.
Weekday classes begin.
Honors Convocation.
Monday, January 30
TBA
Monday, November 7
Monday, January 16
file financial aid forms for financial aid
without a Summer Session residence
award packages.
hall license.
Sunday, January 15
Day after Commencement, TBA
Last day to add a class or drop without
grade recorded.
New students’ tuition payment deadline.
Noon checkout deadline for graduating
a WD grade recorded.
No new registrations accepted after
Tuesday, January 17
students the day after commencement.
this date.
Last day for 100 percent tuition refund
Friday, April 7
upon withdrawal.
Wednesday, February 1
Monday, January 30
Recommended filing deadline for
financial aid applications for the next
Thursday, January 12
academic year.
New international student
orientation held.
Note: Students residing on campus
Summer 2017 Session do not check out
of their spring room until notified by
their SU that summer room is ready.
Monday, February 20
Presidents’ Day. Classes meet. Offices
penalty/refund.
2017 graduatees.
Refund Schedule
Spring 2017
Prior to and including January 17
Saturday, March 11–Monday, September 4
January 18–January 24
Math Placement Exam for Fall 2017.
January 25–January 31
70% refund
Monday, March 13–Sunday, March 19
February 1–February 7
55% refund
Spring break.
After February 7
Last day to submit a graduation
Friday, January 13
application for summer and fall
New student orientation held.
graduation.
Full refund
85% 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
Friday, April 7
Office of the Registrar (Myrtle Hall,
sixth floor). No penalty is assessed for
Tuesday, May 2–Friday May 5
undergraduate withdrawals when a full-
Studio Critique Days
time credit load (12–18 credits) is carried
Saturday, May 6–Friday, May 12
Final exams week.
closed.
Saturday, March 25
before and after the drop/add date.
356
Academic Calendar
Academic Calendar
Summer 2017
Registration*
Payment/Financial
Academic
Refund Schedule
Monday, April 3
Sunday, May 14
Monday, May 15
Registration for summer classes begins.
Summer Session tuition payment
Summer classes begin.
Summer 2017*
Sunday, May 21
deadline for continuing students;
Saturday, May 13
Prior to and including May 15
Full refund
thereafter, an $195 late payment fee
Graduate Design Management and Arts
May 16 through May 22
55% refund
charged to continuing students for
and Cultural Management classes begin.
After May 22
No refund
Summer Session.
Sunday, May 21
Sunday, May 21
Last day to drop summer classes without
a WD grade recorded.
No new Summer Session registrations
Tuesday, May 30
Last day for withdrawal (WD) from a
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
Housing
Last day to drop without a WD grade
Students check in to their residence
recorded.
hall room the Sunday prior to the start
No new Summer Session registrations
of their classes, 9 AM to 5 PM. (Consult
course schedule to determine the weeks
desired for on-campus housing.)
Students check out of their residence
hall room on the Saturday following the
conclusion of their classes by noon.
Monday, May 29
Memorial Day. No classes.
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).
* The refund schedule is calculated based on the
start date of the class
Housing Cancellation Refund Schedule
Monday, May 30
Last day for course withdrawal from
penalty/refund.
Summer Session.
(Consult course schedule to determine the
Monday, July 4
weeks desired for on-campus housing.)
Independence Day. No classes.
Friday, July 21
Summer Session classes end.
Tuesday, July 25
penalty/refund.
Note: Students residing on campus for
the last week of the Summer Session
and residing on campus for the Fall 2017
semester do not check out of their
summer room until they are notified their
fall room is ready.
Summer Grades due online by 3 PM.
Friday, September 15
Thesis submission deadline for Summer
2017 graduates.
357
Directions
358
359
Directions
B54
B54
B54
B54
B54
Brooklyn Campus
By Car
From Newark-Liberty Airport
From BQE, Heading West/South
Brooklyn, NY 11205
Exit 31, Wythe Avenue/Kent Avenue. Stay
straight to go onto Williamsburg Street W., which
becomes Williamsburg Place, then Park Avenue.
Turn left onto Hall Street. Proceed two blocks to
Willoughby Avenue. Make a left on Willoughby.
Campus is
on right.
After the exit, continue toward US-1/US-9/
Newark-Elizabeth (US-22.) Continue on US-1 and
9 North toward Port Newark. US-1 and 9 North
become 12th Street. Continue on Boyle Plaza,
which becomes the Holland Tunnel. Take the
tunnel toward Brooklyn/Downtown and continue
on Beach Street to Walker Street. Continue on
Canal Street to the Manhattan Bridge. Cross the
bridge to Flatbush Avenue Extension. Turn left
onto Myrtle Avenue. Proceed 15 blocks. Make a
right turn onto Hall Street. Go one block. Make a
left turn onto Willoughby. Campus is on right.
By Subway
From Grand Central Station
Take the downtown 4 or 5 train to the Fulton
Street station. Take the Brooklyn-bound A or C
train to the Hoyt-Schermerhorn station. Cross
platform and take the G train (front car) to the
Clinton-Washington station. Use Washington
Avenue exit. On Washington, walk one block
north to DeKalb Avenue. Turn right onto DeKalb
and proceed one block to Hall Street/Saint
James Place to the corner gate of the Pratt
campus.
From Penn Station and
Port Authority Bus Terminals
Take the Brooklyn-bound A or C train to the
Hoyt-Schermerhorn station. Cross platform and
take G train (front car) to the Clinton-Washington
station. Use Washington Avenue exit and follow
directions above to campus.
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
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
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).
360
Directions
361
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, 351–357
Academic degrees. see Degrees offered;
individual names of degrees
Academic dismissal, 322
Academic integrity code, 326
Academic policies. see Registration and
academic policies
Academic probation, 322
Academic standing, 321–322
Accreditation
Accreditation Statement, 35
Interior Design, 143
School of Architecture, 47, 48
teacher certification in Art and
Design Education, 70
Activities and Resource Center (ARC), 336
Administration, 349–350
Admission requirements, 263–276
admission decisions, 274
Advanced Placement credit policy, 269
application forms and fees, 270
Arthur O. Eve Higher Education Opportunity
Program (HEOP), 276
Associate Degree Programs (Pratt's Manhattan
Center), 274
changing schools within Pratt, 275
deposit deadlines, 274
financial aid, 274
for first-time freshmen, 265–266
high school graduation/coursework
for, 269, 270
for home-schooled applicants, 268
I-20, 273–274
intellectual property, 276
for international applicants, 268, 271, 272,
273–274
for international applicants, from China,
268, 272
International Baccalaureate (IB) policy, 270
Munson-Williams-Proctor (extension
center, Utica), 275
nonmatriculated students, 275
for permanent residents, 268
portfolios, 266, 271–272
readmission, 274–275
recommendation letters, 266, 271
special students, 275
transcripts, 270–271
for transfer students, 270, 271–273
for two-year degree applicants, 270
visiting students, 275
Advertising (Communications Design program
emphasis), 124
Affiliated Programs, 30
Aid for Part-Time Study (APTS), 284
Alumni, of Pratt Institute, 29
Appeals process, transcript notations, 318
Application forms and fees, 270
Architecture, School of, 40–57
accreditation, 47, 48
admission requirements, 56
Architecture (department), 46–53
Construction Management, 54–57
curricula, 171–175
degrees offered, 47, 48
faculty, 200–205
fees, 302
general information, 41, 43
minors, 196
scholarships for, 289–291
Study Abroad programs, 31
Art, School of, 58–109
Art and Design Education, 68–71
Associate Degree (A.O.S., A.A.S.)
programs, 72–79
Digital Arts, 80–85
faculty, 206–233
Film/Video, 86–91
Fine Arts, 92–99
Foundation courses, 63–67
general information, 59
minors, 196–197
Photography, 100–109
Art and Design Education (B.F.A.), 31
faculty, 206
general information, 68–71
Arthur O. Eve Higher Education Opportunity
Program (HEOP), 276
Associate Degree (A.O.S., A.A.S.) programs
admission requirements, 74–77, 270
Associate of Applied Science (A.A.S.), 74
Associate of Applied Science in Building and
Construction (A.A.S.), 56
Associate of Occupational Studies (A.O.S.), 74
faculty, 207–208
housing, 78
part-time enrollment, 78
school visits, 78
ATM machines, 305
Attendance policy, 313
B
Bachelor of Architecture, 47, 48
Bachelor of Arts (B.A.)
Critical and Visual Studies, 155–156
History of Art and Design, 160
Bachelor of Fine Arts (B.F.A.)
Art and Design Education (B.F.A.), 31, 70
Art and Design Education (B.F.A./M.S.), 31, 70
Fine Arts, 93, 99
Photography, 106
Writing, 163
Bachelor of Professional Studies in Construction
Management (B.P.S.), 56
Bachelor of Science in Construction
Management (B.S.), 56
Banking facilities, 305
Beijing, Study Abroad programs, 31
Berlin, Study Abroad programs, 31
Billing, 301–302, 305
Board of trustees, 347
Brooklyn campus
description, 17–18
directions to, 359
map, 358
Bulletin, changes to, 328
C
Calendar, 351–357
Campus Ministry, 331
Career and professional development, 20,
337–338
Center for Career and Professional Development
(CCPD), 337–338
Center for Community Development, 43
Certificate of English Proficiency Program
(CEP), 168
Checks, returned, 306
China
international applicants from, 268, 272
Study Abroad programs to, 31
Class admission, 311
Collection accounts, 306
Combined degrees
Art and Design Education (B.F.A./M.S.), 31, 70
with Bachelor of Architecture, 48
Communications Design, 118–125, 223–233
Computer facilities, 168
Conduct case adjudication, 318
Construction Management, 54–57, 205
Copenhagen, Study Abroad programs, 33, 143
Council for Interior Design Accreditation
(CIDA), 143
Council of Fashion Designers of America, 127
Course offerings, organization of, 319
Credit(s)
Advanced Placement credit policy, 269
grading system and, 319–320
portfolio credit, 313
semester hour credit, 319
transfer credits, 312–313
work experience credit, 313
Critical and Visual Studies, 154–157, 255–256
Curricula
School of Architecture, 171–175
School of Art, 175–188
School of Design, 189–193
(SLAS), 193–195
D
Danish International School (DIS), 143
Deferred payment plan, 301–302
Degrees offered
degree audits, 324–325
overview, 171–195
School of Liberal Arts and Sciences, 151,
155–156, 160
Delaware College of Art and Design (DCAD), 30
362
Index
Denmark, Study Abroad programs, 33, 143
Deposit deadlines, 274
Design, School of, 110–149
Communications Design, 118–125
degrees offered, 149
faculty, 223–248
Fashion Design, 126–133
Foundation courses, 115–117
Industrial Design, 134–141
Interior Design, 142–149
minors, 197–198
Digital Arts
faculty, 208–210
lab fees, 303
Digital 3-D Animation (Digital Arts program
track), 82
Directions
to Brooklyn campus, 359
to Manhattan campus, 360
map (Brooklyn campus), 358
Direct Loan programs, 282, 306
Disability Resource Center, 339–340
Discrimination, 264–265
Dismissal, 322
Study Abroad program, 33
(FCWS), 280
Federal financial aid. see also Financial aid
Direct Loans, 282, 306
(FCWS), 280
Opportunity Grants (SEOG), 280
Perkins Loan, 281–282
Fees. see Tuition and fees
Film/Video
faculty, 210–212
student fees, 303
Financial aid, 277–299
academic standards for, 286–287
admission requirements, 274
for all Schools, 297–298
documentation needed, 289
FAFSA, 274, 277–278, 279, 280, 281, 282,
283, 288
federal direct loan programs, 281–282
federal programs, grants and work-study,
278–281
freshmen and other entering students,
277–278
by individual Schools, 289–296
instructions and schedules, 288–289
International Student Scholarships, 299
out-of-state programs, 285
scholarships, Pratt Institutional programs,
278–279
scholarships for individual schools, 127
state aid to Native Americans, 288
state education agencies, 285–286
state grant programs, 282–284
United States Bureau of Indian Affairs Aid
to Native Americans Higher Education
Assistance Program, 287–288
Veterans Administration (VA) educational
benefits, 288
Fine Arts, School of
faculty, 212–220
Fine Arts studio refundable deposits, 303
FlyWire, for international students, 307
Foundation
courses, 63–67, 115–117, 157
faculty, 237–239
France, Study Abroad programs, 31
Free Application for Federal Student Aid (FAFSA),
274, 277–278, 279, 280, 281, 282, 283, 288.
see also Financial aid
Freshmen
admission requirements, 265–266
financial aid for, 277–278
Full-time status, of students, 313
E
Education agencies, by state, 285–286
Email accounts, 310
Employment, of students, 279, 280
English language requirements
admission requirements, 272, 273–274
Certificate of English Proficiency Program
(CEP), 168
Intensive English Program, 166–168
Test of English as a Foreign Language (TOEFL),
168, 272
Enrollment verification letters, 314
Exchange programs, 33
F
Faculty, 200–262
Architecture, 200–205
Art and Design Education, 206
Associate Degree programs, 207–208
Communications Design, 223–233
Construction Management, 205
Fashion, 234–236
Film/Video, 210–212
Fine Arts, 212–220
Foundation, 237–239
Industrial Design, 239–242
Interior Design, 243–248
Liberal Arts and Sciences, 249–261
libraries, 345
Photography, 220–222
Fashion Design
faculty, 234–236
G
Germany, Study Abroad programs, 31
Grade point average (GPA), 321
Grading system, 320–321
Graduate degree combination, in Art and Design
Education (B.F.A./M.S.), 31, 70
Graduation
with honors, 327–328
requirements, 327–328
requirements, for second Pratt baccalaureate
degree, 328
Grants. see also Financial aid
Opportunity Grants (SEOG), 280
Pell Grants, 279–280
Pratt grant programs, 278–279
Tuition Assistance Program (TAP), 282,
283, 285
Graphic Design (Communications Design program
emphasis), 124
H
Health and Counseling Services, 340–341
Higher Education Opportunity Program
(HEOP), 276
High school graduation/coursework, for
admission requirements, 269, 270
History of Art and Design, 158–161, 256–259
Home-schooled applicants, 268
Housing
Associate Degree (A.O.S., A.A.S.) programs
and, 78
general information, 27, 331–332
meal plan, 336
residence halls, 332–333
room assignment, 333
room rates, 333
Humanities and Media Studies (HMS) Department,
165, 250–252
I
I-20 form, 273–274
Identification cards and services, 310
Illustration (Communications Design program
emphasis), 124
Industrial Design, 134–141, 239–242
Information sessions, 78, 263
Intellectual property, 276
Intensive English Program, 166–168, 249–250
Interactive Arts (Digital Arts program track), 82
Interior Design, 142–149, 243–248
Internal Revenue Service (IRS), filing notice, 305
International Baccalaureate (IB) policy, 270
International students
admission requirements, 268, 272, 273–274
admission requirements, for students from
China, 268, 272
Associate Degree (A.O.S., A.A.S.) programs, 77
FlyWire for, 307
Intensive English Program, 166–168
Office of International Affairs (OIA), 342
Internships
Fashion Design, 128
Pratt Institute Internship Program, 338
Italy, Study Abroad programs, 31, 160
L
Laboratories, 168
Late registration, 310
Leave of absence, 316
Liberal Arts and Sciences, School of (SLAS),
150–170
Critical and Visual Studies, 154–157
degrees offered, 151, 155–156, 160
faculty, 249–262
History of Art and Design, 158–161
Liberal Arts (classes), 164–170
minors, 198
scholarships for, 297
Writing Program, 162–163
Libraries
faculty, 345
fees, 304
general information, 23, 343
Loans. see also Financial aid
disbursement, 306
federal Direct Loan programs, 282
Parent Loan for Undergraduate Student
(PLUS), 282
Perkins Loan, 281–282
M
Manhattan campus
description, 18
directions to, 360
Map (Brooklyn campus), 358
Mathematics and Science, Department of, 165,
252–253
Meal plans, 336
Minors, 196–199
Architectural Theory and Technology, 56
Construction Management, 56
School of Architecture, 196
School of Art, 196–197
School of Design, 197–198
School of Liberal Arts and Sciences, 151, 198
Munson-Williams-Proctor (extension center), 275
myPratt
for parents, 317
student email accounts, 310
N
Name (preferred), of students, 316
National Architectural Accrediting Board (NAAB),
47, 48
Native Americans
state aid to, 288
United States Bureau of Indian Affairs Aid
to Native Americans Higher Education
Assistance Program, 287–288
New students
initial registration, 310
orientation, 330
New York City, cultural partnerships in, 30
Noncitizens, admission requirements for, 268
Nonmatriculated students, 275
Index
363
O
R
Office of International Affairs (OIA), 342
Office of Residential Life and Housing, 331–336
Orientation, 330
Out-of-state financial aid programs, 285
P
Parent and Family Programs, 330
Parent Loan for Undergraduate Student (PLUS),
282
Parent module, myPratt access, 317
Paris, Study Abroad programs, 31
Part-time enrollment
Associate Degree (A.O.S., A.A.S.) programs, 78
part-time status of students, 313
Payment, 305–306. see also Tuition and fees
Pell Grants, 279–280
Perkins Loans, 281–282
Permanent residents, admission requirements
for, 268
Personal data change, 316
Petitioning, 313
Photography
faculty, 220–222
refundable deposits, 303–304
Plagiarism, 326
Portfolio credit, 313
Portfolio requirements, 266
Pratt, Charles, 24, 25
Pratt.afford.com, 307
Pratt Institute. see also Financial aid
academic initiatives, 20
accreditation, 35
alumni, 29
Brooklyn campus of, 17–18
Center for Community Development, 43
cultural partnerships in New York City, 30
degrees offered, 31
Delaware College of Art and Design (DCAD)
and, 30
exchange programs, 33
exhibitions, 23
faculty of, 20
history of, 24, 25
internships, 20, 128, 338
libraries, 23, 343, 345
Manhattan campus of, 18
Manhattan Center, 274
Munson-Williams-Proctor (extension center,
Utica), 30, 275
Pratt grant programs, 278–279
pre-college summer program, 31
program rankings of, 17
Schools and departments (list), 36–38
state-of-the-art technology, 23
students, 27
Study Abroad programs, 31–33
sustainability commitment, 35
withdrawal from, 315
Pre-college summer program, 31
Presidential Merit-Based Scholarships, 278
Probation, 322
Rankings, of Pratt Institute programs, 17
Readmission, 274–275
Recommendation letters, 266
Refunds
for course withdrawal, 304–305
for credit balances, 305
refund disbursements, 306–307
Registration and academic policies, 309–328
academic calendar, 351–357
academic integrity code, 326
academic standing, 321–322
attendance policy, 313
Bulletin changes, 328
changes and withdrawals, 314–315, 318
class admission, 311
continuing student registration, 310
degree audits, 324–325
email accounts, 310
enrollment verification letters, 314
full-time status, 313
grade point average, 321
grading system, 319–321
graduation and degrees, 327
graduation requirements, for second Pratt
baccalaureate degree, 328
graduation with honors, 327–328
identification cards and services, 310
late registration, 310
leave of absence, 316
myPratt access, 310
new student initial registration, 310
organization of course offerings, 318
parent module, 317
part-time status, 313
personal data change, 316
portfolio credit, 313
preferred name of students, 316
residency requirements, 311
Satisfactory Academic Progress (SAP), 287,
323–324
semester hour credit, 319
transcripts, 270–271, 317–318
Veterans Affairs, 311
work experience credit, 313
Repeated courses, 320–321
Residency requirements, 311
Residential Life and Housing, Office of, 331–336
Returned checks, 306
Rome, Study Abroad programs, 31
S
Satisfactory Academic Progress (SAP), 287,
323–324
Saturday Art School, 69
Scholarships
for individual schools, 127, 289–296
Pratt Institutional programs, 278–279
Presidential Merit-Based Scholarships, 278
School of Architecture. see Architecture,
School of
364
Index
School of Art. see Art, School of
School of Design. see Design, School of
School of Liberal Arts and Sciences. see Liberal
Arts and Sciences, School of (SLAS)
Semester hour credit, 319
Senior Thesis Readings (Critical and Visual
Studies), 156
Social Science and Cultural Studies, Department
of, 165–166, 253–255
Special students, 275
Stafford loans, 306
Student affairs, 329–342
athletics and recreation, 336
career and professional development,
337–338
Disability Resource Center, 339–340
Health and Counseling, 340–341
International Affairs, 342
new student orientation, 330
Parent and Family Programs, 330
Pratt Institute Internship Program, 338
Residential Life and Housing, 331–336
Student Involvement, 329
student organizations, 330–331
Student employment, 279, 280
Study Abroad programs, 31–33, 143, 160
Summer program, pre-college, 31
Supplemental Educational Opportunity Grants
(SEOG), 280
registration, 306
returned checks, 306
Tuition Installment Plan (deferred payment
plan), 301–302
Tuition Assistance Program (TAP), 282, 283, 285
2-D Animation (Digital Arts program track), 82
T
Teacher certification, in Art and Design
Education, 70
Test of English as a Foreign Language (TOEFL),
168, 272
Title IX, 264
Tours/school visits, 78, 263
Transcripts, 270–271, 317–318
Transfer students
admission requirements, 270, 271–273
financial aid for, 277–278
Trustees, board of, 347
Tuition and fees, 301–307
academic calendar, 351–357
adjustments, 306
banking facilities, 305
billing, 301–302, 305
collection accounts, 306
fees, 302–303
FlyWire for international students, 307
housing, 335
IRS filing notice, 305
meal plan, 336
payments, 305–306
refund disbursements, 306–307
refunds, for course withdrawal, 304–305
refunds on credit balances, 305
U
United States Bureau of Indian Affairs Aid to
Native Americans Higher Education Assistance
Program, 287–288
Utica campus (Munson-Williams-Proctor, MWP),
30, 275
V
Venice, Study Abroad programs, 33, 161
Veterans Administration (VA), 286, 309
Visiting students, 273
W
Wallabout Film Festival (Critical and Visual
Studies), 156
Withdrawals, 314–315, 318
Work experience credit, 313
Writing and Tutorial Center, 168
Writing Program, 162–163, 259
Y
YMA Fashion Scholarship Fund, 127
Brooklyn, NY 11205
718.636.3514
www.pratt.edu
2016-2017
PRATT INSTITUTE

20 17 PRATT INSTITUTE Undergraduate Bulletin 2016-2017

Transcription

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