2017-18 2017-18
STUDENT HANDBOOK
Pu blished by His to r y o f A r t a n d De si gn S chool o f Lib er a l A r ts a n d Sc i e n c e s Prat t In s titute 200 Wil l o ug hby Avenu e Brookl yn , N Y 1 1 2 0 5 Tel. 71 8 - 6 3 6 - 3 5 9 8 Fax . 71 8 - 6 8 7 - 5 9 2 5 had@ pr a tt. edu p rat t .e du / a c a dem i c s/ l i b e ral - a r ts - an d - s c ie n c e s / his t or y- o f- a r t - desi gn - g rad hadp ra t t . c o m hadt he s i s. p ra t t . edu John Dec k er, Ph. D . , Ch a i r p e r so n Evan Neel y, Ph. D . , Ac t i n g A ssi st a n t Ch a i r Jill Son g , A s s is ta n t to t h e Ch a i r Š 2017 HA & D , Pr a tt In st i t u t e Design ed by Weij in g L i n
CONTENTS | 3
Welcome, New Students! Important Numbers
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Web Resources
Campus Resources
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Pratt Galleries
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Free Museums
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Local Info
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Memberships
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Requirements
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Degree Program Worksheet ............................................. 13 Museum Studies ........................................................... 14 Foreign Language
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Thesis Guidlines
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Grading Assistanship ..................................................... 21 Internship Program ....................................................... 23 Faculty and Staff
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Achemic Calender
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4 | WELCOME!
[WELCOME, NEW STUDENTS!]
MA G8310
Kovalev, Kara Pasquino, Jenna Patel, Misri
MA/MS G8370
Bathke, Amelia Dellinger, Carolyn Hicks, Katherine Tivey, Kristen
]
IMPORTANT NUMBERS | 5
Brooklyn Main 718-636-3600 Manhattan Main 212-647-7199 Security (Brooklyn) 718-636-3540 Security (On Campus) x3540 Security (Manhattan) 212-647-7199 Emergency Closings 718-636-3700
Athletics 718-636-3774 Bursar 718-636-3539 Copy Center 718-636-3691 Financial Aid 718-636-3599 Health Services 718-399-4542 Library (Brooklyn) 718-636-3420 Library (Manhattan) 212-647-7546 Registrar 718-636-3663 Residential Life 718-399-4551 Student Involvement 718-636-3422
6 | WEB RESOURCES
History of Art & Design
pratt. e d u / ac a d e m ic s / l ib e ra l-a r t s-a nd-sc ie nc e s/ h is to r y- o f - a r t- d e s ig n - g ra d
HAD PRATT
HADpratt (Department Events, News, and Updates) www.hadpratt.com HAD Facebook www.facebook.com/hadpratt HAD Instagram www.instagram.com/hadpratt HAD Linkedin www.linkedin.com/hadpratt HAD Twitter www.twitter.com/pratthad HADSA (Student Organization) facebook.com/PrattHADSA #hadpratt #hadsopratt #hadprattnyc #hadstories #hadpostofthemonth
ART HISTORY
Art & Education artandeducation.net ArtBabble artbabble.org Getty Research MS/MS InstituteG8360 getty.edu/research Heilbrunn Timeline of Art History Polly Cancro metmuseum.org/toah Laura Haynes Google Art Project googleartproject.com Lily Martin The Pratt Library website also offers full Saebra Waterstraut access to a number of useful resources including JSTOR, ARTstor and Oxford Art Online. Visit library.pratt.edu/find_resources to find out more.
CAMPUS RESOURCES | 7
COMPUTER/PRINTING LABS DOC LAB (LARGE FORMAT PRINTING) Engineering Building, 2nd Floor EDS LAB (COMPUTERS, SCANNERS & PRINTING) Engineering Building, 2nd Floor MCC LAB (COMPUTERS AND PRINTING) Machinery Building, 1st Floor
DISCOUNTS THEATER TICKETS, MOVIE TICKETS & CAR SERVICE For discounted tickets and neighborhood car service, visit the student involvement office, located in the lower level of the Main Building.
ATHLETICS FREE YOGA, DANCE & EXERCISE CLASSES In addition to a spacious indoor-track and a weight and exercise room, Pratt’s athletic center in the ARC building offers a number of free classes every day of the week. For more information, pick up a class schedule from the athletics center or check out pratt.edu/ student-life/athletics-and-recreation. You can also visit the Pratt Athletics website at goprattgo.com.
8 | PRATT GRALLRIES
THE RUBELLE and NORMAN SCHAFLER GALLERY Pratt Brooklyn Campus Chemistry Building, 1st Floor Monday-Friday 9am-4pm 718-636-3517
PRATT MANHATTAN GALLERY Pratt Manhattan Building 144 West 14th Street, 2nd Floor Wednesday-Saturday 11am-6pm Tuesdays 11am-8pm 212-647-7778
FREE MUESUMS | 9
Your Pratt ID can get you into a number of museums and attractions for free:* BROOKLYN BOTANIC GARDEN 900 Washington Avenue, Brooklyn bbg.org BROOKLYN MUSEUM 200 Eastern Parkway, Brooklyn brooklynmuseum.org COOPER HEWITT NATIONAL DESIGN MUSEUM 2 East 91st Street, Manhattan cooperhewitt.org FRICK COLLECTION 1 East 70th Street, Manhattan frick.org THE GUGGENHEIM 107 5th Ave, Manhattan guggenheim.org MUSEUM of ART and DESIGN 2 Columbus Circle, Manhattan madmuseum.org NEW MUSEUM 435 Bowery, Manhattan newmuseum.org WHITNEY MUSEUM of AMERICAN ART 99 Gansevoort St, Manhattan Whitney.org * Some museums offer weekly free nights. On Thursday evenings, the New Museum offers free admission for students and on Friday nights, the Guggenheim offers pay-what-you-wish admission, and the Brooklyn Museum offers free Art and entertainment frist Saturday of the month.
10 | LOCAL INFO
CLINTON HILL/FORT GREENE BROOKLYN FLEA brooklynflea.com FORT GREENE PARK GREENMARKET grownyc.org BROOKLYN NAVY YARD brooklynnavyyard.org
CITYWIDE FLAVORPILL flavorpill.com/newyork GOTHAMIST gothamist.com
ART/GALLERIES ART F CITY artfcity.com ARTCARDS artcards.cc ARTINFO GALLERY GUIDE artinfo.com/galleryguide CREATIVE TIME creativetime.org
HOPSTOP (Subway Directions) hopstop.com
11 | MEMBERSHIPS
MEMBERSHIPS | 11
SOCIETY of ARCHITECTURAL HISTORIANS www.sah.org The Society of Architectural Historians (SAH) promotes the study, interpretation and conservation of architecture, design, landscapes and urbanism worldwide. There are several organization memberships that are beneficial to art history students. Here are a few: For information on organizations for specialized fields, speak with your faculty advisor. AMERICAN ALLIANCE of MUSEUMS aam-us.org Most accredited museums throughout the country offer free admission to AAM members. Students can join for a mere $50! COLLEGE ART ASSOCIATION collegeart.org The CAA is an organization consisting of students and professionals with the goal of promoting visual arts both nationally and internationally. With a membership, students have access to a number of perks including discounted admission to CAA conferences and a subscription to either The Art Bulletin or Art Journal. CONSORTIUM of ART and ARCHITECTURAL HISTORIANS Bit.ly/caah-listserv Keep up-to-date and in the know with this listserv-based community of art and architectural historians.
12 | REQUIREMENTS
REQUIRED COURSES (all programs) HA 602 Art Historical Theory & Methodology HA 650 Chemistry of Materials, Techniques, & Conservation HA 605 Thesis MA DEGREE PROGRAM REQUIREMENTS 36 credits in History of Art & Design DUAL DEGREE PROGRAM REQUIREMENTS MA/MFA or MA/MS requirements + 30 credits in History of Art & Design. DISTRIBUTION REQUIREMENTS One course, or its equivalent, in each of the following categories: Photo/Film/Design Architecture Non-Western Pre-Renaissance Renaissance/Baroque/18th Century 19th/20th/21st Century For more information about distribution requirements, please see the worksheet available in the History of Art & Design Office, and bring your questions to your next advising appointment. Course offerings are subject to change.
DEGREE PROGR AM WORKSHEET | 13
HISTORY OF ART & DESIGN DEGREE PROGRAM WORKSHEET Name: ID#:
G8310
G8340 G8370
Degree Program (CIRCLE ONE): MA MA/MFA MA/MS HA&D Credits Required: 36 30 30
Required Courses
Core course
Total Credits:
HA 602—Art Historical Theory & Methodology HA 650—Materials, Techniques & Conservation HA 605—Thesis
Core course Thesis
3 3 3
75
YR/SEMESTER
60
Foreign Language Proficiency Requirement (FRENCH or GERMAN or OTHER approved by the chairperson)___ Date Passed:
Elective Courses in HA, HD, and ARCH
French / German / Other
______________________
DISTRIBUTION AREA COURSE NUMBER + NAME
CREDITS
YR/SEMESTER
Elective Courses in other areas (up to 6 credits in studio, language, LIS, etc. approved by the chairperson)
CERTIFICATE IN MUSEUM STUDIES Core Courses (9 CREDITS)
HA 560—Museology HA 9603—Internship (at HA 9603B—Internship (at
) )
COURSE NUMBER + NAME
Elective Courses (6 CREDITS)
YR/SEMESTER
CREDITS
YR/SEMESTER
3 3 3
1414| MUSEUM | MUSEUMSTUDIES STUDIES
ADVANCED CERTIFICATE IN MUSEUM STUDIES —HISTORY OF ART AND DESIGN, LIBRARY AND INFORMATION SCIENCE The museum studies program is designed to be taken within the MA degree in the Department of History of Art and Design (HAD), or the MS in Museums and Digital Culture in the School of Information. The Certificate is also available to graduate students enrolled in the History of Art and Design’s dual-degree programs with the Department of Fine Arts and the School of Information’s MSLIS, which are awarded upon completion of those Master’s degrees. The Advanced Certificate is approved by NYSED. The elective courses were recently updated to reflect the latest advances in museum conservation and technology. The 15-credit Advanced Certificate in Museum Studies provides learning opportunities for students who wish to acquire the essential knowledge and skills needed to engage with the museum world as professionals. The curriculum features experiential learning and field research through the 2-semester museum practicum/ internship giving students hands-on experience in current museum practice while working in NYC’s leading cultural institutions. Taught by an expert faculty, coursework brings focus to exhibitions, curation and conservation. Required Core Courses: HA-560 Museology (3 credits) HA-9603 and HA-9603B (3 credits each) Two internships at two different art institutions chosen from an approved list. Note, students in the dual-degree programs (MA/MSLIS and MA/MFA) or MS Museums and Digital Culture may meet this requirement by taking HA9603 and LIS-698 Practicum/Seminar.
MUSEUM STUDIES | 15
Plus two 3-credit courses from the following list (no substitutions): HA-600I Materials and Techniques of Venice, Pratt in Venice program HA-682 Technical Issues/Art Historian HA-681 Introduction to Painting Conservation HA-635 Creating Exhibitions LIS-629 Art Collections: Research & Documentation LIS-632 Conservation and Preservation LIS-634 Conservation Lab at Brooklyn College LIS-679 Museum & Digital Culture: Theory and Practice LIS-697-A Florentine Art & Culture: Research & Documentation LIS-697-B Cultural Heritage Conservation
16 | FOREIGN LANGUAGE
FOREIGN LANGUAGE REQUIREMENT It is essential to the conduct of research in art history to acquire reading knowledge of several languages. The department requires that students demonstrate proficient reading comprehension in French or German prior to commencing work on the thesis. In rare cases, and only if required for a major part of thesis research, a different language may be substituted with permission of the Chair. You can fulfill the foreign language requirement in either of the following ways:
* Pass the department’s exam, which consists of translating a short passage into English; dictionary allowed (45 minutes). * Pass one of CUNY’S Reading Comprehension Language courses with a grade of B+ or better.
MASTER THESIS REQUIRNMENTS | 17
MASTER THESIS REQUIRNMENTS 1. A Master’s Thesis is a requirement for the M.A. degree. The thesis will be a substantial essay of about 40 pages (8,000-9,000 words), excluding illustrations and bibliography. A written 2-3 page Proposal with a brief but well-considered annotated bibliography is a required part of the thesis; the proposal is due by the end of the third term and must have been approved by the advisor before the actual writing of the thesis may begin. The thesis is to be completed in the fourth semester (typically the Spring term). 2. Students choose an advisor by the end of the second semester of the first year and will schedule a first meeting with the advisor at this time to discuss topic ideas and possible critical approaches to the material. Students are strongly encouraged to begin thinking about and researching their thesis topic over the summer or the semester break prior to beginning their proposal. 3. In choosing a topic, students in consultation with their advisor, should consider questions that are appropriate to the recommended length. It is strongly suggested that a student develop a topic from a prior seminar paper; other topics are also possible and must be approved by the advisor. 4. The student should set up a degree audit with the Assistant Chair by the end of the third term before embarking on the writing of the thesis. 5. Students, if not already using Zotero, should visit the library for instruction. The proposal must: - state the subject of the thesis and a one to three sentence hypothesis of the main argument. - explain the method and means of research - include a preliminary outline of chapters or sections. - include a substantial bibliography (primary and secondary sources) with at least eight annotated sources. Annotations entail a brief summary of each that addresses its usefulness and perspective.
18 | MASTER THESIS REQUIRNMENTS
Proposal Timeline: 1. Two weeks into the semester the student will present a preliminary brief bibliography to the advisor. 2. Six weeks into the semester a first draft of the proposal is due to the advisor. The advisor will return the proposal draft within 10 days and will work with the student on any requested revisions. 3. Eight or nine weeks into the semester the finished proposal is submitted to the advisor with the fully annotated bibliography 4. Five weeks before the semester ends the advisor has approved the proposal. The proposal is given to a 2nd reader together with the department’s form for further feedback and suggestions. The second reader is a faculty member; the selection made in consultation with the advisor or the chair. The student should have approached the 2nd reader earlier in the semester to see whether he or she is available to comment on the proposal. If the faculty member has agreed, then he or she is obligated to work within the required timeline and return the proposal by the due date. •It is the student’s responsibility to hand the proposal to the 2nd reader and remind the 2nd reader at least one week before the date of the forthcoming submission. 5. At least three weeks before the last day of classes the 2nd reader returns the proposal and form to the student and the advisor with his or her suggestions. The 2nd reader will copy the Advisor on his comments. •Once the 2nd reader submits recommended changes and comments, the 2nd reader’s responsibility ends. The advisor supervises further editing of the proposal and the writing of the thesis. •Students should continue research and begin drafting text while the proposal is being reviewed. 6. One to two weeks before the last day of classes the approved proposal signed by the advisor with annotated bibliography is due in the Chair’s office where it will become a record in the student’s file. Student fully embarks on writing the thesis.
MASTER THESIS REQUIRNMENTS | 19
Thesis Writing: While researching the material, the student may begin work on a draft but more importantly, continues to work on mastering the relevant literature on the chosen topic and to annotate the bibliography so that when the actual writing begins, the student will have a thorough grasp of the material and the question the thesis is to address. 1. Format: The thesis should be prepared using the Chicago Manual of Style and following the formatting guidelines established by the Pratt Institute Library (see http:// libguides.pratt.edu/thesisguide). Students should use the software Zotero from the start of their research in order to facilitate easy organization and consistency in bibliography and citations. 2. The thesis will go through two revisions with the advisor. This is a requirement for both the student and the advisor. • By the end of the semester in which the proposal is approved the student will submit 1/4 to 1/3 of his thesis draft to the advisor. • By 3 weeks into the second semester of thesis work (or the semester following proposal is approved) one-half of the thesis is due to the advisor. • By halfway through the second semester (and one month before it is due in the Chair’s office) a full draft is due to the advisor. 3. The final advisor-approved thesis is due in the Chair’s office four weeks before the deposit deadline for the library (May 15 for spring submissions, September 15 or January15 for fall submission). The student must submit one hard copy printed on regular paper. In addition, a digital copy must be deposited in the designated shared Dropbox folder. Separate guidelines will be sent out to lead the student through the final submission steps. 4. The final draft copy should include an official title page (Pratt Library template for HAD) in 3 copies printed on archival paper, signed by the advisor. The Advisor’s signature indicates that the advisor has approved the final draft. The signature pages should be printed on archival paper to facilitate final submission of thesis.
20 | MASTER THESIS REQUIRNMENTS
5. The thesis, while approved by the advisor, is still considered a draft until the Chair has approved the copy. After the Chair (or the faculty member designated by the Chair) has approved the final draft, the student will make any required final corrections and then print three copies on archival paper, one for Library deposit, one for the HAD archives, and one a personal copy. The title page must bear the signatures of both the advisor and Chair. 6. Final submission dates: May 15 for Spring,(September 15, or January 15 for Fall). Before depositing the thesis in the library, the student must: •have a final degree audit at the Registrar’s Office; •settle all outstanding fees at the Bursar’s Office; •have the HAD office do a scan of the title page; •sign an authorization form to make the thesis available on the HAD website; •send the final corrected and approved thesis as a digital copy to the designated departmental Dropbox.
GRADING ASSISTANTSHIP | 21
GRADING ASSISTANTSHIP JOB DESCRIPTION General Being a Grader constitutes a contractual agreement between a faculty member and a student in the Department of History of Art & Design, with obligations to both parties, and with the Department of History of Art and Design in a supervisory capacity. The work of a Student-Grader is governed by Pratt’s student employment policies, which are reflected in the job description below. The principal responsibility of the grader is to grade student assignments in consultation with the instructor. Instructors and graders are advised to maintain open communication via email or phone. Graders must attend all class sessions of the sections for which they grade, unless the instructor has determined an alternative arrangement (For example attending alternate class sessions of two sections of the same survey course). Graders must attend scheduled museum field trips. Both the instructor and the Grader must be present at all examinations. Graders assist in proctoring the exam. Neither the Grader nor the Instructor may be in the classroom when students fill out course evaluations at the end of the term, a policy that must be strictly enforced. Grading Under the supervision of the course instructor, graders grade quizzes, the mid-term and final exams, and any written homework for the sections to which they are assigned. In all cases, the instructor will provide a thorough key and basic written guidelines for grading and should discuss them with the assistant.
22 | GRADING ASSISTANTSHIP
GRADING ASSISTANTSHIP
The instructor will check and discuss with the grader sample exams (to determine a typical grade of A, B, C, etc.). Exam papers and museum assignments must be returned to the students within two weeks. Final grades are due two days after the exam period ends; thus the grader must submit final exam grades to the instructor prior to the grade deadline so that course grades can be submitted on time. The instructor will set a reasonable deadline by which s/he needs the final exam grades. Graders will meet with the instructor in the last week of the term to help compile grades and, particularly, to help decide border-line case grades, since often the grader will be more familiar with a given student’s work than the instructor. Final responsibility for grades rests with the instructor. The instructor must review the grader’s work and communicate any concerns. The instructor must be prepared to explain all assigned grades. Grading assistants cannot be assigned the responsibility of teaching a class in the instructor’s absence. Graders are hired, and their paperwork is processed, by the Assistant to the Chair (please pick up hiring paperwork in the HA&D office no later than 2:00 pm on the second Friday of the semester). Both grader and instructor should report any concerns over the course of the semester to the Assistant to the Chair. HA&D Main Office: East Hall, Room 205. e: had@pratt.edu p: 718 636 3598
INTERNSHIP | 23
INTERNSHIP
Graduate students in the History of Art and Design have internships at a variety of institutions—including major museums, non-profit cultural institutions, auction houses and galleries. These internships offer a wide range of experiences that often become career-defining. An internship includes course requirements: To conduct an extensive interview with someone who is a potential role model for the students and their own aspirations. This project has proven to be informative and, in some cases, fascinating. The internship includes three required meetings with the department’s coordinator which students discuss their internship experience. Students must also contribute to a blog about their weekly activities and learning opportunities. Graduate students in the Certificate of Museum Studies are required to do two internships at different museums. The department maintains a list of the institutions that have sponsored our students in the past. The department seeks to assure that all internships done for credit are valuable learning experiences.
24 | INTERNSHIP
Recent HAD Internships
ART21 Artforum International Brooklyn Museum of Art The Cloisters Library and Archives Christie’s Cornell NYC Tech, Jacobs Institute Frick Art Reference Library Gagosian Gallery International Print Center New York Judd Foundation Moss Bureau Museum of Arts and Design Museum of Modern Art New Museum New-York Historical Society The Noguchi Museum Richard Avedon Foundation Rubin Museum of Art Solomon R. Guggenheim Museum Visual AIDS Foundation Whitney Museum of American Art
FACULTY & STAFF | 25
STAFF LISTING JOHN DECKER Chairperson – History of Art and Design Ph.D., University of California, Santa Barbara M.A., University of California, Santa Barbara B.A., California State University, Stanislaus Dr. Decker is a specialist in Northern European Art of the Early Modern Period (c. 1400-1650). His scholarly interests include: scholastic theology, monasticism, religious self-fashioning, lay piety, religious and lay confraternities, ritual and spectacle, and identity formation. He is the author of The Technology of Salvation and the Art of Geertgen tot Sint Jans (Aldershot: Ashgate, 2009) and co-editor of Death, Torture, and the Broken Body in European Art, 1300-1650 (Aldershot: Ashgate, 2015). jdecker@pratt.edu
JILL SONG Assistant to the Chair Jill holds an A.A.S. in Photography; B.F.A. in Graphic Design from the Fashion Institute of Technology; an M.S. in Education from Walden University, with specialization in Mathematics, and an M.F.A. in Computer Graphics and Interactive Media from Pratt Institute, with a focus on Digital Video. After earning her M.F.A. from Pratt, Jill worked with a multimedia production house to create both packaging and interface designs for CDs and DVDs. jsong1@pratt.edu
26 | FACULTY & STAFF
EVAN NEELY Acting Assistant Chairperson, Adjunct Assistant Professor Ph.D., Art History, Columbia University M.Phil., M.A., Art History, Columbia University B.F.A., Fine Arts, Parsons School of Design Evan Neely studied twentieth century and Northern European Renaissance Art, as well as post-Enlightenment political and aesthetic theory. He has published essays on Henry David Thoreau and postwar American art and the artistic strategies of the Occupy movement. His most recent work focuses on ecological thought and the history of landscape in the United States during the 19th and 20th centuries. He has taught courses at Columbia University, where he was a postdoctoral fellow from 2011-2012, Parsons School of Design, Sarah Lawrence College, and the Museum of Modern Art, on modern and postmodern art, the history of ethical and political theory, and Enlightenment aesthetics. eneely@pratt.edu
FACULTY LISTING SONYA ABREGO Visiting Assistant Professor Ph.D. candidate, Bard Graduate Center M.Phil, Decorative Arts, Design History & Material Culture Studies, Bard Graduate Center Sonya Abrego is a Ph.D. candidate specializing in twentieth century fashion, currently completing a dissertation on Western wear in postwar United States. Her work focuses on the interconnections between fashion and popular culture, specifically music and film. She has presented papers in New York, Montreal and San Francisco, worked with the costume col-lections at the Museum of the City of New York and the Metropolitan’s Costume Institute. She is the recipient of graduate fellowships from the Metropolitan Museum of Art, the Bonnie Cashin Foundation and the Autry National Center. Sonya is a senior editor at Worn Fashion Journal and works in the vintage clothing market. sabrego@pratt.edu
FACULTY & STAFF | 27
KIRA ALBINSKY Visiting Instructor Ph.D., Rutgers, The State University of New Jersey M.A., Rutgers, The State University of New Jersey B.A., Boston College Kira Albinsky specializes in early modern art in Italy. She is currently completing a dissertation on the social history, devotional practices, and art patronage of the Archconfraternity of the Holy Crucifix of San Marcello in Rome, which explores the interdependence of art, ritual, and reform during the Catholic Reformation. Portions of her work will appear in “The Performance of Devotion: Patronage and Ritual at the Oratorio del SS. Crocifisso in Rome” in Space, Place, & Motion: Locating Confraternities in the Late Medieval and Early Modern City forthcoming in 2017. kalbinsk@pratt.edu
KAREN BACHMANN Visiting Assistant Professor, Lecturer M.A., History of Art, Purchase College, State University of NY B.F.A., Sculpture/Jewelry, Pratt Institute Karen Bachmann specializes in jewelry, hollowware, and decorative art. She has special interests in medieval, memento mori, Renaissance, Baroque, and 19th century work. She is a practicing studio jeweler with over 25 years of experience creating fine jewelry and is a former master jeweler at Tiffany & Co. Her work, which can be found in international private and public collections, has been exhibited extensively. At Pratt, she teaches in both the Art History and Fine Art departments. She is also an adjunct professor at the Fashion Institute of Technology. Karen is an artist and scholar in residence at the Morbid Anatomy Museum in Brooklyn. Her work has been published in Art Jewelry Today and the Lark 500 series of books. Published works include “Hairy Secrets: Human Relic as Memory Object in Victorian Hairwork Jewelry” and “Queen of the Stone Age: the Venus of Willendorf ”. kbachman@pratt.edu
28 | FACULTY & STAFF
LISA BANNER Visiting Associate Professor Ph.D., Institute of Fine Arts, NYU B.A., Princeton University Lisa A. Banner is an art historian and curator. Her 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). She has lectured on old master drawings at the Frick Collection, Metropolitan Museum of Art, Morgan Library, Courtauld Institute, and the Meadows Museum. As a curator she has worked with The Frick Collection (The Spanish Manner: Drawings from Ribera to Goya, 2010-2011), the Museo del Prado (Dibujos del Siglo de Oro en la Coleccion de la Hispanic Society of America, 2006), the Museu Nacional d’Art de Catalunya, and the Institute of Fine Arts, NYU. lbanne34@pratt.edu
ÁGNES BERECZ Visiting Assistant Professor Ph.D., Université Paris I (Panthéon-Sorbonne) Ágnes Berecz teaches modern and contemporary art history. She is Associate Professor at Christie’s Education and lectures at The Museum of Modern Art. Her writings have appeared in Art Journal, Art in America, Artmargins and the Yale University Art Gallery Bulletin as well as in European and US exhibitions catalogues. Her 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. Her review articles for Műértő, 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. aberecz@pratt.edu
FACULTY & STAFF | 29
PAULA CARABELL Visiting Associate Professor Ph.D., Columbia University Paula Carabell received her Ph.D. in Art History from Columbia University in 1994, with a dissertation entitled, “Image-Making and Identity, Two Case Studies: Michelangelo and Titian†and has made scholarly contributions in both the fields of the Italian Renaissance and Contemporary Art. Recent publications include, “The Figura Serpentinata: Becoming over Being in the Work of Michelangelo,†Artibus et Historiae, “Photography and Redemption: History, Theology and Artistic Practice in Thomas Struth’s Early Cityscapes,†RES: Anthropology and Aesthetics, “Architectural Narrative as Redemptive Form: A Postmodern Revisionist Strategy,†in Architectural Strategies in Contemporary Art, Ashgate, “Dan Graham, Reality Television and the Vicissitudes of Surveillance,†Visual Culture in Britain; “Photography, Phonography and the Missing Object,†Perspectives in New Music; “ Sound and Time in the Films of Tacita Dean,†Parkett. Her research centers upon the dialectics of spectatorship, acts of surveillance, the phenomenological significance of the two-dimensional depiction of architectural form and Lacanian psychoanalysis. Professor Carabell is an experienced and knowledgeable lecturer and has worked at such institutions as the Rhode Island School of Design, University of California, San Diego and Florida Atlantic University. She currently teaches at Rutgers University, Pratt Institute the Massachusetts College of Art and Design. pcarabel@pratt.edu LIAM CONSIDINE Visiting Assistant Professor Ph.D., NYU, Institute of Fine Arts Liam Considine is an art historian specializing in modern and contemporary art. His essays on postwar art in the United States and in France have appeared in Tate Papers and Art History, and an article on the contemporary French conceptual art collective Claire Fontaine is forthcoming. His exhibition and book reviews have appeared in Art Journal, Art Review, artforum.com, and The Brooklyn Rail, and he recently curated the exhibition Stonebreakers at Young Art Gallery in Los Angeles. He is currently working on a book manuscript titled New Realisms: American Art in France 1962-72. lconsidi@pratt.edu
30 | FACULTY & STAFF
COREY D’AUGUSTINE Visiting Assistant Professor M.A., Art History, Institute of Fine Arts, NYU Advanced Certificate in Art Conservation, Institute of Fine Arts, NYU B.A., Visual Arts and Biochemistry, Oberlin College Corey D’Augustine is a conservator of modern and contemporary art and technical art historian. He works for the Solomon R. Guggenheim Museum and lectures on art history conservation at New York University, Sotheby’s Institute of Art, City College of New York, and Museum of Modern Art. A specialist in American and European Post-war art, his 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. cdaugust@pratt.edu
PETER DE STAEBLER Assistant Professor Ph.D. Institute of Fine Arts, NYU M.A. Institute of Fine Arts, NYU A.B. Bowdoin College Peter De Staebler is an art and architectural historian and classical archaeologist with more than 20 years of field experience in Turkey, Italy, and Greece. His dissertation was on the spolia-filled late-antique fortifications at Aphrodisias in Turkey, where he was also assistant director of the New York University–University of Michigan Aphrodisias Regional Survey Project. He has published extensively on the the excavations at Aphrodisias and on ancient fortifications. While his primary research area is ancient architecture and urban development, he has a strong interest in the long history of recycled architectural elements—especially monolithic columns—and a diachronic examination of the alternating coordination and disconnect between building technology, materials, and style. He also teaches in the PSPD Historic Preservation program. pdestaeb@pratt.edu
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EDWARD DECARBO Adjunct Associate Professor PhD., M.A., Indiana University M.A., University of Chicago Ed DeCarbo’s concentration is art and aesthetics in Post-Colonial Societies with foci in traditional and contemporary arts; field research in aesthetics in a traditional multicultural society in West Africa and in the Pacific (Moana) in contemporary arts. His courses survey the traditional and contemporary arts of Africa and the Pacific, and consider the theories and methods of analysis that are applied to the post-colonial world. He serves as a consultant to the College Board effort to globalize the Advanced Placement Curriculum in Art History. He was Director of Education at the National Museum of African Art, Smithsonian Institution, and served as a senior university administrator for many years. edecarbo@pratt.edu
EVA DÍAZ Assistant Professor Ph.D., M.A., Princeton University Eva Díaz’s book The Experimenters: Chance and Design at Black Mountain College has been released by the University of Chicago Press. The project examines how an interdisciplinary group of artists at Black Mountain proposed new models of art and focuses on three Black Mountain teachers in the late 1940s and early 1950s: Josef Albers, John Cage, and Buckminster Fuller. Professor Díaz’s writing appears in magazines and journals such as The Art Bulletin, Art Journal, Art in America, Cabinet, The Exhibitionist, Frieze, Grey Room, October, and Tate Etc. and she is a regular contributor to Artforum. She was recently awarded a Creative Capital/Warhol Foundation Art Writers Grant to research for her book about Buckminster Fuller’s work, titled The Fuller Effect: The Critique of Total Design in Postwar Art. ediaz3@pratt.edu
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MARY DOUGLAS EDWARDS Adjunct Professor, CCE 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 fĂźr Kunstgeschichte, and elsewhere; coedited and wrote portions of Gravity in Art: Essays on Weight and Weightlessness in Painting, Sculpture and Photography; chaired sessions and read papers at meetings of CAA; SECAC; International Congress on Medieval Studies; awards include Samuel H. Kress Dissertation Fellowship, NEH Travel to Collections Grant, Delmas Foundation Grant; past president, 14th-Century Society; former member, Executive Council of Southeastern Medieval Association; two-term associate, editorial board, Medieval Perspectives. medw1005@pratt.edu
CAROLINE GILLASPIE Visiting Instructor Ph.D., Candidate, CUNY Graduate Center M. Phil, CUNY Graduate Center B.A., Mount Holyoke College Caroline Gillaspie teaches Themes in Art and Culture I and II at Pratt Institute. She received her BA from Mount Holyoke College, and her M.Phil from the CUNY Graduate Center where she is currently a doctoral candidate in Art History. She specializes in nineteenth century art of the United States and Latin America, and her research interests include ecocritical art history, landscape imagery, and representations of race and labor. cgillasp@pratt.edu
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DIANA GISOLFI Professor Ph.D., University of Chicago M.A., Yale and University of Chicago B.A., Radcliffe/Harvard Research focus is on Cinquecento art in Venice and the Veneto, including religious and political context and artistic practice. Gisolfi developed and directs the Pratt in Venice program. She lectures and chairs sessions regularly at CAA and RSA and at international conferences, and 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 Clas¬sic Ground, Caudine Country (Illustrations), and articles in: Yale University Art Gallery Bulletin Artibus et Historiae, Arte Veneta, The Art Bulletin, The Dictionary of Art (Oxford Art Online), Renaissance Quarterly, Burlington Magazine, caareviews.org. dgisolfi@pratt.edu FRIMA FOX HOFRICHTER Professor Ph.D. Rutgers University. Certificate in Fine and Decorative Art Appraisal, Pratt Institute--in collaboration with the American Society of Appraisers. M.A. Hunter College B.A. Brooklyn College Issues of gender and class have informed Hofrichter’s work. She is the author of a monograph on the 17th-C Dutch artist, Judith Leyster; numerous articles within Dutch art and feminist/gender studies; organized several Dutch exhibitions; and is currently working on the theme of old women. Hofrichter is a co-author of Janson’s History of Art: The Western Tradition (for the Baroque and Rococo sections), was Dutch Book Review Editor (2008-2013) for the Historians of Netherlandish Art (HNA), a member of the College Art Association’s Committee on Women in the Arts and Chair, Jury for the Distinguished Feminist Award (2012). ffhofric@pratt.edu
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HEATHER HORTON Visiting Assistant Professor Ph.D., Institute of Fine Arts, NYU M.A., Institute of Fine Arts, NYU B.A., DePauw University Heather Horton’s current research focuses on questions of authorship, originality, and imitation, especially in the career of the pivotal writer and architect Leon Battista Alberti. She recently published a new interpretation of Alberti’s treatises on painting and is completing a book manuscript titled Leon Battista Alberti and the Renaissance Crisis of the Author. She has taught at New York University, The City University of New York, Purchase College, and The Cloisters Museum, where she remains a frequent guest lecturer. hhorton@pratt.edu
SARA IDACAVAGE sidacava@pratt.edu
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KIM JENKINS Visiting Assistant Professor M.A., Fashion Studies, Parsons The New School of Design. B.A., Cultural Anthropology and Art History, University of Texas at Arlington Analyzes fashion as both object and theory in the shaping of culture and identity; co-curated New York’s first-ever fashion exhibition on the work of designer Giorgio di Sant’Angelo and cofounded student-run fashion publication BIAS: The Journal of Dress Practice; in 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. kjenkins@pratt.edu
SUSAN KARNET Visiting Instructor M.F.A., Hunter College, CUNY B.F.A., The School of Visual Arts, New York City (cum laude) Susan Karnet has been teaching art history for twenty years but she is also a visual artist whose work has been exhibited in Chelsea, LES, the East Village, 57th Street, Brooklyn, Europe, and Africa; her artwork has been reviewed in “The New York Times”, “The Egyptian Gazette”, and “The Brooklyn Eagle”. In her research, she is currently working on a long essay called “The Challenges of Teaching Art History”, where she discusses the pedagogical theories of John Amos Comenius in his “The Great Didactic” and Martin Luther’s writings on the teaching of Latin in relation to contemporary art education. Extracts from this work posted on Academia.edu were cited in spring 2017 in a lecture by a graduate student of sociology at the University of Bologna in Italy. At Pratt, Susan teaches the Survey of Western and nonWestern Art and the Survey of Modern Art. She continues to expand her scope in academics and the arts and is now also teaching the history of film. skarnet@pratt.edu
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DARA KIESE Visiting Assistant Professor Ph.D., Art History, CUNY Graduate Center M.Phil., Art History, CUNY Graduate Center B.A., Modern History, University of Minnesota Dara Kiese’s research centers around the artistic and architectural avantgardes in Weimar Germany, with focus on the Bauhaus. She has received a number of grants, including a Fulbright fellowship to Berlin and a Getty research travel grant. She worked as a Curatorial Assistant in the Architecture and Design Department at the Museum of Modern Art and has presented papers on architectural and design pedagogies at conferences and symposia including the College Art Association and the Bauhaus Universität Weimar and has published essays on the Bauhaus. dkiese@pratt.edu
AMY KIM Visiting Assistant Professor akim26@pratt.edu
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JOSEPH REID KOPTA Visiting Instructor Joseph Kopta specializes in the visual culture of the medieval Mediterranean, with intellectual interests informed by materiality, cross-cultural interaction, and networks between Venice and Byzantium. Educated at Pratt Institute, Harvard Divinity School, and Columbia University, he is completing a PhD in Art History at Tyler School of Art, Temple University. Recent papers include “Color in Byzantine Gospel Lectionaries” at the Mary Jaharis Center, and “Hair, Touch, and the Ivory Comb of Leo VI as an Agent of Imperial Order” at the Byzantine Studies Conference. He contributed the entries “Canosa di Puglia” and “Kenneth Conant” to the Grove Encyclopedia of Medieval Art & Architecture (2012), and was a contributor to the Beth Shean After Antiquity project at the University of Pennsylvania. He has held professional roles at The Aldrich Contemporary Art Museum, The Museum of Biblical Art, and The Metropolitan Museum of Art, and is a faculty member of Pratt in Venice. jkopta@pratt.edu
TIFFANY LAMBERT Visiting Instructor Tiffany Lambert is a curator and writer specializing in contemporary architecture and design, with a concentration on the development and evolving role of the user and how design mediates cultural and social experiences beyond aesthetics alone. She has served as assistant curator at the Cooper Hewitt, Smithsonian Design Museum and as managing editor of PIN–UP Magazine. Her writing is regularly published internationally, and she co-authored the publication “Beautiful Users: Designing for People” (Princeton Architectural Press). Ms. Lambert is a 2015 grant recipient from the Graham Foundation for Advanced Studies in the Fine Arts for her research on the Japanese designer Sori Yanagi. tlamber3@pratt.edu
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THOMAS LA PADULA Adjunct Professor Tom La Padula has illustrated for national and international magazines, advertising agencies and publishing houses for over thirty eight years. As lecturer on the subject of the History of Illustration, he has given talks around the country and is currently a participant in the History of Illustration Project. He has exhibited in numerous group shows throughout the country and his paintings and drawings are included in many private collections. La Padula was graduated from Parsons School of Design with a BFA and earned his MFA from Syracuse University. Tom joined the Communication Design faculty of Pratt Institute in 1986 and is the Illustration Coordinator for the Pratt Communication Design Department. tlapadul@pratt.edu ANCA LASC Assistant Professor Ph.D., Art History, University of Southern California M.A., Art History, University of Southern California B.A., History and Theory of Art and Literature, Jacobs University Bremen, Germany. Professor Lasc studies the invention and commercialization of the modern French interior and the development of the professions of interior designer and window dresser. She has published articles and book chapters widely on these topics. Her book, Designing the French Interior: The Modern Home and Mass Media, co-edited with Georgina Downey and Mark Taylor, was published by Bloomsbury in 2015 (paperback forthcoming 2017) while Visualizing the Nineteenth-Century Home: Modern Art and the Decorative Impulse was released by Routledge in May 2016. Architectures of Display: Department Stores and Modern Retail, co-edited with Patricia LaraBetancourt and Margaret Maile Petty is forthcoming from Routledge in 2017. Prof. Lasc’s monograph, Interior Decorating in Nineteenth-Century France: The Visual Culture of a New Profession, will be published by Manchester University Press, Studies in Design and Material Culture Series, in 2018. alasc@pratt.edu
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JOOYUN LEE Visiting Instructor Ph.D,. Candidate, Stone Brooklyn University M.A., Art History and Theory, Hongik University, South Korea jlee208@pratt.edu
MICHELE LICALSI Visiting Assistant Professor M.A., Institute of Fine Arts with Certificate in Art Conservation, NYU B.A., NYU Michele LiCalsi studied art at the New York Academy of Art, the Art Students’ League, and the National Academy of Design. She has been teaching drawing, color and composition at the National Academy of Design from 1994 to the present. She taught fresco painting at the Conservation Center, Institute of Fine Arts, NYU from 1993 to 2005. She has also worked in art conservation at the Brooklyn Museum and The Metropolitan Museum of Art. She has worked as a conservator on sites in Florence, Rome, Parma, and Sardis. mlicalsi@pratt.edu
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GREGORY LINDQUIST Visiting Assistant Professor, Lecturer MFA in Painting, MA in Art History,Pratt Institute BA in Art and Design, BA in English, North Carolina State University Greg Lindquist is an artist and writer living in New York. Lindquist cofounded the Art Books in Review Section of The Brooklyn Rail, where he was co-editor until 2017. Lindquist’s work has been exhibited at the North Carolina Museum of Art, Weatherspoon Art Museum, University of Arizona Museum of Art, among others, and has been awarded the SharpeWolentas Space Program, Milton and Sally Avery Foundation Grant, the Pollock-Krasner Grant and ArtOMI residency. His recent paintings and participatory installations have focused on applying the beauty of landscape and abstraction to raise awareness of environmental concerns. He also teaches at Rhode Island School of Design. He will be participating in the Whitney Museum of Art’s Independent Study in 2017-18 in the Studio Program. glindqui@pratt.edu
WILLIAM E. LORENZO Visiting Assistant Professor B.F.A., Brooklyn College William Lorenzo is independent artist, researcher, film archivist, and programmer. Publica¬tions include museum notes and articles in Animation Magazine, Ani¬maFilm, and others. Author: “Lillian Friedman Astor – Pioneer Woman Animator”. Executive Board Member ASIFA-East, The International Animated Film Association. Curator, “Animation Over Broadway”, Museum of Modern Art, February 1993. Other areas of interest: Film and Illustration. wlorenzo@pratt.edu
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WILLIAM J. LORENZO Visiting Instructor wlorenz2@pratt.edu
ELIZABETH MEGGS Visiting Assistant Professor M.F.A., Pratt Institute: Painting B.F.A., Virginia Commonwealth University: Communications Arts and Design, Illustration, summa cum laude Elizabeth Meggs is an illustrator, writer, designer, including paintings, photography and hand-bound artist books. Meggs is also a graphic designer (Hearst’s Victoria) and writer for the Los Angeles Daily News; she 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. emeggs@pratt.edu
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JUAN MONROY Visiting Assistant Professor Ph.D. candidate, Cinema Studies, NYU M.A., Cinema Studies. NYU B.A., Film Studies. University of California, Santa Barbara Juan Monroy is a scholar of film, television and media studies, specializing in history, technology, and cultural impacts of US film and television. He is a doctoral candidate in the Department of Cinema Studies at New York University, writing a dissertation on television, Latin America, and economic development in the 1960s. He teaches film and media classes at Fordham University, Lincoln Center, CUNY Queens College, and Pratt Institute. Since 2009, Juan has also worked as a video and digital media librarian and database technician at NYU-TV. monro22@pratt.edu
ELIZABETH MONTI Visiting Associate Professor Ph.D., The Graduate Center, CUNY, 2005 M.Phil., The Graduate Center, CUNY, 2001 M.A., Hunter College, CUNY, 1996 B.A., Brooklyn College, CUNY, 1994 Dr. Caterina Y. Pierre is a specialist in nineteenth-and early twentieth-century art, with a focus on European and American sculpture, the social impact of art, and women sculptors. She has written and published numerous articles on sculpture of the Second Empire and the Third Republic in France, specifically on the work of Gustave Courbet, Jules Dalou and Marcello. She also writes about American art, especially in the area of sculpture production by women artists. Her first book, titled Genius Has No Sex: The Sculpture of Marcello (1836-1879), was published in 2010 by Éditions de Penthes/Infolio, in Geneva, Switzerland. She teaches courses in Art History at Pratt Institute and the City University of New York at Kingsborough Community College. cpierre@pratt.edu
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BRENDAN MORAN Visiting Assistant Professor moran8@pratt.edu
MARSHA MORTON Professor Ph.D., Institute of Fine Arts, NYU M.A., University of Chicago. Marsha Morton’s research focuses on interdisciplinary topics in German and Austrian nineteenth-century visual culture. She has published numerous essays in exhibition catalogs and anthologies that address issues such as cultural history, Darwinism, ethnography, popular illustration, and music with regard to artists and critics that include Alois Riegl, Gustav Klimt, Klinger, Alfred Kubin, Max Beckmann, Max Liebermann, and the German Romantics. Her current research area is Viennese Orientalism. She is serving her second term as President of the Historians of German, Scandinavian, and Central European Art (HGSCEA) and has been the recipient of grants from DAAD and NEH. mmorton@pratt.edu
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MARK NEWGARDEN 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, BowWow 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 in 2017 from Fantagraphics Books; exhibitions include the Smithsonian Institution, Cooper-Hewitt, Brooklyn Museum, Art Institute of Chicago, ICA (London) and Picasso Museum (Lucerne, Switzerland). mnewgard@pratt.edu CATERINA PIERRE Visiting Associate Professor Ph.D., The Graduate Center, CUNY, 2005 M.Phil., The Graduate Center, CUNY, 2001 M.A., Hunter College, CUNY, 1996 B.A., Brooklyn College, CUNY, 1994 Dr. Caterina Y. Pierre is a specialist in nineteenth-and early twentieth-century art, with a focus on European and American sculpture, the social impact of art, and women sculptors. She has written and published numerous articles on sculpture of the Second Empire and the Third Republic in France, specifically on the work of Gustave Courbet, Jules Dalou and Marcello. She also writes about American art, especially in the area of sculpture production by women artists. Her first book, titled Genius Has No Sex: The Sculpture of Marcello (1836-1879), was published in 2010 by Éditions de Penthes/Infolio, in Geneva, Switzerland. She teaches courses in Art History at Pratt Institute and the City University of New York at Kingsborough Community College. cpierre@pratt.edu
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NICHOLAS PARKINSON Visiting Instructor Ph.D. candidate, Art History & Criticism, Stony Brook University M.A., Philosophy, Stony Brook University B.A., Philosophy, DePauw University Nicholas Parkinson is a PhD candidate at Stony Brook University, where is he completing his dissertation on the popular and critical reception of Nordic art in nineteenth-century France. His areas of research interest include imaginary geographies of the nineteenth century, fin-de-siècle art and culture, and the history of art criticism. He is an active member of the Society for the Advancement of Scandinavian Study, and his most recent publication, “De Chirico and the Fin-deSiècle,” will be printed in Symbolist Roots of Modern Art, in 2015. nparkins@pratt.edu
LISA N. PETERS Visiting Assistant Professor Ph.D. Graduate School and University Center, City University of New York B.A. Colorado College Lisa N. Peters is an art historian who has taught at City College, New York; the Fashion Institute of Technology, SUNY, New York; and St. Joseph’s College, Brooklyn, covering topics in American art (her area of specialty), along courses in modern art and art history survey. She has curated exhibitions, lectured widely, and published both as research director at Spanierman Gallery (1986–2012) and independently. Her publications include The Portrait Collection of NewYork–Presbyterian Hospital—Weill Cornell Medical Center (2015); “All the Paintable Things in Europe”: Edgar Payne’s European Art and Travels (1922–24, 1928) (Pasadena Museum of California Art, 2012); “‘An Atmosphere of Youthful Enthusiasm under a Hospitable Sky”: The American Artists’ Colony in Polling, Bavaria, 1872-1881 (American Art Journal, 2000); John Henry Twachtman: An American Impressionist (High Museum of Art, 1999); and Visions of Home: American Impressionist Images of Suburban Leisure and Country Comfort (Dickinson College, 1997). She is the author of the forthcoming catalogue raisonné of the work of John Henry Twachtman (1853–1902), to be published by the Greenwich Historical Society (Connecticut). lpeter14@pratt.edu
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JOYCE C. POLISTENA Adjunct Professor, CCE Ph.D., M. Phil., Art History, CUNY Graduate Center M.A., Art History, Hunter College Certificate in 19th-century British History, Oxford University, UK Certificate TESOL, Columbia University Joyce Polistena specializes in nineteenth and early twentieth-century European and American Art, with emphasis on French Romanticism and Eugène Delacroix. I am interested in the triangulation of art making, culture coding and modern color theory, as well as ongoing study of Eugène Delacroix and nineteenth-century religious art, and his influence on American artists. Publications: (book) The Religious Paintings of Eugène Delacroix (www.h-france.net/vol9reviews/vol9no83smith.pdf ); (essays/book reviews in) Nineteenth-Century Art Worldwide, Bulletin du Société des amis du Musée nationale Eugène Delacroix; Van Gogh Museum Journal, Toward a Sacramental Methodology, Religion and the Arts, Italian Americans Arts and Culture (topic: Frank Stella/Joseph Stella), Material Religion, America Magazine. Appointed Visiting Assistant Professor of Art History at The College of The Holy Cross (2014-2015); served as a member of the Board of Directors of ASCHA; organized symposia on nineteenth-century Romantic Art and participated in national and international conferences. jpoliste@pratt.edu
ESZTER POLONYI Visiting Assistant Professor epolonyi@pratt.edu
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JANICE ROBERTSON Visiting Associate Professor Ph.D., Columbia University M.Phil., Columbia University M.A., Columbia University B.A., California State University, Fresno Specialist in Pre-Columbian Art with research and pedagogical interests that revolve around writing technologies; Publications: “Pictures Silenced by Words: Rethinking the Problem of Aztec Picture-Writing,” Quaderni di THULE (2006); Selected Awards: FIT Faculty Development Grant for VoiceThread Pilot Project (2009-10), Columbia University President’s Fellowships, CSU Fresno Dean’s Medal of Honor in the School of Humanities; Selected Papers: “Between Painting and Writing: The Problem of Aztec Picture-Writing and the Paragon at the Root of the Problem,” Renaissance Society of America (2008); “Art><Writing Border Crossings: A Nahua Riddle Sparks an Interactive Reading and Renewed Vision of Aztec Picture-Writing,” CSU, Sacramento Art History Symposium (2009); “Alive with Movement: The Pulse of Aztec Picture- Writing,” Columbia University Seminar in the Arts of Africa, Oceania and the Americas (2010); “Look, Listen, Speak, Text, Link, Draw: VoiceThread Changes the Balance of Power,” College Art Association Conference (2011); “VoiceThread Class Projects Turn Text-Based Teaching Practices on Their Head,” SouthEastern College Art Conference (2011); “Aztec Picture-Writing Meets Hypermedia and a ‘New World’ of Writing Opens Up,” REWIRE: Fourth International Conference on Media Art Histories (2011); “VoiceThread Opens Media Up to Conversations: A Hands-On Workshop and Brainstorming Session,” College Art Association Conference (2012); “Rock the Pedagogical Boat: Open Mic + Tweet #caa2013rock,” College Art Association, Feb. 15, 2013, Session Co-Chair with Gale Justin, Director of Educational Technology at Pratt. jrober10@pratt.edu
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ELENA ROSSI-SNOOK Visiting Assistant Professor M.A., Film Archiving, University of East Anglia (England) B.A., Cinema, Binghamton University, State University of New York Elena Rossi-Snook is the moving image archivist for the 16mm circulating film collection of the New York Public Library. She has served as a curriculum consultant for the NYU Moving Image Archiving and Preservation MA program, on the Board of Directors of the Association of Moving Image Archivists and is the chair of the AMIA Film Advocacy Task Force. 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) and a chapter in upcoming academic reader on race and non-theatrical film. Rossi-Snook was the 2002 recipient of the Kodak Fellowship in Film Preservation. Her documentary film WE GOT THE PICTURE was made an official selection of the 2005 Tribeca Film Festival. She is in production on a second film. erossisn@pratt.edu
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ANN SCHOENFELD Adjunct Assistant Professor Ph.D., Art History, CUNY Graduate Center M.A., Art History, University of Chicago B.A., Art History, University of California, Berkeley Ann Schoenfeld specializes in 20th century art and design. Specifically, she researches intersections between modernist art and design, developing courses on world’s fairs, the Bauhaus, political art & design. She also matriculated 2011in Pratt’s SILS program. She is a regular contributor to Choice: Current Reviews for Academic Libraries. Other publications include essays and reviews in M/E/A/N/I/N/G: An Anthology of Artist’s Writings, Theory, and Criticism; Suspension of the Law: René Santos, A Retrospective; ID; Eye. She has lectured and chaired panels for CAA, Society for the History of Technology, among others, and served on the Education Committee of CAA, Board of Directors of Design Studies Forum, nominator for the Joan Mitchell Foundation for Painting and Sculpture. aschoenf@pratt.edu
DAVID SMUCKER Visiting Instructor M.A., Ph.D., Stony Brook University. B.A., Cornell College Research focuses on contemporary art and the history of photography, and his in-progress dissertation examines photography’s relationship to car travel and the American road trip. Also interested in contemporary art that attempts to use photographic means to represent complex systems like the internet, and in the idea of the indexical mark throughout history. dsmucke2@pratt.edu
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ELIZABETH A. ST. GEORGE Visiting Instructor Ph.D. candidate, Bard Graduate Center M.A., Bard Graduate Center B.A., Kent State University Elizabeth St. George specializes in late nineteenth- and twentieth-century architecture and design. She has been an invited speaker at the Los Angeles County Mu¬seum of Art and has served as a research assistant for the Bard Gradu¬ate Center’s exhibitions on Knoll textiles (2011), Artek and Alvar Aalto (forthcoming), and the architect and designer, William Kent (forthcoming). While 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. estgeorg@pratt.edujtoolin@pratt.edu
ADEDOYIN TERIBA Visiting Assistant Professor Ph.D., M.A., candidate, Princeton University. Historian of art and architecture, as well as an architect; previously worked for architectural and construction management firms in New York, New Jersey, and Nigeria; publications include “Using Notions of Beauty to Remember and Be Known in the Bight of Benin and Its Hinterland,” Pidgin Magazine (2012) and a review of David Adjaye, African Metropolitan Architecture (Rizzoli, 2011), in Architectural Record (August 2012). ateriba@pratt.edu
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JACK TOOLIN Visiting Assistant Professor M.F.A., San Jose State University: Photography, Performance, and Installation B.F.A., Ohio University, Athens, Ohio: Photography Jack hToolin is Visiting Assistant Professor of art history at Pratt Institute. He is also an adjunct professor at New York University and Pace University, where he teaches studio classes in digital art and media studies. His passion in working with students is exploring the relationships between history, theory and technology as they contribute to comprehension and production of contemporary art. Toolinâ&#x20AC;&#x2122;s work is conceptually driven and often mines the individual/collective dynamic. Key areas of interest are the turbulence of psychological change in the wake of economic globalization; location awareness in light of ubiquitous media and GPS technologies; the potential of social media as social-political awareness. His work has been exhibited internationally at venues including the Whitney Museum of American Art, New York (2002 Whitney Biennial - as a member of C5, a new media collective); San Francisco Camerawork; The Walker Art Center, Minneapolis, MN; the Museo Nacional de Bellas Arte, Buenos Aires, Argentina; The Project Room at the Chelsea Museum of Art, New York City, and more. Most recently his photographs have been exhibited in San Jose, CA, Cincinnati, OH and Budapest, Hungary. jtoolin@pratt.edu
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ALICE WALKIEWICZ Visiting Instructor Ph.D. candidate, CUNY Graduate Center M.Phil., CUNY Graduate Center B.A., The University of Kansas Alice Walkiewicz specializes in nineteenth-century art from Europe and the United States. Her 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 nineteenth century within the context of the rising labor movement. She has taught at Parsons The New School for Design as well as Pratt Institute. awalkiew@pratt.edu
BOR-HUA WANG Adjunct Assistant Professor Ph.D., Columbia University M.A., University of Kansas Bor-Hua Wang is a specialist in Chinese painting and calligraphy of the Song dynasty. Her other areas of research include: Contemporary Chinese Art; Buddhist Art of Southeast Asia and Western art theory. She is a 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. bwan1068@pratt.edu
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SARAH WILKINS Visiting Assistant Professor Ph.D., Rutgers, The State University of New Jersey M.S., Pratt Institute B.A., Vanderbilt University Sarah Wilkins specializes in Italian late medieval and Renaissance art, with interests in mendicant patronage, Angevin Naples, female patronage and the representation of women, and the cult of the saints. Her 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). She has received awards including a Fulbright fellowship and a Mellon Finishing Grant. She has presented papers at numerous international conferences, including the Renaissance Society of America (2010 & 2015), and the International Congress on Medieval Studies, Kalamazoo (2014 & 2015), and chaired two sessions for RSA in 2014. swilkins@pratt.edu
KARYN ZIEVE Visiting Assistant Professor Ph.D., Institute of Fine Arts, NYU M.A., University of Pennsylvania B.A., Wellesley College Karyn Zieve is a specialist in nineteenth- and early twentieth-century art, with a focus on Eugène Delacroix, orientalism, the history of photography and the graphic arts. In addition to teaching at various NYC institutions and museums, she has written about and organized exhibitions of prints, drawings and photographs on various topics. Presently she is working on a manuscript based on her work on Delacroix and images of the East. kzieve@pratt.edu
54 | ACADEMIC CALENDER
OFFICE OFFICE OFOF REGISTRAR REGISTRAR
FallFall 2017 2017 â&#x20AC;&#x201C; Summer â&#x20AC;&#x201C; Summer 2018 2018
ACADEMIC ACADEMIC CALENDAR CALENDAR
Calendar Calendar Highlights Highlights 2017-2018 2017-2018 FallFall 20172017
Spring Spring 20182018
Summer Summer 20182018
LastLast DayDay for 100% for 100% tuition refund upon tuition refund upon withdrawal (WD) withdrawal (WD)
August 28 28 August
January 16 16 January
MayMay 14 14
FirstFirst DayDay of Class of Class
August 28 28 August
January 16 16 January
MayMay 14 14 (See(See schedule of classes) schedule of classes)
LastLast DayDay to Add to Add Classes Classes or Drop or Drop without without a WD a WD grade grade
September September 11 11
January January 29 29
MayMay 21 21
LastLast dayday to withdraw to withdraw (WD) (WD) fromfrom a course a course
November November 10 10
AprilApril 6 6
JuneJune 22 22
Labor Labor DayDay September September 4 4
Dates Dates thatthat classes classes MEET DO DO NOTNOT MEET
Midterm Break Midterm Break October 10 10 October Thanksgiving Thanksgiving November 22 -22 November November 26 26 November Exam conflict/Study DayDay Exam conflict/Study December December 11 11
Martin Martin Luther Luther KingKing January 15 15 January
Memorial DayDay Memorial MayMay 28 28
Spring Break Spring Break March 12 -12 March 18 18 March - March
Independence DayDay Independence JulyJuly 4 4
Exam conflict/Study DayDay Exam conflict/Study MayMay 1 1
Final Final Critique Critique andand Exams Exams
December 12 12 December through through December 18 18 December
MayMay 2 2 through through MayMay 8 8
LastLast DayDay of Class of Class
December 18 18 December
MayMay 8 8
JulyJuly 20 20 (See(See schedule schedule of classes) of classes)
Grades Grades DueDue Online Online
December 20 20 December
MayMay 10 10
JulyJuly 23 23
Important Important Telephone Telephone Numbers Numbers Admissions Admissions (toll-free) (toll-free)
(800)(800) 331-0834 331-0834
Academic Academic Advisors Advisors Architecture Architecture
(718)(718) 399-4333 399-4333
Admissions Admissions
(718)(718) 636-3514 636-3514
Art Art
(718)(718) 636-3611 636-3611
Career Services Career Services
(718)(718) 636-3506 636-3506
Design Design
(718)(718) 636-3611 636-3611
Student Financial Services Student Financial Services
636-3599 (718)(718) 636-3599
Information Information
647-7682 (212)(212) 647-7682
Health Health & Counseling & Counseling Services Services
(718)(718) 399-4542 399-4542
Intensive Intensive English English Program Program
(718)(718) 636-3450 636-3450
International International Affairs Affairs Office Office
(718)(718) 636-3674 636-3674
Writing Writing Programs Programs
(718)(718) 399-4497 399-4497
Library (Circulation Desk) Library (Circulation Desk)
(718)(718) 636-3420 636-3420
Registrar Registrar
(718)(718) 636-3663 636-3663
Residential Residential Life Life
399-4550 (718)(718) 399-4550
Security Security
(718)(718) 636-3540 636-3540
Student Involvement and Orientation 636-3422 Student Involvement and Orientation (718)(718) 636-3422
Please Please note:note: This This calendar calendar mustmust be considered be considered as informational as informational and not and not binding onInstitute. the Institute. are provided binding on the The The datesdates listedlisted herehere are provided as a as a guideline guideline for use for by usestudents by students and offices and offices participating participating in academic in academic and registration and registration related related activities. activities. This This calendar calendar is notisto not betoused be used for nonacademic for nonacademic business business purposes. purposes. PrattPratt Institute Institute reserves reserves the the to make changes the information printed in bulletin this bulletin rightright to make changes in theininformation printed in this without notice. without priorprior notice.
NOTES
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