History of Art and Design Student Handbook

History of art and design

student handbook 2015-16

Published by History of Art and Design School of Liberal Arts and Sciences Pratt Institute 200 Willoughby Avenue Brooklyn, NY 11205 Tel. 718-636-3598 Fax. 718-687-5925 ha@pratt.edu pratt.edu/arthistory hadpratt.wordpress.com http://hadthesis.pratt.edu/ Gayle Rodda Kurtz, Ph.D., Acting Chair Evan Neely, Ph.D., Acting Assistant Chair Jill Song, Assistant to the Chair

Š 2015 HA&D, Pratt Institute Designed by Sheila Cheng

Contents | 3

5

4 Welcome, New Students!

Important Numbers

8 Pratt Galleries

12 Local Info

19 Museum Studies

27 Internship Program

Web Resources

9 Free Museums

13 Where to Eat!

20 Foreign Language

29 Faculty and Staff

6 10 Memberships

16 Requirements

21 Thesis Guidelines

49 Academic Calendar

7 Campus Resources

11 Libraries

17

Degree Program Worksheet

25 Grading Assistantship

4 | Welcome!

WELCOME, NEW STUDENTS! MS G8300 Rebecca Armstrong Anne Boissonnault

Lindsey Davis AnaMaria Guzman Borrero Sara Magin Alessandra Manduca Maggie Portis Lilian Day Thorpe MS/MS G8360 Polly Cancro Laura Haynes Anna Holbert Lily Martin Saebra Waterstraut

Important Numbers | 5

Brooklyn Main 718-636-3600 Manhattan Main 212-647-7199

Security (Brooklyn) 718-636-3540 Security (On Campus) x3333 Security (Manhattan) 212-647-7199 Emergency Closings 718-636-3700

Athletics 718-636-3700 Bursar 718-636-3639 Copy Center 718-636-3691 Financial Aid 718-636-3599 Health & Counseling 718-399-4542 Library (Brooklyn) 718-636-3420 Library (Manhattan) 212-647-7546 Registrar 718-636-3663 Residential Life 718-399-4551 Student Activities 718-636-3422

6 | WEB RESOURCES

History of Art & Design pratt.edu/arthistory

PRATT

HADpratt (Department newsletter) hadpratt.wordpress.com HADSA (Student Organization) prattweekly.wordpress.com HAD Twitter twitter.com/pratthad PRATT Twitter twitter.com/prattinstitute

Art & Education artandeducation.net

ART HISTORY

ArtBabble artbabble.org Getty Research Institute getty.edu/research Heilbrunn Timeline of Art History metmuseum.org/toah Google Art Project googleartproject.com The Pratt Library website also offers full 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 Chapel Hall 007.

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.

8 | PR ATT GR ALLERIES

THE RUBELLE and NORMAN SCHAFLER GALLERY Pratt Brooklyn Campus Chemistry Building, 1st Floor Monday-Friday 9am-4pm

PRATT MANHATTAN GALLERY Pratt Manhattan Building 144 West 14th Street, 2nd Floor Wednesday-Saturday 11am-6pm Tuesdays 11am-8pm 212-647-7778

Free Museums | 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 MUSEUM of ART and DESIGN 2 Columbus Circle, Manhattan madmuseum.org MUSEUM of MODERN ART 11 West 53rd Street, Manhattan moma.org WHITNEY MUSEUM of AMERICAN ART 99 Gansevoort St, New York, NY 10014 * 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 | Memberships

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:

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.

LIBR ARIES | 11

PUBLIC LIBRARIES BROOKLYN CENTRAL LIBRARY 10 Grand Army Plaza, Brooklyn 718-230-2100 NEW YORK PUBLIC LIBRARY STEPHAN A. SCHWARZMAN BUILDING 5th Avenue & 42nd Street, Manhattan 917-275-6975

MUSEUM LIBRARIES COOPER HEWITT SMITHSONIAN DESIGN MUSEUM 2 East 91st Street, Manhattan 212-849-8330, by appointment only FRICK ART REFERENCE LIBRARY 10 East 71st Street, Manhattan 212-547-0641 MORGAN LIBRARY & MUSEUM 225 Madison Avenue, Manhattan 212-685-0008, by appointment only MUSEUM of MODERN ART 4 West 54th Street, Manhattan 212-708-9433, by appointment only METROPOLITAN MUSEUM of ART: THOMAS J. WATSON LIBRARY 1000 Fifth Avenue, Manhattan 212-650-2312, by appointment only (For a complete list of the Met’s libraries, visit metmuseum.org/education) * Pratt’s library also offers special access to other academic libraries throughout Brooklyn with the ALB Card. For more information, speak with a librarian or call 718-636-3420

12 | LOCAL INFO

CLINTON HILL/FORT GREENE CLINTON HILL BLOG clintonhillblog.com NEW YORK TIMES’ FORT GREENE BLOG fort-greene.thelocal.nytimes.com BROOKLYN FLEA brooklynflea.com

CITYWIDE FLAVORPILL flavorpill.com/newyork GOTHAMIST gothamist.com HOPSTOP (Subway Directions) hopstop.com

ART/GALLERIES ART FAG CITY artfagcity.com ARTCARDS artcards.cc ARTINFO GALLERY GUIDE artinfo.com/galleryguide CREATIVE TIME creativetime.org

WHERE TO EAT! | 13

LUNCH/DINNER CHEZ OSKAR A beautiful French Bistro with great food.

Also great for their amazing brunch.

211 DeKalb Ave 718-852-6250 GENERAL GREENE Classic American tapas for the foodie and locavore. Amazing homemade ice cream.

229 DeKalb Ave 718-222-1510 LOS POLLITOS III Mexican/Italian food. Great atmosphere.

Also great for their unlimited mimosa brunch.

499 Myrtle Ave 718-636-6125 MAGGIE BROWN Funky and cozy. A new spin on Southern American classics.

Also great for: Drinks, Brunch.

455 Myrtle Ave 718-643-7001 OLEA A beautiful, relaxing Mediterranean restaurant.

171 Lafayette Ave 718-643-7003 THAI 101 Tasty and affordable Thai food.

448 Myrtle Ave 718-855-8518 WAZA Sushi & Ramen 485 Myrtle Ave 718-399-WAZA(9292)/718-399-3839 YAMASHIRO An intimate and inexpensive Sushi restaurant.

466 Myrtle Ave 718-230-3313 ZAYTOONS The best Middle-Eastern food in the neighborhood. BYOB. 472 Myrtle Ave 718-623-5522

14 | WHERE TO EAT!

LUNCH/DINNER CONNECTICUT MUFFIN 423 Myrtle Avenue 718-935-0087 EL COFRE 454 Myrtle Avenue btw. Waverly and Washington 718-935-1153 WRAY’S CARIBBEAN & SEAFOOD 503 Myrtle Avenue 718-789-1111 JOHN’S DONUT AND COFFEE SHOP 481 Myrtle Avenue at Hall Street 718-638-0412

CHEAP BREAKFAST PILLOW CAFÉ A warm, cozy, and low-key spot for a light meal and coffee.

Try their homemade tea.

505 Myrtle Ave 718-246-2711 MIKE’S COFFEE SHOP A charming neighborhood diner frequented on weekend mornings by hungry Pratt students and churchgoers. Directly across the street from Pratt.

328 DeKalb Ave 718-857-1462 MEGA BITES A casual Greek/American diner.

Perfect for a quiet breakfast when Mike’s is full.

245 DeKalb Ave 718-398-8112 BERGEN BAGELS The best bagels in the neighborhood (and maybe the world).

536 Myrtle Ave 718-789-9300

WHERE TO EAT! | 15

TAKEOUT BAGUETTEABOUDIT! Where Paris meets Brooklyn 270 Vanderbilt Ave 718-622-8333 CHOICE MARKET A cute, casual café with amazing coffee, mouth-watering sandwiches and gourmet pastries.

318 Lafayette Ave 718-230-5234 CASTRO’S Cheap, fun, and (very) filling Mexican food.

511 Myrtle Ave 718-399-0084 LUIGI’S PIZZERIA The most amazing slice of pizza you will ever have in your life.

Right next to Pratt.

326 DeKalb Ave 718-783-2430 NEW GRACE CHINESE KITCHEN Tasty, cheap, and friendly Chinese food.

484 Myrtle Ave 718-789-6296

BARS ALIBI The local seedy (and awesome) dive bar.

Complete with pool table and jukebox.

242 DeKalb Ave 718-783-8519 FIVE SPOT A funky soul food restaurant that doubles as a bar after hours. Great for live music, cheap beer, and their kitchen that closes at 2 am.

459 Myrtle Ave 718-852-0202

16 | REQUIREMENTS

REQUIRED COURSES (all programs) HA 602 Art Historical Theory & Methodology HA 650 Chemistry of Materials, Techniques, & Conservation HA 605 Thesis MS DEGREE PROGRAM REQUIREMENTS 36 credits in History of Art & Design DUAL DEGREE PROGRAM REQUIREMENTS MS/MFA or MS/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 WORK sheet | 17

HISTORY OF ART & DESIGN DEGREE PROGRAM WORKSHEET Name: ID#:

G2160 G8350 G2161 G8360 G2162 G8300

Degree Program (CIRCLE ONE): MS MFA/MS MS/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

18 | DEGREE PROGR AM WORKSHEET

History of Art & Design Distribution Areas for Graduate Programs GG8300/G8350/G8360 2160/G2161/G2162

At least one class in each category is required (Not a complete list)

Photo/ Film/ Design Electives (COURSES ARE 3 CREDITS UNLESS OTHERWISE NOTED) HD 501 Survey of Design History HD 610 -­‐ 2cr HD 505 -­‐ 2cr History of Modern Design HD 640 HD 506 -­‐ 2cr Concepts of Design HA 514 HD 511 -­‐ 2cr History of Illustration HA 517 HD 606 Concepts of Design II HA 552 HD 608 -­‐ 2cr History of Industrial Design HA 551/651 HD 609 -­‐ 2cr History of Interior Design I HD 551/651

Architecture Electives (ALL COURSES ARE 3 CREDITS HA 551/651 Issues in Art History HD 609 -­‐2cr HD 551/651 Issues in Design History HD 610 -­‐2cr

Non-­‐Western (ALL COURSES ARE 3 CREDITS) HA 502 Asian Art HA 533 HA 510 Chinese Landscape Painting HD 640 HA 512 African Art HA 551/651 HA 522 Pre-­‐Columbian Art HD 551/651 HA 526 Native American Art

Pre-­‐Renaissance (ALL COURSES ARE 3 CREDITS) HA 504 Aegean and Greek Art HA 631 HA 529 Roman Art HA 551/651 HA 531 Medieval Art I HD 551/651 HA 532 Medieval Art II

Renaissance / Baroque / 18th Century (ALL COURSES ARE 3 CREDITS) HA 501 Renaissance Art HA 590I HA 623 HA 507 Art by Women: 15th Ctry-­‐Pres HA 515 Southern Baroque Art HA 630 HA 516 Northern Renaissance Art HA 632 HA 519 Drawings and Prints Seminar HA 551/651 His Contemporaries HA 523 Rembrandt & Vermeer HD 551/651

19 19 th / 20th / 21st Century (ALL COURSES ARE 3 CREDITS) HA 509 Impressionism & Post-­‐Imp. HA 633 HA 511 Picasso/Matisse Seminar HA 634 HA 513 David to Delacroix

HA 635 HA 520 American Art 1770-­‐1940 HA 670 HA 552 Women in Photography HA 551/651 HA 553 Dada and Surrealism

HD 551/651 HA 627 Contemporary Art Seminar

History of Interior Design II Aspects of Japanese Design Film Criticism Documentary Film Women in Photography Issues in Art History Issues in Design History History of Interior Design I History of Interior Design II Oceanic Art Aspects of Japanese Design Issues in Art History Issues in Design History

Making Medieval Manuscripts Issues in Art History Issues in Design History

Art History of Venice (Pratt in Venice) Dutch Art Seminar Michelangelo Seminar Venetian Renaissance Seminar Issues in Art History Issues in Design History German 19th-­‐Century Art The Beginnings of Abstract Art Creating Exhibitions The Current Season Issues in Art History Issues in Design History

Some courses can fulfill different requirements, but a single course cannot fulfill two requirementS.

MUSEUM STUDIES | 19

CERTIFICATE IN MUSEUM STUDIES The Advanced Certificate in Museum Studies complements the MS degree in History of Art and Design by offering both a solid educational base in art and design history and a practical, in-depth experience in the museum world. The faculty members are museum professionals who bring their diverse expertise and experience to the classroom. The Certificate is particularly helpful to graduate students seeking employment in museums and galleries. The Certificate is available to graduate students in the History of Art and Design only, and will not be awarded without completion of the MS degree. Some of the certificate courses may also be used towards the MS degree requirements.

The required courses (9 credits): HA 560 Museology (3 cr) HA 9603 Internships at two different museums HA 9603B (6 cr total) Elective course options (6 credits): HA 600I ADE 524 LIS 629 LIS 632 ACM 621 ACM 622 ACM 624 ACM 642 ACM 651 Please sign up for the Certificate in the Registrar’s Office or the History of Art & Design Department (East 205).

Please email any questions to the department at ha@pratt.edu.

20 | 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 | 21

MASTER THESIS REQUIRNMENTS 1. A Master’s Thesis is a requirement for the M.S. 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.

22 | 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 | 23

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.

24 | 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.

GR ADING ASSISTANTSHIP | 25

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 StudentGrader 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.

26 | GR ADING 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: ha@pratt.edu p: 718 636 3598

INTERNSHIP | 27

INTERNSHIP PROGRAM 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.

28 | INTERNSHIP

HAD Internships Academic Year 2014-15

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 | 29

KIRA MAYE ALBINSKY Visiting Instructor History of Art and Design Ph.D. candidate, Rutgers, The State University of New Jersey M.A., Rutgers, The State University of New Jersey B.A., Boston College Kira Albinsky is a Ph.D. Candidate specializing 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 2016. Grants from the Andrew W. Mellon Foundation, the Graduate School-New Brunswick, and the Department of Art History at Rutgers University have supported her research. kalbinsk@pratt.edu SONYA ABREGO Visiting Instructor History of Fashion 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 collections at the Museum of the City of New York and the Metropolitan’s Costume Institute. She is the recipient of graduate fellowships from the Metropolitan Museum of Art, the Bonnie Cashin Foundation and the Autry National Center. Sonya is a senior editor at Worn Fashion Journal and works in the vintage clothing market. sabrego@pratt.edu

30 | FACULTY & STAFF

KELLY RAE ALDRIDGE Visiting Instructor Modern and Contemporary Art and Theory Ph.D. candidate, Stony Brook University MA, Art History and Criticism, Stony Brook University BA, Art History, Colorado State University Kelly Rae Aldridge 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. She is also Instructor at Stony Brook University. She was Session Chair at the Association of Art Historians and has presented papers at CAA and other venues. kaldri13@pratt.edu LISA BANNER Visiting Associate Professor Spanish Baroque; Curator of Contemporary Art 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

FACULTY & STAFF | 31

ÁGNES BERECZ Visiting Assistant Professor Modern and Contemporary Art Ph.D., Université Paris I (Panthéon-Sorbonne) Ágnes Berecz teaches modern and contemporary art history. She is also an Associate Professor at Christie’s Education and a lecturer 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 most 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 recent review articles for Műértő, the Budapest-based art monthly, include “Thomas Hirschhorn’s Gramsci Monument,” and “American Traumspiel: Mike Kelley.” She is currently working on a book titled Paint No More: France, 1948-1982. aberecz@pratt.edu SAM BRYAN Adjunct Associate Professor Documentary Film, Film Criticism D.A., History, Carnegie-Mellon University M.A., Howard University B.A., Dartmouth College Sam Bryan is a filmmaker and film archivist who specializes in documentary film and criticism. He 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 Metropoli¬tan Museum of Art. He is past president of the New York Film Council and continues as executive Director of the International Film Foundation. sbrya995@pratt.edu

32 | FACULTY & STAFF

COREY D’AUGUSTINE Visiting Assistant Professor Conservation M.A., Art History, Institute of Fine Arts, New York University Advanced Certificate in Art Conservation, Institute of Fine Arts, New York University 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 ED DECARBO Adjunct Associate Professor African Art, Pre-Columbian Art, Oceanic Art Ph.D., 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

FACULTY & Staff | 33

EVA DÍAZ Assistant Professor Contemporary Art and Art Criticism Ph.D., M.A., Princeton University Eva Díaz’s book The Experimenters: Chance and Design at Black Mountain College will soon be released by the University of Chicago Press. The project examines how an interdisciplinary group of artists at Black Mountain proposed new models of art and focuses on three Black Mountain teachers in the late 1940s and early 1950s: Josef Albers, John Cage, and Buckminster Fuller. 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 MARY EDWARDS Adjunct Professor Trecento Art, Native American Architecture, Native American Art 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.

Sessions chaired and papers read 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

34 | FACULTY & STAFF

CHARLES EPPLEY Visiting Instructor Modern and Contemporary Art Ph.D. candidate, Stony Brook University M.A. Art History and Criticism, Stony Brook University B.A. Art History and Music, Hiram College Charles Eppely focuses on site-specific art, sound, and new media. Eppley is completing a dissertation on Un-Fixed Media: Site-Specificity and Materiality in the Work of Max Neuhaus. He has organized a panel on Soundsites at the Southeastern College Art Conference, and presented papers on sound art and Max Neuhaus at various venues. He also teaches at Stony Brook University. ceppley@pratt.edu DIANA GISOLFI Professor Italian Renaissance, Art Methodology Ph.D., M.A., University of Chicago 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 Classic Ground, Caudine Country (Illustrations), and articles in: Yale University Art Gallery Bulletin Artibus et Historiae, Arte Veneta, The Art Bulletin, The Dictionary of Art (Oxford Art Online), Renaissance Quarterly, Burlington Magazine, caareviews.org. dgisolfi@pratt.edu

FACULTY & STAFF | 35

DIMITRI HAZZIKOSTAS Assistant Professor Aegean and Greek Art, Roman Art, Medieval Art Ph.D., M.A., Columbia University Dimitri Hazzikostas has done archeological field work in Greece and published in the Encyclopedia of Comparative Iconography. His awards include: Sears Distinguished Professor 1991, Whiting Fellowship. dhazziko@pratt.edu FRIMA FOX HOFRICHTER Professor Northern Baroque Art 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 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

36 | FACULTY & STAFF

HEATHER HORTON Visiting Assistant Professor Medieval and Renaissance Art and Architectural History Ph.D., Institute of Fine Arts, New York University M.A., Institute of Fine Arts, New York University 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 SUSAN KARNET Visiting Instructor Modern and Contemporary Art M.F.A., Hunter College, City University of New York B.F.A., The School of Visual Arts, New York City (cum laude) Susan Karnet is a painter and sculptor, who has exhibited her work in Chelsea, the East Village, 57th Street, Brooklyn, New Jersey, Europe and Africa. Her work has been reviewed in The New York Times. She has taught at a number of schools in New York, New Jersey; and Cairo, Egypt; including Parsons, New York University, and The School of Visual Arts.

She is interested in Modern and Contemporary Art, sculpture, and Egyptian Art. skarnet@pratt.edu

FACULTY & STAFF | 37

DARA KIESE Visiting Assistant Professor Modern Art 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 avant-gardes 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 VIVIEN KNUSSI Adjunct Assistant Instructor History of Photography Ph.D., Columbia University M.A.,Tufts University, Boson B.A., Tufts Univeristy, Boston Vivien Knussi studied American Art and Photography at Columbia University.

She was a Lecturer at the Museum of Modern Art through the Department of Photography. Subsequently she assembled and catalogued two major corporate collections, The Dreyfus Fund and McFrank and William Advertising Agency. With the insight she gained into emerging photographers which featured in both, she has specialized in teaching Contemporary Photography at Pratt. She is currently writing a book on the subject. She has written catalogue essays and most recently translated a German essay on Deconstructed Poetry for Les Figues Press. vknussi@pratt.edu

38 | FACULTY & STAFF

GAYLE RODDA KURTZ Acting Chair, AssociateProfessor Eighteenth-Century Art, Nineteenth-Century Art Ph.D., CUNY, The Graduate Center M.A. Hunter College B.A. Stanford University Gayle Rodda Kurtz specializes in eighteenth and nineteenth-century European art. She was a contractual lecturer at The Metropolitan Museum of Art with a focus on the African Art Galleries from 1995 to 2013. She is an Associate of Zeteo Journal (zeteojournals.com) where she is a contributing editor and writer. She has presented papers at the Nineteenth Century Studies Association. She taught at Caldwell College, Hunter College, and New York City College of Technology, CUNY. She received a Graduate Teaching Fellowship from CUNY Graduate Center. gkurtz@pratt.edu MARILYN KUSHNER Visiting Professor Curatorial Studies Ph.D., Modern Art, Northwestern University M.A., University of Wisconsin Milwaukee B.A., University of Wisconsin Milwaukee Marilyn Kushner is Curator and Head of the Department of Prints, Photographs and Architectural Collections at the New-York Historical Society (2006-present). Previously she was Chair of the Department of Prints, Drawings, and Photographs and Curator of Prints and Drawings at the Brooklyn Museum (1994-2006). She has also served as Curator of Collections at the Montclair Art Museum, New Jersey, and Research AsÂŹsociate at the Whitney Museum of American Art. Kushner has published and lectured extensively on works on paper and she has served on juries and guest curated exhibitions nation-wide. mkushner@pratt.edu

FACULTY & STAFF | 39

ANCA I. LASC Assistant Professor History of Interior Design Ph.D., M.A., Art History, University of Southern California B.A. Jacobs University, Bremen, Germany Anca Lasc studies the invention and commercialization of the modern French interior and the development of the professions of interior designer and commercial window dresser. She 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, co-edited with Georgina Downey and Mark Taylor, is forthcoming from Bloomsbury Publishing in 2015.

Lasc 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. alasc@pratt.edu MICHELE LICALSI Visiting Assistant Professor Art and Conservation M.A., New York University, Institute of Fine Arts; with Certificate in Art Conservation B.A., New York University 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

40 | FACULTY & STAFF

WILLIAM LORENZO Visiting Assistant Professor History of Animation 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 ELIZABETH MEGGS Visiting Instructor Communication Design 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

FACULTY & STAFF | 41

MARSHA MORTON Professor Abstract Art, Impressionism and Post-Impressionism, German Nineteenth-Century Art Ph.D. Institute of Fine Arts, New York University M.A., University of Chicago 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 Nineteenth-Century (Garland 2000), and Pratt and Its Gallery: The Arts & Crafts Years (1999). She has published numerous essays on nineteenth-century German and Austrian art, many with a focus on interdisciplinary topics (cultural history, Darwinism, music, and ethnography) and artists and critics such as Alois Riegl, Gustav Klimt, Klinger, Alfred Kubin, Max Beckmann, and Max Liebermann. She is currently serving her second term as President of the Historians of German and Central European Art (HGCEA). mmorton@pratt.edu JUAN MONROY Visiting Assistant Professor History of Film M.A. Cinema Studies. New York University 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. jmonro22@pratt.edu

42 | FACULTY & STAFF

EVAN NEELY Adjunct Assistant Professor Northern Renaissance, Mondern Art and Aesthetic Theory 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. His most recent work investigates the relationships between nine teenth-century American literature and twentieth-century painting and new genres. He has taught courses at Columbia University, Parsons School of Design, and the Museum of Modern Art, on modern and postmodern art, the history of ethical and political theory, and Enlightenment aesthetics. He is currently Core Lecturer for Art Humanities at Columbia University in addition to teaching at Pratt. eneely@pratt.edu NICHOLAS PARKINSON Visting Instructor Nineteenth-Century Art 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-de-Siècle,” will be printed in Symbolist Roots of Modern Art, in 2015. nparkins@pratt.edu

FACULTY & STAFF | 43

JOYCE POLISTENA Adjunct Associate Professor Nineteenth and Twentieth-Century Art Ph.D., The City University of New York M. Phil., The City University of New York M.A., Art History, Hunter College Certificate in 19th-century British History, Oxford University, UK TESOL, Columbia University Joyce Polistena’s primary research areas are nineteenth- and early twentiethcentury 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. Polistena was appointed Visiting Assistant Professor of Art History at The College of The Holy Cross (2014-2015) and she has served on the Board of Directors of ASCHA. She has organized several symposia on nineteenth-century Romantic Art. jpoliste@pratt.edu KATARINA V. POSCH Professor Industrial Design, Interior Design, Japanese Design Katarina V. Posch is a Design Historian specializing in intercultural themes.

She teaches and publishes on Japanese, European and American design in a socio-historical context. Her publications cover issues relating to design and material culture, from cross-cultural comparisons (“Changing Worlds, Changing Designs,” MAK, Vienna, 2012) to feminist approaches (“The Seen and the Hidden. [Dis]covering the Veil,” Austrian Cultural Forum New York, 2007). She has written monographs and exhibition catalogues and curated for major museums including the Pompidou Center in Paris (Portrait d’une collection, 1995), the Vitra Design Museum in Germany (“Isamu Noguchi – Sculptural Design”, 2001) and the Noguchi Museum in New York. kposch@pratt.edu

44 | FACULTY & STAFF

MAX ROSENBERG Visiting Assistant Professor History of Art and Design Ph.D., Yale University B.A., Columbia University Max Rosenberg focuses on twentieth-century modern and contemporary art and art institutions. His research areas are postwar German art, culture and society. He’s currently revising his dissertation for publication as a book on the instrumentalization of modern art in the years following World War II in West Germany and the critical reformulation of the art institution in the late sixties and early seventies. He has received fellowships and awards from the Fulbright Foundation, the Dedalus Foundation, the Getty Foundation and the German Academic Exchange Service (DAAD). mrosen33@pratt.edu ELENA ROSSI-SNOOK Visiting Assistant Professor History of Film M.A., Film Archiving, University of East Anglia (England).

B.A., Cinema, Binghamton University, State University of New York Elena Rossi-Snook is an 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. Her 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. Her 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. erossisn@pratt.edu

FACULTY & STAFF | 45

ANN SCHOENFELD Adjunct Assistant Professor Design History, Modern Art Ph.D., CUNY Graduate Center M.A., University of Chicago Ann Schoenfeld received a CUNY Dissertation Fellowship. Her work includes Lecturer, SUNY Purchase, and Nominator for the Joan Mitchell Foundation for Painting and Sculpture. She has published in M/E/A/N/I/ N/G: An Anthology of Artist’s Writings, Theory, and Criticism, i-D, Eye. aschoenf@pratt.edu DOROTHY SHEPARD Adjunct Associate Professor Medieval Art and Manuscripts Ph.D., Bryn Mawr College M.A., Southern Methodist University Dorothy Shepard received an AAUW American Fellowship and a Haakon Traveling Fellowship. Her invited lectures include: CAA, Kalamazoo and Medieval Academy; Symposia on History of the Bible held at Barnard, Rutgers, and Princeton Universities. She has published in Medieval Germany: An Encyclopedia; Rutgers Art Review; The Apocalypse in Word and Image; and Canterbury and the Medieval Bible. dshepard@pratt.edu

46 | FACULTY & STAFF

ELIZABETH ST. GEORGE Visiting Instructor Design History 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 (forthcom¬ing).

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.edu JACK TOOLIN Visiting Assistant Professor New Media M.F.A., San Jose State University: Photography, Performance, and Installation B.F.A., Ohio University, Athens, Ohio: Photography Jack Toolin is an artist working in new media, digital imaging, and performance; his work considers contemporary life in light of the changing political, economic, and technological landscape. Toolin’s individual and collaborative work has been exhibited nationally and internationally, including San Francisco Camerawork; The Walker Art Center; the Whitney Museum of American Art (2002 Whitney Biennial); and the Museo Nacional de Bellas Arte, Buenos Aires, Argentina. He has performed in the San Francisco Bay Area, New York, Pittsburgh, Reno, Phoenix, Hong Kong, and Linz, Austria. Commissions include the Walker Art Center and the Whitney Museum of American Art and he has lectured widely, nationally and internationally. jtoolin@pratt.edu

FACULTY & STAFF | 47

ALICE WALKIEWICZ Visiting Instructor Nineteenth Century European and American Art Ph.D. candidate, The Graduate Center, The City University of New York M.Phil., The Graduate Center, The City University of New York 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 Asian Art 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

48 | FACULTY & STAFF

SARAH WILKINS Visiting Assistant Professor Late Medieval and Renaissance Art 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, and the cult of the saints.

Her awards include a Fulbright fellowship and a Mellon Finishing Grant.

Publications include “Imaging the An¬gevin 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 presented papers at conferences including Kalamazoo and RSA and is currently chair of the Italian Art Society’s Emerging Scholars Committee. swilkins@pratt.edu KARYN ZIEVE Visiting Assistant Professor Nineteenth and Early Twentieth-Century Art and Design Ph.D., Institute of Fine Arts, New York University 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

academic calender | 49

OFFICE OFFICE OFOF REGISTRAR REGISTRAR

Fall2015 2014– –Summer Summer2016 2015 Fall

ACADEMICCALENDAR CALENDAR ACADEMIC

Calendar Highlights Highlights 2015-2016 2014-2015 Calendar Date Date

Fall 2014 Fall 2015

Spring 2015 Spring 2016

Summer 2015 Summer 2016

Last Day for 100% Last Day for 100% tuition refund upon tuition refund upon withdrawal (WD) withdrawal (WD)

August 25 August 24

January 20 January 19

May 18 May 16

First Day of Class First Day of Class Last Day to Add Classes or Drop a WD Last Daywithout to Add Classes or gradewithout a WD grade Drop

August 25 August 24

Last day to withdraw (WD) Last day to withdraw (WD) from a course from a course

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Studio Days

Studio Days Final Critique and Exams

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February 2 February 1

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April 17 April 8

June 8 May 31

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May 18 May 16

September 8 September 7

Labor Day Labor Day September September 1 7 Dates that classes DO NOT MEET Dates that classes

January 20 (Jan 10 Sat/Sun Classes) January 19

December December 2218

Martin Luther King January January 18 19 Spring Break Spring Break March - March March 16 - 14 March 22 20

Memorial Day May 25 Independence MemorialDay DayJuly May 30 3–4 Independence Day July 4

Spring Holiday March 26 – March 27 May 5 – May 8 May 3 through MayMay 9 6 through May May 15 7 through MayMay 15 13 MayMay 18 13

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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 reserves the right to make changes in the information printed in

NOTES

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