Fall/Winter 2022

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EDITORIAL STAFF

Joyce Rutter Kaye, editorial director Greg Herbowy, editor Tricia Tisak, copy editor

VISUAL ARTS PRESS, LTD

Anthony P. Rhodes, executive creative director Gail Anderson, creative director Brian E. Smith, design director Mark Maltais, art director Jennifer Liang, assistant director

FRONT/BACK/INSIDE Custom cake design by Shannie C. Mitrovich; photography by Sam Morgan; art direction by Mark Maltais; art/styling assistance by Morgan Dyer. (See page 3.)

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CONTRIBUTORS

Steve Birnbaum Morgan Dyer Maeri Ferguson Lawrence Giffin Beth Kleber Michelle Mackin Kylie Mitchell Shannie C. Mitrovich Sam Morgan Jane Nuzzo Miranda Pierce Anne Quito Paul Sahre Laura Valenza

© 2022, Visual Arts Press, Ltd. Visual Arts Journal is published twice a year by SVA External Relations.

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David Rhodes PRESIDENT

Anthony P. Rhodes EXECUTIVE VICE PRESIDENT facebook.com/schoolofvisualarts instagram.com/svanyc schoolofvisualarts.tumblr.com twitter.com/sva_news youtube.com/user/svanewyorkcity

TO READ THE VISUAL ARTS JOURNAL ONLINE, VISIT: ISSUU.COM/SVAVISUALARTSJOURNAL

FROM THE PRESIDENT

As you likely gathered from this issue’s cover, the School of Visual Arts is having its 75th anniver sary this fall.

Since its founding in 1947, SVA has become one of the world’s leading art and design colleges, while retaining the restless, adventurous spirit that has been our greatest strength from the start. So while we celebrate our latest milestone in this issue—and will continue to do so throughout this academic year—our primary focus remains where it has always been: on our future.

With that said, this past year at SVA has been marked with considerable loss. Among the deaths in our community were those of two former department chairs: Reeves Lehmann, who led BFA Animation and BFA Film for nearly 30 years before his 2018 retirement, and Bruce Wands, former BFA Computer Animation chair and chair emeritus of MFA Computer Arts, who taught at SVA for 32 years until his retirement in 2017. In August, Joseph F. Patterson, a long-serving member of the SVA Board, passed away. Each did much to make the College what it is today, and will be remembered.

In April, we also lost Marshall Arisman, founder and chair of our MFA Illustration as Visual Essay program, who had taught and chaired in varying roles at the College for nearly 60 years. A remarkable artist, storyteller, mentor, colleague and friend, Marshall’s legacy at SVA has few equals. To have worked with him all these years was a singular privilege.

I hope you enjoy this issue of the Visual Arts Journal

president school of visual arts

PHOTO BY NIR ARIELI

MYSVA

Shannie C. Mitrovich

THIS YEAR , the School of Visual Arts celebrates its 75th anniversary, an occasion commemorated throughout this issue, most noticeably on the cover, which features a custom-designed “birthday” cake for the College created by pastry chef and alumnus Shannie C. Mitrovich.

After graduating from SVA, Mitrovich joined an interior architecture firm, where she worked as a designer specializing in hospitality. She found

COPPELMAN

herself drawn not just to the spaces she helped design, but to the chefs and their creations and eventually, contemplating a career change, apprenticed in pastry chef Francois Payard’s bakery on Houston Street before enrolling at the International Culinary Center. For the last 10 years, she has been creating unique cakes for all occasions, including a party celebrating designer Iris Apfel’s 95th birthday and the launch of her fashion line at Macy’s. (That design, which featured a likeness of Apfel and painstakingly constructed sugar-paste “pom poms,” took over a month to make.)

“I love the ephemeral aspect,” Mitrovich says of her work. “My customers enjoy the cakes visually, they enjoy their delicious taste, and then it’s gone forever and I move on to the next project.”

To create her SVA cake, Mitrovich worked with Mark Maltais, art director of the Visual Arts Press, the in-house design studio at SVA, to develop a

design meant to recall the labor and materials of a painter or sculptor’s process, incorporating a Swiss meringue buttercream that fades from white into the College’s signature blue, scraped away in places to reveal the layers of cake and buttercream underneath. In July, Mitrovich, Maltais, photographer Sam Morgan and BFA Design student and Visual Arts Press intern Morgan Dyer gathered in a BFA Photography and Video studio to style and photograph the cake for the front and back covers, an unused option for which, along with some behind-the-scenes photos, you can see here. (Special thanks to BFA Photography and Video’s Jahi Sabater, studio manager, and Anton Vancamelbeke, director of operations, for making the shoot possible.) And when all was done the cake was eaten, and now it’s gone forever.

For another behind-the-scenes look at this issue’s cover, visit instagram.com/ svanyc. Happy 75th birthday, SVA!

BFA 2004 Graphic Design shanniemitrovich.com / @scmcakes

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by the Visual Arts

SVA’s inhouse design studio, to celebrate the College’s

Book Report

In early 2023, the Visual Arts Press, the in-house design studio of the School of Visual Arts, will pub lish a book of oral history, trivia, prognostications and impossible-to-confirm legends about the College, in celebration of SVA’s 75th anniversary, which is taking place throughout the 2022 – 2023 academic year.

The 300-pluspage book was a collaborative effort, featuring contributions from longtime chairs, faculty, staff and administrators, as well as art, photos and his torical materials provided by alumni and the SVA Archives. Its 75 chapters cover every thing from SVA’s founding in 1947 to its most notable alumni to its present-day operations and predictions— some serious, some not—for its future.

The commemorative publication will be presented as a keepsake for SVA staff, as well offered as a gift for donors of $75 or more to the SVA Alumni Society’s Support the Talent campaign, which funds student scholar ships and awards. For more on Support the Talent, see page 65. To make a donation, visit sva.edu/alumnisociety.

[Greg Herbowy]

News and events from around the College

Precious Medals

The Manship Me dallion, one of the earliest and most significant honors bestowed by ADC, or the Art Directors Club, the designindustry organization now known as The One Club, was reinstated at the group’s 101st awards ceremony this past May in New York City, now with the purpose of honoring professionals who have played significant roles in growing and sustaining ADC’s mission.

Of this year’s 12 medallion recipients, five had close SVA ties: BFA Advertising and BFA Design Chair Gail Ander son (BFA 1984 Media Arts; see page 42), BFA Design faculty member Paula Scher, SVA Board of Directors mem ber and BFA Design faculty member Eileen Hedy Schultz (BFA 1977 Media Arts), alumnus Rich Tu (MFA 2009

Illustration as Visual Essay) and retired BFA Advertis ing and BFA Design Chair Richard Wilde (see page 42). Anderson is a current One Club board member and has hosted ADC workshops; Scher has designed for the organization; Schultz, a past ADC president, remains the only woman to have served in the role; Tu is a co-founder and underwriter of a grant program for young BIPOC professionals; and Wilde is a former board member and workshop organizer.

The Manship Medallion is named for its designer, artist Paul Manship, who also cre ated the famous Prometheus sculpture at Rockefeller Cen ter. Like that work, the award references Greek mythology, with its depiction of the god Apollo riding the winged horse Pegasus meant to evoke the creative drive and spirit.

FROM TOP The ADC’s 2022 Manship Medallion recipients included SVA’s Gail Anderson (second from right), Richard Wilde (seen here receiving his award from MPS Branding Chair Debbie Millman) and Rich Tu. Photos by Jenna Bascom (BFA 2006 Photography), courtesy The One Club for Creativity.

Coming Attractions

For more information on SVA events, visit sva.edu/events.

i3: Images, Ideas, Inspiration Lectures

MPS Digital Photography presents talks by photog raphers and other noted industry professionals. Tuesdays, 7:00pm ET, online. Full schedule at sva.edu/events.

MFA Computer Arts Alumni Exhibition

A selection of work by program alumni and work by the late Bruce Wands, MFA Computer Arts chair emeritus (see page 80).

Through November 21. SVA Flatiron Gallery, 133/141 West 21st Street.

SVA @ Untitled, Art Miami

Featuring work by eight 2022 alumni from SVA un dergraduate and graduate programs. November 29 –December 4. Ocean Drive and 12th Street, Miami Beach, Florida.

The Book Show

A selection of books authored and illustrated by MFA Illustration as Visual Essay students. December 1, 2022 – January 14, 2023. SVA Gramercy Gallery, 209 East 23rd Street.

BFA Interior Design: Built Environments Exhibition

An exhibition of work by program students. Decem ber 1, 2022 – January 14, 2023. SVA Flatiron Gallery, 133/141 West 21st Street.

AT SVA

“There is so much worth seeing if your eyes are open— if you are willing to look, and if you are willing to be open to everything that you see.”

Roxane Gay, writer. From Gay’s keynote speech at the 2022 SVA Commencement.

“Make sure that your personal projects express something that’s important to you but push you creatively, so you can show a new style. . . . Commercial folks and editorial folks rarely want to take a chance if they haven’t seen you do it before.”

Aundre Larrow, photographer and commercial director. From a talk hosted by MPS Digital Photography.

“Origami” on Tour

rigami in the Garden,” a traveling exhibition of largescale, origami-inspired metal sculptures begun in 2014 by the husband-and-wife team of Kevin Box (BFA 1999 Fine Arts) and Jenni fer Box, is having a busy few years. After stops at four venues in 2021, the show popped up in May at the Atlanta Botanical Garden, where it was on view through the summer, and the Museum of the Shenandoah Valley in Winchester, Virginia, where it runs through mid-November. Next year, it moves on to the Huntsville Botanical Garden in Alabama and the Las Cruces Museums in New Mexico. The couple also occasionally welcomes visitors to their three-acre Turquoise Trail Sculpture Garden in Los Cerrillos, New Mexico. For more information, visit origamiinthegarden.com. [GH]

FROM TOP Kevin Box and Jennifer Box, Master Peace and Hero’s Horse , both 2014, powder-coated steel. Courtesy the Atlanta Botanical Garden.

News and events from around the College

Art on Arrival

This past spring, LaGuardia Airport opened its new Terminal C, serv ing Delta Air Lines flights, as part of a larger overhaul of the Queens transporta tion hub. To beautify the space, Delta and the Queens Museum commissioned site-specific installations by six local artists, including SVA alumnus Mariam Ghani (MFA 2002 Photography and Related Media).

Ghani’s contribution, a mosaic titled The Worlds We Speak, is located in the terminal’s baggage claim. Its 700-plus circular tiles are individually engraved with names of the languages spoken in the New York City area, written in each language’s alphabet. The work builds on an earlier

language-inspired project Ghani created for the Queens Museum, which documented endangered languages that can still be heard in the bor ough’s neighborhoods.

Ghani is not the only SVA-affiliated artist to have work featured in LaGuardia’s redesign. Fred Wilson, who has taught in the MFA Fine Arts program, also contrib uted. And an installation by Sarah Sze (MFA 1997 Fine Arts) has been on view in the airport’s new Terminal B since its 2020 ribbon-cutting.

[GH]

Mariam Ghani, The Worlds We Speak , 2022, debossed ceramic tile, brushed steel. Commissioned by Delta Air Lines in partnership with Queens Museum, New York. Photo by Rank Studios. Ghani portrait by Tommy Lau, courtesy Ghani.

On the March

SVA students, faculty and staff walked on June 26 in the NYC Pride March, an annual civil-rights demonstration and celebration of LGBTQ+ commu nity. This year was the College’s first as an official participant in the event. Morgan Dyer, a BFA Design student and intern at the Visual Arts Press, SVA’s in-house design studio, designed a banner for the occasion.

SVA's involvement was made possible by the coordinated efforts of Dan Halm (MFA 2001 Illustration as Visual Essay; BFA 1994 Illustration), project manager, External Af fairs; Yvette Joseph, former coordinator, and Jarvis Watson, director, Diversity, Equity and Inclusion; Arielle Kempler, associate direc tor, and Abby Wohl, RN, Student Health and Counseling Services; Adam Krumm, assistant director, Residence Life; and Michael Sever ance (MFA 2013 Art Practice; BFA 2011 Fine

Arts), operations manager, Academic Affairs. The SVA marchers were also supported by the SVA Campus Store, SVA Library, Con tinuing Education, BFA Advertising and BFA Design, Visual Arts Press, SVA Communica tion and the Office of the President. Plans to march again in 2023 are in the works. [GH]

SVA students, faculty and staff march together in the 2022 NYC Pride March.

Photos by MPS Digital Photography Chair Tom P. Ashe.

QUOTES

Chasing Joan Didion

By Caitlin FlanaganNews and events from around the College

Cover Story

Artist and BFA Illus tration Academic Advisor Wayde McIntosh usually doesn’t accept magazine assignments. “They have a ri diculous time frame,” he says, particularly for his preferred medium, oil paints. But this year, he made an exception for The Atlantic. McIntosh’s portrait of a young Joan Didion—dressed in black and standing alone on a Malibu beach—graced the magazine’s June cover, which featured contributor Caitlin Flanagan’s essay on the late writer’s lifelong history with California.

McIntosh was given less than two weeks for the job. “They originally wanted an oil painting,” he says. “I told them there was no way that would be possible and suggested that I might be able to make something digitally in that time frame. Then they asked if I had worked digitally before. I said, ‘Abso lutely not.’”

Nonetheless, he created a digital piece, giving himself a crash course on the Procreate app and, despite the cram ming, enjoying the process of experimenting with the

software. “It’s definitely something I would do again,” he says.

McIntosh, who got his MFA in fine arts from Yale before joining SVA, focuses on por traiture and figurative work in his practice. Legacy (2017), his painting of friend and fellow artist Jordan Casteel, tied for third place in the Na tional Portrait Gallery’s 2019 Outwin Boochever Portrait Competition. Last fall, his graphite-and-gold-leaf por traits of SVA Office Services staff—done in tribute to their continued on-campus work during the early months of the COVID-19 pandemic— appeared in “Adoration,” an exhibition with fellow artist and BFA Film Academic Advisor John-Michael Byrd, presented by BFA Visual & Critical Studies in the SVA Flatiron Project Space. For more information, visit instagram.com/ waydemcintosh. [GH]

HEARD AT SVA

“As an illustrator, my biggest challenge is not the draw ing part, but the communication part.

. . . As a storyteller, the hardest part is finding the right way to tell my stories.”

Feifei Ruan (MFA 2015 Visual Narrative), illustrator and visual storyteller. From a talk hosted by MFA Visual Narrative.

“Sound is conta gious. Through the sonic and through sonic practices, you can actually gather people together. . ..

So every time you go to the club and listen to Fela Kuti, know that you’re also dancing to resistance.

You’re embodying resistance.”

Bonaventure Soh Bejeng Ndikung, curator, writer and incoming director of the Haus der Kulturen der Welt, Berlin. From a talk hosted by MA Cura torial Practice.

What was it that gave her such power?

FROM TOP Wayde McIntosh, cover for The Atlantic , June 2022; Andre , 2021, graphite and gold leaf on paper, from “Adoration,” a 2021 exhibition at SVA.

Art Is . . . Timely

Since the last issue of the Visual Arts Journal, two new SVA posters have made their debut in New York City’s subway system, the latest installments in an advertising and public-art campaign begun in the College’s earliest days, when it was known as the Cartoonists & Illustrators School. (The first poster’s tagline? “See You in the Funny Papers!”)

In June, BFA Illustration faculty member Marcos Chin’s poster went up in stations around the city for a summer run. The design featured an illustration of a person wearing a widebrimmed hat and sling bag, surrounded by flowers, evoking the abundant blooms and radiant heat of the season. But the work also carried a personal message, as Chin explains in a correspond ing SVA video profile—one that was especially, though coinciden tally, resonant, given its debut during Pride Month. “When I was coming up as a young illustrator, whenever I saw pictures in the media, I never saw myself,” he says. “As a gay Chinese person

Summer and fall 2022 SVA “subway” posters by alumnus and former faculty member Paul Davis (left) and faculty member Marcos Chin (below).

with brown skin, this gave me an op portunity to put that out there so other people who may feel as though they’re not being seen or represented . . . might change their minds.”

In September, to commemorate the 75th anniversary of SVA, a poster by renowned graphic artist Paul Davis (1959 Illustration) was installed. The extra-large work, formatted horizontally to occupy two adjoining advertising spaces on station walls, is Davis’s fourth SVA poster. The distin guished alumnus, who is a member of the ADC’s and Society of Illustrators’ halls of fame, taught at SVA for many years and was the recipient of the College’s 1998 Masters Series Award and Exhibition.

For video interviews with Chin and other past SVA poster artists, visit sva.edu/videos. [GH]

What’s in a Name?

In June, SVA’s BFA Car tooning program—which, along with BFA Illustra tion, represents one of the two longest continuously taught disciplines at the College—was officially renamed BFA Comics, following approval of the change by the New York State Board of Regents, which supervises educa tional institutions in the state.

Why the new name? Be cause, says BFA Comics and BFA Illustration Chair Viktor

Koen (MFA 1992 Illustration as Visual Essay), while cartooning will continue to be taught in the program, the word comics better conveys the range of work produced and studied by the de partment’s students and faculty.

“Comics is the most relevant umbrella term to represent inde pendent, nonfiction, superhero, underground and web comics, as well as graphic novels and all other subgenres of long-form sequential work,” he says. “It

represents a deeply respected language of sequential expres sion, an art discipline, a field of study and a career. This name change will accurately reflect our department’s passion for storytelling, attract great talent in students and faculty but also dynamically position our grad uates in the industry, with its many forms and platforms.”

For more information, visit sva.edu/comics.

[GH]

Visura

VISUAL STORYTELLING PLATFORM

Free – $20/month visura.co

“Traditional photography agencies focus on a highvolume-at-low-cost business model,” says Adriana Teresa Letorney (BFA 2007 Photog raphy). “Even worse, social media uses photographers’ content to generate advertis ing revenue for themselves.”

Visura, an online platform Letorney started with entre preneur and designer Graham Letorney (who has taught in the College’s MFA Interaction Design program) in 2016, aims to be a more equitable and professional space for freelance photographers and filmmakers to showcase and license their work, submit

to open calls and pitch their services directly to pub lications, nonprofits and brands like Human Rights Watch, National Geographic and The New York Times. The Washington Post has called it “the premier virtual home for photo editors and photographers,” and since its founding it has become a resource for more than 1,700 creators and 300 editors, creative directors and cura tors from 100-plus countries. Entry-level accounts are free; more advanced ac count options, which include additional business tools and technical support, start at $5 per month.

After graduating from SVA, Letorney worked at power House Books, a photo-book publisher and bookstore in Brooklyn. A curating opportunity at the inaugural New York Photo Festival, established by powerHouse

in 2008, led to her found ing of FotoVisura—Visura’s “mother company,” she says, established to produce onsite exhibitions and an online magazine that would raise the visibility of photogra phers worldwide, especially those from historically un derrepresented communities and regions. This same goal drives Visura today.

“The barriers to entry in this industry can be exclusive,” Letorney says. “Seventy percent of visual content creators today are freelancers, and the systems that power their connections with clients make it almost impossible to make a living. I don’t believe that quality is jeopardized if we create a more global, inclusive and merit-based marketplace, one that respects the ethics of journalism and the work of creators.” [Greg Herbowy]

Screenshots of the Visura platform cofounded by Adriana Teresa Letorney (BFA 2007 Photography), along with photography by participating artists (clockwise from far left) Antonio Pulgarin (BFA 2013 Photography), Joana Toro, Ranita Roy, Koral Carballo and Gabriella N. Baez.

WHAT’S IN STORE

Camp Mustelid

APPAREL AND ACCESSORIES

$2

campmustelid.com @campmustelid

BFA 2019 Cartooning alumni Marc Mendes and Bird Warde started their clothing, gift and accessories company, Camp Mustelid, shortly after graduating from SVA. Inspired by their mutual love of the outdoors, the brand offers everything from washi tape and lanyards to sew-on patches and button-down shirts, all decorated with illustrations of their favorite flora and fauna, like otters, mushrooms, pine trees and newts.

The pair, both originally from New England, relocated to Ohio in 2020 and made the enterprise a full-time en deavor in 2021 (though both continue to illustrate and design for freelance clients). This past June, Mendes and Warde (along with BFA 1997 Advertising alumnus Alice Butts; see page 71) were among the seven designers who created an LGBTQ+ pride–themed collection of clothing and home goods for a limited-edition offering by Target. Warde additionally collaborated with the Audu bon Society to design the graphic for their 2022 Pride campaign, “Let’s Go Birding Together.” [GH]

Liz Rosiello Designs

FABRIC AND WALLPAPER PATTERNS From $19/yard lizrosiellodesigns.com spoonflower.com

Painter and patternmaker Liz Rosiello (BFA 1982 Fine Arts) specializes in floral and other nature-based artworks and designs,

FROM TOP

The Autumn Splendor, Autumn Falling Leaves and Sweet Holiday Trees fabric, wallpaper and decor patterns by Liz Rosiello (BFA 1982 Fine Arts), available through Spoonflower.

which are available through her website on a variety of decorative pieces and accessories like iPhone cases and backpacks, and on fabrics, wallpapers and decor via Spoonflower. Fall- and winter-themed patterns— whether adorning a pillow cover, bedding or removable wallpaper—bring a seasonal touch to the home. (Also of note: Rosiello’s husband, Richard, is a fellow BFA 1982 Fine Arts graduate.)

Sports for Peace 2022

UN

unstamps.org

Feifei Ruan (MFA 2015 Visual Narrative) illustrated a series of winter sports–themed postage stamps for the Unit ed Nations that were released in time for this year’s Winter Olympics in Beijing. Though perhaps of greatest interest to collectors, UN stamps are also accepted on mail sent from the UN Postal Adminis tration’s New York, Paris and Vienna locations.

Curious Colour

In May 2021, looking for an escape and creative outlet after a year of pandemic life, Nicole Morley (BFA 2012 Photography) launched her Curious Colour clothing line out of her Connecticut home. The brand offers leggings, shorts, T-shirts, sweats and more, all sporting Morley’s hand-drawn patterns in a variety of hues.

Phoenix Roze

Sold online and from its brick-and-mortar location in the West Village, Phoenix Roze is the all-handmade, “slow jewelry” brand of artist Guy Rozenstrich (BFA 2003 Fine Arts).

Rozenstrich, a secondgeneration jeweler, estab lished Phoenix Roze in 2006 with business part ner Stephen Hoerz. Each

piece—whether a delicate diamond eternity band, a shark’s-tooth platinum cufflink or a one- to four-let ter gold initial necklace—is made by Rozenstrich himself, using traditional methods and personally selected materi als. His creations are at times simple, at times elaborate, but never conventional.

“When I create I don’t necessarily focus on the final design,” he says. “It is more of a journey where I think I have an idea where I’m going, but at some point I let go and see where the design wants to go. It’s an inner dialogue between the self that I know and the other self I am re vealing.” [Kylie Mitchell]

Pat Patz RESTAURANT

Oslo 7, Colonia Juárez Cuauhtémoc Mexico City, Mexico patpatz.mx / @patpatzmx

As an SVA student, Mijael Seidel (BFA 2004 Cartoon ing) took a job at the café of the Fairway grocery store on West 74th Street in Man hattan. He liked to cook and had romantic ideas about the food world—his father had once run a restaurant—but the work was stressful. “I thought, ‘This is not for me,’” he remembers.

Two years ago, Food & Wine en Espanol named Seidel one of its “Best New Chefs” for Pat Patz, his Middle Eastern restaurant in Mexico City. Pat Patz started in 2018 as a food stall in a fair in Colima, Mexico, where Seidel was living and running his own creative agency, which produced infographics and websites for clients including the UN and the Mexican federal government. After a couple of location changes, admir ing press coverage and a growing following, it opened last summer at its latest address, in the city’s Roma Norte neighborhood, serving lunches of pita sandwiches, vegan shakes and seasoned fries, as well as dinners of kebab-and-rice plates, salads and dips. Everything is made in-house, and the sandwiches are wrapped and the trays lined with papers featur ing illustrations by Seidel’s friend and former classmate

Peter Oumanski (BFA 2004 Graphic Design).

Seidel developed Pat Patz’s menu over many years of home cooking, aided by a three-week trip through Israel, Turkey and Greece for research and inspiration. His recipes honor the overlapping traditions of the Mediterra nean, Middle East and North Africa, with a brisket kebab that nods toward his own Jewish heritage. His true cu linary lodestars, however, are two New York City staples: the namesake sandwich at Rainbow Falafel in Manhat tan, not far from SVA’s 209 East 23rd Street building, and the chicken platter at the King of Falafel and Shawarma food cart in Astoria, which Seidel frequented on his way home after a long day of school or, in his early post-college years, story boarding work.

What made him change his mind about restaurant work?

Simply put, Se idel had money

saved, felt restless in his ca reer and had decided that his love of the food outweighed the pressures, frustrations and long hours intrinsic to the business. And while the road has not been without bumps, he has no regrets.

“I never thought life would reward my efforts in the way it has—people liking what I do, and being able to marry design and food in an intimate setting that has this worldly appeal and at the same time feels unique,” he says. “It feels like living a dream.” [GH]

WHAT’S IN STORE

its Op-Ed page and weekly Book Review. And as an SVA faculty member since 1974 and co-founder of five of the College’s graduate programs, he stands on a short list of the most influential shapers of the College and its mission (see page 42).

Growing Up Underground: A Memoir of Counterculture New York

PRINCETON

ARCHITECTURAL PRESS

Hardcover, $27.50 papress.com

MFA Design Co-Chair

Steven Heller has had enough of a career that even summarizing it is exhausting. He has written, co-written and edited more than 200 books of design and illustration history and criti cism. A longtime contributor to Print (and many other magazines), he maintains a blog, The Daily Heller, for the brand’s website, of which he is a part-owner. For 33 years, he was an art director (and then senior art director) and contributor at The New York Times, shaping the look of

Very little of this is covered in Growing Up Underground, Heller’s new memoir, pub lished this fall by Princeton Architectural Press. Instead, as the title suggests, the book primarily focuses on his com ing of age in New York City in the late 1960s and early ’70s, when he began his career as a strikingly young—and comparatively straitlaced— design talent in the anarchic, roguish world of independent journalism.

Born and raised in Manhat tan, Heller was the only child in a middle-class Jewish fam ily with two working parents. A love of drawing sustained him through the pains of adolescence, and shortly after graduating high school he lucked into an art director job at an alt-weekly called the New York Free Press, and sold his cartoons to other counterculture publications. This soon led to art-director roles at such outlets as the pornographic Screw and the short-lived Mobster Times both created by the proudly disreputable publisher Al

Goldstein—as well as work for the East Village Other, known for its support of un derground comics artists like Robert Crumb; Andy War hol’s Interview, which Heller redesigned in 1971; and a host of now-forgotten but equally iconoclastic publications.

All of this, it should be said, happened before he turned 25. (By that age, he was a full year into his tenure at the Times.) Accordingly, Heller’s story is a busy one. There were brushes with the law and with lawbreakers. There were strange victories, such as when he convinced a jury in Wichita, Kansas, where Goldstein was on trial

“I happened to be in the right place at the right time,” says MFA Design Co-Chair and SVA faculty member Steven Heller of New York’s alternative journalism scene in the 1960s and early ’70s.

for breaking federal obscen ity laws, that Screw’s art direction gave the publication redeeming social value. And there were noble misfires, such as Heller’s stint at the doomed Rolling Stone copycat Rock, where he got to know a pre-fame Patti Smith and her longtime collaborator Lenny Kaye, both of whom wrote for the tabloid.

“I happened to be in the right medium, at the right place, at the right time,” Heller says. “It was a mo ment when technology and economics made alternative newspapers viable, and there were a lot of people who had something to say about what was going on in society.” (Chiefly the Vietnam War, of which Heller was a vocal opponent.)

“It takes a certain amount of hubris to write a memoir,” he says. “But my experience of the ’60s was not the same as the stereotype. I didn’t do trips and get high, but I did enjoy the freedom we appeared to be taking and the result ing upset it put on the older generation.” [GH]

Screen time with SVA alumni and faculty

by Laura Valenza

Watch List

Aftershock

Associate producer Yuby Hernandez (MFA 2020 Social Docu mentary Film) and cinematographer Jenni Morello (MFA 2011 Social Documentary Film) both worked on this documentary, which addresses America’s maternal health crisis and, in particular, Black fathers who have lost their partners due to insufficient medical care and complications during childbirth.

Plan 75

Written and directed by Chie Hayakawa (BFA 2001 Pho tography), Plan 75 imagines a world in which the Japanese government confronts its aging population by offering a program for the elderly to volunteer for euthanization. Hayakawa’s feature screened as part of the 2022 Cannes Film Festival’s Un Certain Regard program.

Call Jane Cinematographer Greta Zozula (BFA 2010 Film and Video) worked with director Phyllis Nagy on this 1960s historical fiction tale starring Elizabeth Banks and Sigourney Weaver and in theaters this fall, which follows a woman seeking help with a life-threatening pregnancy from the “Janes,” an under ground organization of women.

Somebody Somewhere

This comedy series, about an outsider finding her community in Manhattan, Kansas, stars comedian and singer Bridget Ev erett, who is also executive producer of the show, and features Murray Hill (MFA 1997 Photography and Related Media) in a supporting role. The first season is available on HBO Max, and a second season is in the works.

Oni: Thunder God’s Tale

From Academy Award–nominated executive producer and showrunner/director Dice Tsutsumi (BFA 1998 Illustration) comes a new animated family series featuring gods and monsters from Japanese mythology. Created by Tsutsumi’s Tonko House studio, Oni premieres on Netflix this fall.

X

From writer/director Ti West and executive producer Peter Phok (both BFA 2003 Film and Video) comes this critically lauded 1970s–set horror feature, which had its world premiere at the 2022 SXSW Film Festival and is now available to stream. A prequel, Pearl, was released in theaters in September.

WHAT’S IN STORE Shelf Liners

Books by SVA alumni and faculty

ART/PHOTOGRAPHY

Andinos: Encounters in Cusco, Peru

Gabriel Barreto Bentin (BFA 2020 Photography and Video) Rizzoli Hardcover, $75

Backyard Fights

Brian Finke (BFA 1998 Photography)

Hat & Beard Press

Softcover, $60

Giger: Debbie Harry Metamorphosis

Creating the Visual Concept for KooKoo

Chris Stein (1973 Fine Arts)

Titan Books/Penguin

Random House Hardcover, $75

Holding Space: Life and Love Through a Queer Lens

Ryan Pfluger

(MFA 2007 Photography, Video and Related Media)

Princeton Architectural Press Hardcover, $29.95

It’s Been Pouring: The Dark Secret of the First Year of Motherhood

Rachel Papo (MFA 2005 Photography, Video and Related Media)

Kehrer Verlag Hardcover, €39.90

Just Bobby

Bob Minkin (BFA 1981 Media Arts) minkinphotographystore.com

Signed, case-bound hardcover, $65

Kissing a Stranger

Joni Sternbach (BFA 1977 Photography)

Dürer Editions

Hardcover and signed/with four silver gelatin prints/ with two archival prints, €50/€450/€850

Radical Justice: Lifting Every Voice

Accra Shepp (faculty, MFA Fine Arts, BFA Photography and Video, and MFA Photography, Video and Related Media)

Convoke Hardcover, $65

SCUMB Manifesto

Justine Kurland (BFA 1996 Photography) Mack

Signed/unsigned paperback, £65/£60

Sleeping Beauty

Lydia Panas (BFA 1984 Photography) MW Editions Hardcover, $50

A Third Look: Nudes

Joseph Maida (chair, BFA Photography and Video); foreword by Zackary Drucker (BFA 2005 Photography) Convoke Hardcover, $65

CHILDREN’S/PICTURE

Carla and the Christmas Cornbread Carla Hall; illustrated by Cherise Harris (BFA 2009 Illustration)

Denene Millner Books/ Simon & Schuster Books for Young Readers Hardcover/e-book, $17.99/$10.99

Emile and the Field Kevin Young; illustrated by Chioma Ebinama (MFA 2016 Illustration as Visual Essay) Make Me a World/Penguin Random House Hardcover/e-book/audio, $17.99/$10.99/$3.99

I Color Myself Different

Colin Kaepernick; illustrated by Eric Wilkerson (BFA 2000 Illustration) Scholastic Hardcover, $18.99

Just Roll With It Veronica Agarwal (BFA 2016 Cartooning) and Lee Durfey-Lavoie Random House Graphic Hardcover/paperback/ e-book/audio, $20.99/$12.99/$8.99/$15

K Is for Kindness

Rina Horiuchi; illustrated by Risa Horiuchi (BFA 2013 Illustration) Viking Books for Young Readers Hardcover/e-book/audio, $17.99/$10.99/$5

Let’s Build a Farm

Let’s Build a Highway

Let’s Build a Playground

Let’s Build a School

(“Little Builders” series)

Robert Pizzo (BFA 1980 Media Arts) Sourcebooks Board books, $7.99 each

The Whole World

Inside Nan’s Soup

Hunter Liguore; illustrated by Vikki Zhang (MFA 2018 Illustration as Visual Essay)

Yeehoo Press Hardcover, $14.99

COOKBOOKS

The Forest Feast Road Trip

Simple Vegetarian Recipes

Inspired By My Travels

Through California

Erin Gleeson (MFA 2007 Photography, Video and Related Media)

Abrams

Hardcover, $40

Mamma Virginia’s

Homestyle Italian Recipes

Virginia Castaldi; photographs and design by Frank Castaldi (BFA 1993 Graphic Design)

Barnes & Noble Press Paperback, $27

Backyard Fights Brian Finke

1. DRAW A STRAIGHT LINE PARALLEL TO THE TOP OF THIS PAGE.

2. DRAW A STRAIGHT LINE PARALLEL TO THE SIDE OF THIS PAGE.

3. DRAW A STRAIGHT LINE

AT A 45º ANGLE TO THE FIRST TWO LINES.

4. DRAW A STRAIGHT LINE PERPENDICULAR TO THE THIRD LINE.

BY GREG HERBOWY

Sol

ON THIS PAGE USING A PENCIL OR PEN DRAW STRAIGHT LINES FROM ALL VERBS TO THE CORNERS OF THIS PAGE AND STRAIGHT LINES FROM EACH NOUN TO POINTS ON THE FOUR SIDES.

In its spring 1972 issue, Avalanche, a short-lived art magazine based in New York City, published two new works by artist Sol LeWitt (1954 Illustration). Each consisted of a short set of instructions—set in justified, all-capitalized and centered text—for readers to create their own LeWitt artwork by drawing directly on the page.

These “page drawings,” as they were called, were consis tent with what art historian David Areford terms “the de mocratizing spirit” of LeWitt’s work, which stands among the most significant and influential art of the mid- and late-20th century, represented in major museums and public installa tions around the world. Areford, a professor at the University of Massachusetts in Boston, is the author of Strict Beauty: Sol LeWitt Prints (2020) and editor of Locating Sol LeWitt (2021), both from Yale University Press.

A Korean War veteran and fine-arts graduate, LeWitt (1928 – 2007) attended SVA to study graphic design, and several of that field’s principles can be detected in his minimalist, con ceptual art. (He later taught at the College.) His patterning of clean lines and precise forms— often rendered in arrays of bold colors or stark monochromes— have an arresting immediacy, and many LeWitt works were conceived to be executed by following only a few straightfor ward directions.

Beginning in the late 1960s, LeWitt began writing out

these directions so that certain works—like large-scale wall drawings—could be realized without his own hand. In doing so, he made the ideas, rather than their visual manifestations, the art. The flexibility of these instructions varied over the course of his career. LeWitt could be exacting, sometimes providing diagrams along with his written steps. Other ideas were more capacious, opening a range of possibilities for the draftsperson, so that the cre ations could surprise even their own author.

LeWitt’s page drawings, Areford notes, are similar to some of his wall drawings, prints and drawings on paper from the early 1970s onward, in that the written directions and the resulting imagery are, in the completed work, “thor oughly enmeshed,” with the text becoming a part of the composi tion. But by distributing them in a magazine, rather than install ing them in a gallery or making it on commission for a patron or institution, LeWitt made the art portable, an unexpected gift to anyone who happened across the pages.

“LeWitt wanted as many peo ple as possible to have access to his work, and to be able to afford his work,” Areford says.

In honor of that spirit, and through the generosity of Sofia LeWitt, the artist’s daughter and director of his estate, the Visual Arts Journal is proud to offer four previously unpub lished Sol LeWitt page drawings for its readers. ◆

FROM TOP Sol LeWitt, Wall Drawing #391, 1983, India and color inks, Collection CAPC musée d’art contemp-orain de Bordeaux, France; Wall Drawing #681C, 1993, India and color inks, National Gallery of Art, Washington, DC, Dorothy and Herbert Vogel Collection (installation photos: MASS MoCA, North Adams, MA); Lincoln Center Print, 1998, screenprint, LeWitt Collection, Chester, CT. © E state of Sol LeWitt, 2022.

ON THIS PAGE DRAW A STRAIGHT LINE FROM EACH LETTER “A” TO THE UPPER LEFT CORNER OF THIS PAGE, FROM EACH “E” TO THE LOWER LEFT CORNER, FROM EACH “I” TO THE UPPER RIGHT, AND FROM EACH “O” TO THE THE LOWER RIGHT.

Sol LeWitt, Lines in Color on Color to Points on a Grid, 1978, one from a set of nine screenprints, New Britain Museum of American Art, New Britain, CT. © E state of Sol LeWitt, 2022.

1. DRAW A STRAIGHT LINE FROM ANY LETTER “A” IN THIS SENTENCE TO THE UPPER LEFT CORNER OF THIS PAGE.

2. DRAW A STRAIGHT LINE FROM ANY LETTER “A” IN THIS SENTENCE TO THE UPPER RIGHT CORNER OF THIS PAGE.

3. DRAW A STRAIGHT LINE FROM ANY LETTER “A” IN THIS SENTENCE TO THE LOWER LEFT CORNER OF THIS PAGE.

4. DRAW A STRAIGHT LINE FROM ANY LETTER “A” IN THIS SENTENCE TO THE LOWER RIGHT CORNER OF THIS PAGE.

Sol LeWitt, Circle with Broken Bands within a Square, 2003, linocut, New Britain Museum of American Art, New Britain, CT. © E state of Sol LeWitt, 2022.

YEARS OF EXHIBITIONS AT SVA BY LAWRENCE GIFFIN

and sell their work in a professional setting—“cheek by jowl with established artists and gallerists,” DiTommaso says. Fine Arts students who showed work in this space include Lydia Dona (1980), Rodney Alan Greenblat (1982), Keith Haring (1979), Frank Holliday (1980) and Amy Sillman (1979). The operation relocated to 137 Wooster Street the following year, where it remained until 2004, when it moved into its current, purpose-built home on the 15th floor of the Starrett-Lehigh, at 601 West 26th Street.

make the work, you have to learn how to show it. It stands to reason that on the College’s website, the second link after ‘About SVA’ is ‘Exhibitions.’”

The following pages present an overview of the history of exhibitions at the School of Visual Arts.

Championing Student Work

Consisting of four large exhibition rooms with lofty ceil ings and concrete floors, an office suite, reception area and expansive terrace overlooking the Hudson River and lower Manhattan, the SVA Chelsea Gallery, as it is now known, shares its address with artists, designers, publications and compa nies of all types and sizes. (Early neighbors included an upstairs upholstery business, “which made a terrific racket,” DiTommaso says, and the storied champagne house Veuve Clicquot, which co-hosted the gal lery’s opening reception.)

In addition to maintaining an offcampus gallery, SVA has helped to pioneer art schools’ participation in fairs—an in creasingly important part of the art-world ecosystem. In 2003, the College hosted a booth at the Affordable Art Fair in New York City, where it continued as an exhibitor through the next 10 years. Four years later SVA began to show students’ and recent graduates’ work in Miami during the city’s annual Art Week—the marquee inter national event, anchored by the Art Basel fair—and it continues to do so, most recently as part of the Untitled, Art Miami Beach fair.

Every art school worth its salt exhibits its students’ work, and by 1950, after moving to its second location, at 245 East 23rd Street, the College had begun hosting annual end-of-year shows to highlight the talent of its classes. This is a tradition that continues today through SVA Shows, a yearly schedule of portfolio reviews, screenings, thesis presentations and traditional gallery installations celebrating the achievements of the insti tution’s latest graduates. In the springs of 1976 and 1977, however, SVA took a decisive step in raising the pro file of its student exhibitions by venturing off-campus—and situating itself in the center of New York’s art world. Rather than host end-of-year shows solely within its walls, the College took over a few blocks in SoHo to put on a multimedia event: displaying art inside a handful of neighborhood galleries, projecting film works on building exteriors and hosting performances along West Broadway between Houston and Broome Streets.

The School of Visual Arts has long prided itself on having a cul ture of restless invention, and its exhibitions program is no excep tion—from its earliest student showcases and the innovative, high-concept shows of the 1960s and ’70s (which drew powerhouse talents from within and without the College community), to the erasing of the boundaries between student and professional work, to the celebration of creative disciplines whose work is rarely seen on gallery walls.

(The College and several of its indi vidual academic departments and student organizations have also shown community work at Printed Matter’s Art Book Fair, New York Comic Con, Photoville and the Untitled Art, San Francisco fair, among others.)

*Current or former SVA faculty member.

In 1979, SVA opened a gallery in the American Thread Building at 260 West Broadway, in Tribeca, then the heart of the New York art world, enabling students to present

Though records from the College’s earliest years are incomplete, it seems that the first exhibition it held was in 1948. The show was of student work, mounted when the institution, then known as the Cartoonists & Illustrators School, was not yet a year old. In two years’ time, C&I presented its first guest-artist exhibition: a selection of paintings by Francis Criss,* a well-regarded artist asso ciated with Precisionism. It would be an understatement to say that things have progressed considerably since then. Today, SVA main tains a dedicated Galleries operation, which oversees the two primary on-campus exhibition venues—the SVA Flatiron Gallery, at 133/141 West 21st Street, and the SVA Gramercy Gallery, at 209 East 23rd Street—as well as the SVA Chelsea Gallery, an off-campus space in the land marked Starrett-Lehigh Building, located at the western edge of the Chelsea neighborhood. In a typical year, the department manages a calendar of nearly 50 shows of stu dent, alumni and guest-artist work.

“Exhibitions are integral to SVA’s mission ‘to educate future generations of artists, designers and creative pro fessionals,’” says Francis DiTommaso, director of SVA Galleries since 1994. “No matter the degree program, SVA is dedicated to preparing students for professional success. And that means you not only have to learn how to

“EXHIBITIONS ARE INTEGRAL TO SVA’S MISSION ‘TO EDUCATE FUTURE GENERATIONS OF ARTISTS, DESIGNERS AND CREATIVE PROFESSIONALS.’”

Milton Glaser poster for

(1966);

by Thomas Lanigan-Schmidt, from

Keith

by

by

FROM LEFT Jayson Atienza (BFA 1999 Advertising) poses with friends and colleagues Sean Williams, Joe Volpicelli and Joan Wood in front of “Art Headed,” his series of custompainted helmets, at “The Sports Show” (2015).

Scene-Stealing Solos

But wait, there’s more. Alongside its high-concept, high-wattage group exhibi tions, in the ’60s and ’70s SVA was also home to a wealth of solo shows by many of the era’s preeminent artists. In 1970 guest curator Felice Wender organized the first of Robert Rauschenberg’s five solo outings at SVA—the most of any artist to date—for which the artist debuted the drawings and collages of his “Syn-Tex” series. Sim ilarly, critic and curator David Whitney brought Andy Warhol’s “Hammers and Sickles” series to the College in 1976—months before the work’s alleged debut at Leo Castelli’s gallery, in 1977. Also in 1976, art historian Susan Ginsburg* presented Sol LeWitt’s “All Combinations of Arcs from Four Corners, Arcs from Four Sides, Straight Lines, Not-Straight Lines and Broken Lines. White Lines on a Black Wall.” And in 1971, critic Douglas Crimp,* then early in his career, put together Agnes Martin’s first-ever noncommercial solo exhibition— which, as it included paintings of Martin’s from the 1960s, was also arguably her first retrospective. Diane Waldman, a curator at the Guggen heim from 1965 to 1996, was responsible for several shows at SVA of important art ists from 1971 to 1987: Roy Lichtenstein, Cy Twombly, Rauschenberg, Kenneth Noland, Robert Motherwell and David Hockney, among others. (She also curated a handful of star-studded group shows featuring drawing, photography and sculptors’ drawings.)

Showcasing Commercial Arts

Just as the academic departments at SVA encompass a range of creative disciplines, the College’s exhibitions pro gram has gone beyond fine art to encompass advertising, commercial illustration, comics, design, fashion photog raphy and photojournalism, and more. The 1950s saw exhibitions of art commissioned by Ban tam Books, Ladies’ Home Journal and Seventeen , the last of which was known at that time for hiring graphic artists associated with the school, like Seymour Chwast,* LeWitt and Hesse—along with many solo shows of illustrators and designers, including industry legend Bob Gill,* who died last November.

*Current or former SVA faculty member.

Innovative Group Exhibitions

“Concrete Poetry” (1968) was one of the earliest shows in the U.S. dedicated to the art form—poetry whose ef fect and meaning derives from the appearance of the text, rather than the text itself—and featured Augusto de Cam pos, Emmett Williams, Dick Higgins, Dieter Roth and Ian Hamilton Finlay, alongside text-heavy artists Carl Andre* and Dan Graham.* And the list goes on. Glaser’s thematic shows set the stage for similarly ambitious exhibitions presented by faculty and guest curators. Lucy Lippard’s* “Groups” (1969) included art ists such as Sylvia Mangold,* Adrian Piper (1969 Fine Arts) and Lawrence Weiner alongside Lippard’s SVA students. Each produced a series according to strict guidelines: pho tograph the same group of people once a day for a week; write a detailed description of each image; and hang the pictures and descriptions in whatever order you want.

SVA moved to its current flagship building at 209 East 23rd Street in 1960 and established a dedicated gallery office and ground-floor exhibition space, known first as the Visual Arts Gallery, then as the Visual Arts Museum, and today as the SVA Gramercy Gallery. It was there that the first gallery coordinator, painter Dorothy Koppelman,* put together the first shows to in clude work from artists not previously affiliated with SVA, “The Figure: Then and Now” (1961) and “Abstraction: A Selection” (1962). These included work by such estab lished and mid-career painters as Pat Adams, Elaine and Willem de Kooning, Richard Diebenkorn, Leon Golub,* Alex Katz,* Joan Mitchell, Alice Neel,* Fairfield Porter* and Larry Rivers.

“Formative Years” (1975), curated by Swiss painter Grégoire Müller, presented early work by artists—Lee Krasner, Jas per Johns, Claes Oldenburg, Mark Rothko and more—before they’d developed their distinct styles; a New York Times review of the show commented that “the Visual Arts Gallery does more with almost nothing than many a well-budgeted museum.”

More recently, SVA Galleries guest curators have in cluded Brooklyn Rail founder and curator Phong Bui,* whose “Intimacy in Discourse: Reasonable/Unreason able Sized Paintings” (2015) explored how a painting’s dimensions influence its effect; artist Derrick Adams, whose “The Beat Goes On” (2016) presented multimedia, music-inspired art; and political cartoonist Steve Brod ner,* whose “Art as Witness: Political Graphics 2016 –18” (2018) gathered animations and cartoons from the 2016 election and early years of the Trump administration.

“65 self-portraits” (1965)—a reference to the year the show was held, rather than the number of pieces on dis play—collected self-portraits by Jane Freilicher, Andy Warhol, Jim Dine, Allan D’Arcangelo,* Alex Katz* and others, at a time when such works were out of fashion. It drew enough public attention to warrant an extended run and a four-page spread in Esquire . “Working drawings and other visible things on paper not necessarily meant to be viewed as art” (1966), on which Glaser collaborated with artist Mel Bochner,* featured receipts, notes, sketches and other scraps of paper from artists such as Dan Flavin, Dan Graham,* Eva Hesse,* Sol LeWitt (1954 Illustration),* Donald Judd, and composers John Cage and Karlheinz Stockhausen, all collected, copied and placed into four binders on pedestals in an otherwise empty gallery. Art historian Benjamin Buchloh has called it “probably the first truly conceptual art installation.”

But it was in 1964, when Shirley Glaser took over the co ordinator position, that the College’s gallery began to gain a reputation for being, in the words of the New York Her ald, “one of the liveliest exhibition halls in town.” Glaser’s approach was to treat the idea of an exhibition as an con ceptual artwork of its own, organizing them around novel, sometimes off-kilter themes. She was also prolific, pre senting nearly 40 shows over the course of her tenure, for an average of one every three weeks during the academic year. Many featured eye-catching posters and promotional materials designed by the late designer, faculty member and longtime acting chair of the College’s Board Milton Glaser, Shirley’s husband. “Art Without Design” (1965), co-curated with Milton Glaser, consisted solely of discarded printer trial sheets; Print magazine noted the sheets’ “striking relationship to much of the art that is being produced today.”

THE TIMES COMMENTED THAT “THE VISUAL ARTS GALLERY DOES MORE WITH NOTHING THAN MANY A WELL-BUDGETED MUSEUM.”

PREVIOUS “Ink Plots: The Tradition of the Graphic Novel at SVA” (2010). CLOCKWISE FROM TOP LEFT Undated SVA exhibition photo by Ed Wallace; Milton Glaser poster for “Concrete Poetry” (1968); Paul and Marion Rand at “Masters Series: Paul

Rand” (1988); “Master Series: Massimo Vignelli” (1991); reception for “The Landscape” (1966); Glaser poster for “NOW” (1965), an exhibition of photographs by civil-rights organizers; Duane Michals works on his 2000 “Masters Series” show.

CLOCKWISE FROM TOP “We Tell Stories: 30 Years of MFA Illustration as Visual Essay at SVA” (2014); photos of SVA co-founder Silas Rhodes (left), Visual Arts Gallery Director Shirley Glaser and two unidentified men at designer Jan Lenica’s 1967 SVA show; 1976 exhibition poster with art by Ron Di Scenza (BFA 1976 Fine Arts); “Big Nudes” (1966); Milton Glaser poster for “Big Nudes”; lightbox artwork by Steve DeFrank (MFA 1990 Fine Arts), from “Beginning Here: 101 Ways” (2004).

◆

to its yearly After School Special Alumni Film and Animation Festival, which takes place at the theater in late summer). “Un derground Images,” a traveling exhibition established and curated by EVP Rhodes and featuring a rotating selection of SVA posters created for display in New York City’s subway system, has been installed in more than 30 countries around the world. Just as surely, there will be much to write about on this topic in the years ahead. As SVA con tinues to grow and adapt along with the art and design fields it serves, it will continue to reimagine its exhibitions program accordingly. Just to take one example, while the pandemic’s demand for exclusively virtual exhibition spaces may have ebbed, the digital presentation of art remains more important than ever. Last spring, BFA Car tooning, BFA Illustration and BFA Interior Design held online-only student shows and MA/MAT Art Education held online-only thesis presentations, while BFA Anima tion, MFA Computer Arts and MFA Interaction Design offered live streams of their in-person end-of-year events. No matter the prevailing trends or emerging technol ogies, SVA exhibitions will always hold the promise of something rare or never-before-seen: an illuminating jux taposition of works, a look inside the creative process and development of a pathbreaking talent, or the chance to see the early promise of the next photographer, comics artist, sculptor or filmmaker who will take the world by storm. “Among art schools, I believe that SVA’s commitment to professional-level exhibitions—for the benefit of our stu dents, our alumni, the industry and the public at large—is second to none,” DiTommaso says. “From the earliest days, [SVA founder] Silas Rhodes considered exhibitions a critically important component of the College’s mission to participate actively in the art community. That mission has only expanded over the decades.”

FROM TOP LEFT “Frank Stella: The Series Within a Series” (1978) and “Andy Warhol: Drawings” (1976), photos by Dan Dragan; SVA booth at 2013 Affordable Art Fair; “Working on a Building” (2002), student show at SVA’s former gallery on Wooster Street.

LAWRENCE GIFFIN is the assistant archivist at the School of Visual Arts.

Images courtesy the SVA Archives and SVA Galleries.

*Current or former SVA faculty member.

CLOCKWISE

designers, filmmakers and more to the world of athletics. These shows and many others have continued to build the case for the alumni community’s vast and varied influence on visual culture. Further back and smaller in scope but no less notable is then BFA Fine Arts Chair Jeanne Siegel’s exhibition “8 Art ists / 8 Years” (1985), featuring program alumni Lydia Dona, Keith Haring, Kenny Scharf (1981), Barry Bridgwod (1983), Jedd Garet (1977), Jane Swavely (1980), James Wang (1983), and Tod Wizon (1976). All studied in Siegel’s department between 1975 and 1983; all at the time had at least one solo show to their name. (Haring, the exhibition’s press release noted, had already had 16.) The Future of Show Business There is much, much more that could be covered here. The MA Curatorial Practice program—in addition to occupying a campus space with movable walls, so that the room can be reconfigured to suit an exhibition’s needs— has for many years presented its year-end shows in a former Pfizer factory building in Brooklyn, located amid the artist-thronged neighbor hoods of Williamsburg and Bushwick. (MFA Fine Arts, too, has presented year-end work in Brooklyn.) The SVA office in Seoul, established to support the College’s growing Korean community, presents work by local alumni. In 2014, Art History and BFA Visual & Critical Studies Chair Tom Huhn initi ated the transformation of an underutilized ground-floor space in the College’s building at 133/141 West 21st Street; now known as the SVA Flat iron Project Space and featuring a large, street-facing window, it is home to multimedia exhibitions of stu dent and guest artist work throughout the year. In 2016 the SVA Theatre established its annual SVA Premieres screening of select student films, animations and mo tion graphics projects in Los Angeles (this in addition

Most significantly, however, in 1988 SVA co-founder Si las H. Rhodes established the Masters Series Award and Exhibition, an annual event honoring visual communicators whose work has had significant cultural impact but whose names may not be known to the general public. The inaugural honoree, designer Paul Rand, created the logos for IBM, UPS and Westinghouse, among other organizations; subsequent recipients include environmental graphic designer Deborah Sussman (1995); photographers Mary Ellen Mark (1996) and Duane Michals (2000); graphic designer and visual humorist Shigeo Fukuda (2001); and New Yorker cartoonist Roz Chast (2018). The 2022 honoree, international photojournalist Lynsey Addario, has won a Pulitzer Prize and MacArthur Fellowship for her work, and spent much of the past year on assignment in Ukraine for The New York Times .

Homecomings

Alumni work has been shown at SVA roughly since the Col lege had been around long enough to have alumni, but it wasn’t until, appropriately enough, “Beginning Here: 101 Ways” (2004), curated by New York critic Jerry Saltz* and Rachel Gugelberger, then the associate director of SVA Galleries, that large-scale alumni invitationals began to frequently headline the College’s exhibition calendar. (“Beginning Here” was also the inaugural fall exhibition of the SVA Chelsea Gallery.)

“Inkplots: The Tradition of the Graphic Novel at SVA” (2010) curated by the late MFA Illus tration as Visual Essay Chair Marshall Arisman (see page 56) and then BFA Cartooning and BFA Illustration Chair Thomas Woodruff, covered the evolution of storytelling art over several decades, back to the Cartoonists & Illustrators School days, with contributions from faculty and graduates alike. “The Influentials” (2011), co-organized by former MoMA PS1 curator Amy Smith-Stewart,* paired work by distinguished women alumni with work by a cited influence—Katherine Bernhardt (MFA 2000 Fine Arts) showed alongside Terra Fuller, Michelle Lopez (MFA 1994 Fine Arts)* with Thomas Lanigan-Schmidt,* Phoebe Wash burn (MFA 2002 Fine Arts) with her grandmother Phebe Washburn, and on. “The Sports Show” (2015), conceived by SVA Executive Vice President Anthony P. Rhodes and curated by sports branding professional Todd Radom (BFA 1986 Me dia Arts) and Alumni Affairs and Development Director Jane Nuzzo, celebrated the often-unsung contributions of graphic

“AMONG ART SCHOOLS, I BELIEVE OUR COMMITMENT TO EXHIBITIONS IS SECOND- TO-NONE.”

CLOCKWISE FROM TOP “Masters Series: Steven Heller” (2007); Cris Gianakos (1955 Fine Arts) poster for “Groups” (1969); “The Influentials” (2011); Mel Bochner at “Working drawings” (1966); poster for “Eva Hesse” (1971); Roz Chast and SVA President David Rhodes at the award ceremony for “Masters Series: Roz Chast” (2018).

CHANGE

Illustrations by PAUL SAHRE

BY ANNE QUITO

The graphic design industry has gone through seismic shifts since the School of Visual Arts introduced its first design degree in the 1970s, let alone since 1955, when the College introduced its first course in the field, taught by renowned designer George Tscherny. The graphic design profes sion, once largely reliant on the advertising and publish ing industries, has become a discipline seemingly without limits or simple definition. Designers’ work is now omnipresent, shaping digital interfaces, physical

SVA’s design leaders reflect on the impact of time, technology and taste on their industry and offer predictions of what lies ahead.

environments, business tools and the culture at large. In this sense, it is more con sequential than ever, with growing awareness among its practitioners and the general public that decisions made at the drafting table can have immense, and un intended, consequences—in certain cases either contrib uting to the planet’s salvation or consigning it, and us, to further doom.

To get a sense of how design and design pedgagogy has changed, we spoke with the following current and for mer SVA faculty and chairs:

Gail Anderson (BFA 1984 Media Arts), faculty (1991 – ), chair of BFA Advertising and BFA Design (2019 – ), creative director of the Visual Arts Press, SVA’s in-house design studio.

Liz Danzico, co-founder and chair of MFA Interaction Design (2009 – ) and vice president of design, engagement expe riences, at Microsoft.

Molly Heintz (MFA 2011 Design Criti cism), chair of MA Design Research, Writing and Criticism (2016 – ) and editor in chief of Oculus, AIA New York’s quarterly magazine.

Steven Heller, faculty (1974 – ); co-founder and co-chair of MFA Design (1998 – ); co-founder of MPS Branding (2010), MFA De sign Criticism (2008), MFA Interaction Design (2009) and MFA Products of Design (2012); design writer and historian (see page 16).

Barbara Nessim, faculty (1967 – 1992), artist, illustrator and graphic designer.

Miya Osaki, faculty (2016 – ), chair of MFA Design for Social Innovation (2019 – ) and experience design leader.

Lita Talarico, co-founder and co-chair of MFA Design (1998 – ), writer and architectural and design consultant.

Alice Twemlow, faculty (2006 – 2017), cofounder and chair of MFA Design Criticism, later MA Design Research, Writing and Criticism (2008 – 2017), and research professor, Royal Academy of Art, The Hague.

Richard Wilde, faculty (1969 – 2019), chair of Media Arts (1970 – 1991), inaugural chair of BFA Advertising and BFA Design (1991 – 2019).

HOW WOULD

barbara nessim I started teaching in 1967, hired by Bob Giraldi,1 who was the head of the advertising, design and illustration department—which were then all under one umbrella.

In the 1960s and ’70s, and even into the ’80s, the major places for advertising design, graphic design and illustration were magazines, printed matter and television. Magazines were on news stands on almost every corner in New York and other large cities; bookstores were plentiful and movie theaters were everywhere. People had time.

richard wilde It was “B.C.,” or “Before Computers”—an era whose roots were still influenced by Guten berg’s movable type. Hand skills were of the essence; production methodology was cumbersome by today’s standards.

For the most part, students had a background in painting, drawing and sculpture, and their motivating fac tor was to have a career that would monetarily support their needs and obligations. In short, their decision to go into advertising or design was based on financial expectations. When I became chair, it was my charge to show how the creative process of coming up with ideas and making original work could both fulfill the artistic urge and eventually align with financial rewards.

steven heller I joined the faculty around 1974. I taught a newspaper class for less than a semester because in the middle I was hired at The New York Times Op-Ed page.2

My first serious and long-term teach ing gig was 10 years later, for Marshall Arisman’s new MFA Illustration as Visual Journalism program.3 There was then a brand-new movement of expressionist graphic commentators dominating the editorial illustration field. Students were interested in

making visual statements, presenting stories and narratives through their work. Gradually, they were moving into graphic novels and other comic-strip forms. They were obsessed with met aphor, allegory, symbolism and finding their own personal voice.

Fourteen years later I co-founded the MFA Design/Designer as Author program with Lita Talarico (which we later renamed Designer as Author + Entrepreneur and, finally, Designer as Entrepreneur). Again, the imperative to find a personal voice while also creating socially relevant work was slowly shift ing the design experience.

lita talarico I founded MFA Design at SVA in 1997 with Steven Heller, and we welcomed our first incoming class in 1998. I did some research at the time and found only about 20 other graduate design programs out there, and none of them were like ours.

We created this department to serve as a professional, 24-hour design studio where our students could think, conceive and produce. The program was initially called Designer as Author, because we wanted students to create content. We adopted a multidisciplinary and entrepreneurial approach that embraced and wove together industrial,

graphic and environmental design. It was also necessary for students to learn how to protect their intellectual property. Conventional methods offered design students the chance to learn how to, for example, create a book about a toy, and a poster advertising the book about the toy. Our program said, “You can create the book, the poster, the toy, a movie about the toy and an exhibition featuring the toy.”

gail anderson I am SVA Class of 1984, which is now at least a million years ago. The design industry was publishing in my young mind. Mag azines and books, period—that’s all that mattered to me.4 Everything else was “that other stuff.” Advertising was Larry Tate and Darrin Stephens from [the 1960s sitcom] Bewitched . I was all about the printed page (that folded in half). When I started teaching, I was in love with all things typography, in addi tion to my publication obsession, and so were my students.

In time, the Mac changed everything about how we designed and executed our big ideas. I want to say it happened overnight, and in some ways it did for my students, with the advent of the magazines David Carson was creating: Beach Culture and then Raygun 5 Those were pretty grungy, illegible days for SVA design students, and they were in love with the work. It was fun to watch them explore.

liz danzico I formally joined SVA al most one year to the day after the first iPhone hit the market.6 It was a very different time in interaction design; a very different time in design.

Some people think of it as the start of the mobile Internet era, even though mobile phones existed long, long be fore it. But the iPhone did something special to the consumer market and its

STUDENTS were obsessed with metaphor,

allegory, symbolism and finding their own personal voice.

you describe the state of design when you joined the SVA faculty? What trends, personalities and projects dominated the conversation?

understanding of the power of design.

Rather than people going to banks, doc tors’ offices or stores, these places could now fit into one’s pocket via a glass and metal device. This changed everything from our daily habits and routines to global economics and human behavior. We ushered in our inaugural class of MFA Interaction Design on the heels of this era.

became something that a lot of people did for free or for very low fees.

But it was also a moment of oppor tunity and reinvention. Luckily, my definition of criticism had always been very broad, so I had included classes on curation and podcasting, for example, from the get-go, and skills like these soon became essential components in a design writer/journalist/critic’s tool set.

was exploding as a way to tell stories about design to a broad audience, with shows like [MPS Branding Chair]

Debbie Millman’s Design Matters 8 and Roman Mars’s 99% Invisible. Among our students, there was a real interest in exploring how to write about less tangible forms of design, like algo rithms and experience design.

miya osaki I started teaching at SVA in 2016, and came on as chair right before COVID. Every year has been differ ent and I feel that we’ve been just responding, responding, responding.

But this pandemic has also given us space to think about things that we may have not had time or the ability to look at before, particularly issues of race and the dynamics within our social systems. The window for change opens and closes very quickly. I hope that we’ve learned some new languages and new approaches.

What would you say is the single most significant shift within the design discourse since you began teaching? What has not changed—or not changed enough?

alice twemlow Although I’d taught in MFA Design, my primary involve ment with SVA was to set up the MFA in Design Criticism with Steven Heller in 2008. A few years later I reworked the program into a one-year MA, with an emphasis on research. This was in some part to do with the way that the field of design writing and criticism was so fundamentally changed in the wake of the global economic crisis, a change that was for the worse in many respects. Magazines folded and, even as online platforms proliferated, writing

At the same time, and possibly related to the state of the design industry, we had many designers joining the program who wanted to enrich their practices with the addition of new approaches to research, as well as historical knowledge and criti cal perspectives.

molly heintz When I joined SVA, sustainability was becoming a core value across all design fields—some thing expected versus a feature. The industry was experimenting with rapidly evolving technologies, like 3D printing and wearables.7 Podcasting

nessim The most significant shift is the multitude of ways that design and illustration are delivered to an audience and the time that people have available to look at them, or the lack thereof. Our 24-hour day is getting shorter and shorter by greater time demands, a shrinking economy and globalization.

In the 1940s, ’50s and ’60s, one could ponder over an illustration by the likes of Norman Rockwell, for example. People were buying magazines like The Saturday Evening Post, which featured illustrations; Life, which featured pho tography; and Look, which gave birth to photojournalism. One could study the details of a visual and gather informa tion through the lens of realism.

Fast-forward to today: The length of time a person spends receiving visual information has shortened, as attention spans are divided by all the distractions

and media that is blasted out in the world. We have lost the luxury of time.

wilde The computer impacted design and advertising beyond our wildest dreams—everything was at the de signer’s fingertips and the possibilities of creating numerous solutions to any given project in turn gave the designer greater options for success. Its impact was profoundly felt on every level of the industry, and it positioned the design community as an integral part of the larger world of communication. Design was no longer a service business, but could function as an end in itself. Interaction design and motion-graphic technology greatly enhanced the scope of what a designer could be.

heller I would argue that there is little design discourse today. The late 1980s and ’90s was the peak of volatile design debate and philosophical align ment. Today, there is more acceptance of diversity, not just individual diversity but aesthetic, pragmatic and philo sophical ways of making and going. Designers seem less concerned with style than function. This is neither good nor bad, just a different pack age of concerns triggered by issues of sustainability, politics and freedom of expression.

talarico In the beginning, we were waiting for the technology to catch up to the students’ imaginations. When the technology came, it just continued to expand design, particularly with regard to entrepreneurship. Maybe 10 or 12 years ago, we got to the point where you could create a MVP 9 in-house and on a much shorter timeline—the whole process of iteration changed.

The danger with technology is there’s always this notion of, “Let’s take the designer out of design.” That’s what happened with desktop publishing; it promoted the idea that people with no background in typography or layout could create their own newsletters. And it’s always a false promise. To have good design, you always need a designer.

anderson The game changer for all of us was the Internet and its endless scrollable information. Students are worldlier, savvier and better informed. Their expectations are higher, and they have the opportunity to enter an indus try that offers them a seat at the table as equals to the big shots—the Larry Tates. They are much more fully formed than I was in 1984, and certainly voice more opinions than I felt I was allowed to at their age (too much Catholic school for me). It’s not about entitlement—it’s about access and confidence.

danzico The most significant shift has been access.

Designers and makers have access to more tools, more choices, more people, more inspiration and more stories of success and failure. Consumers have more access to good and bad design, which makes them more discerning. Of course this is only true for people who have access to devices and/or WiFi. But it’s sweeping enough to have deeply impacted our industry.

twemlow In 2008, design and design writing and research considered its engagement with remediating the climate crisis as something optional, its complicity in engendering the An thropocene10 as something that could be offset with environmentally friendly paper choices. Now of course things are very different. Everything we do, whether it’s being a designer, writer or educator, is centered on the issue of climate justice.

1 G iraldi, currently the chair of MPS Directing, has taught at SVA for over 50 years.

2 H eller was an art director at the Times for 33 years.

3 S ee page 56.

4 A nderson has designed for Vintage Books, The Boston Globe and Rolling Stone

5 B each Culture (1989–1990) and Raygun (1992 – 2000) were magazines that served as vehicles for designer David Carson’s experimental typography.

6 A pple co-founder Steve Jobs unveiled the iPhone in his keynote speech at the Macworld Conference in January 2007; the first models of the revolutionary device went on sale in June of that year.

7 P opular wearables— consumer electronics designed to be worn— include fitness trackers and smart watches.

8 Millman’s long-running

podcast, featuring interviews with creative professionals in various fields, won a National Design Award in 2011.

9 A n MVP, or minimum viable product, is the stage of design when a project is considered to be ready for consumer use.

10 T he Anthropocene is a name assigned to our current geological era, indicating that human activity is primarily responsible for the state of the Earth’s climate and ecosystems.

11 T he administration of President Donald Trump issued an open call for designs for its promised U.S.–Mexico border wall in 2017; according to an Associated Press tally, the respondents numbered around 200.

12 P resident Trump’s 2020 Executive Order on Promoting Beautiful Federal

Civic Architecture was revoked by President Joe Biden shortly after he took office.

13 NFTs, or non-fungible tokens, are digital assets meant to function as a form of ownership for online art and other media.

14 “ Web3” refers to a new iteration of the Internet, decentralized and based on the blockchain technology that powers cryptocurrency and NFTs.

15 C oined by UX designer Darcy DiNucci, “Web2” refers to the current Internet, which is dominated by apps, social media and a select few powerful corporations.

16 A metaverse is a virtualreality space where users can interact in graphically rich environments.

heintz After the 2016 election, conversations took on a new urgency among our faculty and older alumni, who understood what was at stake with the shift in political power. It took more time for the students to understand that design is political, but they started to see it every day in the newspaper, from design proposals for the border wall11 to a mandate for all new federal build ings to be in the classical style.12 The political climate, the #MeToo movement and the Women’s March, the stark inequities exposed by the pandemic and the Black Lives Matter movement have shifted the design discourse to focus on social justice, equity and inclusion. There is a long way to go yet. But one indicator of progress is that many de signers would think about (and answer) the question “What is good design?” in a different way than they would have 10 or even five years ago.

osaki We have a stronger sense of how much healing the world really needs. We’re taking a hard look at consumer ism and how that has really driven a lot of design. I even take issue with the word sustainability these days. Are we sustaining companies or are we trying to make sure that nature is respected and can regenerate?

While human-centered design might work well for products, it falls short and can even be harmful in a service and systems-design sense. It doesn’t really allow for deep relationships, nor does it allow for us to understand each other.

Our current methods of design need to be questioned and reimagined with greater care.

Where do you sense the industry is heading? What kinds of opportunities await SVA students and new design graduates?

nessim When I was 25, a person who was 50 asked me what I wanted out of life. I really thought about it for a few long and silent minutes and answered, “I want to be true to myself.” This person said, “Don’t be so corny.” I was taken aback! Now at 83, with a success ful and happy life, I would give the same answer.

Another major change will be in cryptocurrency, blockchain technology and NFTs.13 These will be as important a game changer in all industries as com puters were in the 1980s.

wilde It’s difficult to predict what the future holds.

What is encouraging is that there exist opportunities for new graduates, as they would be the first to embrace new technologies as they unfold. This merger of combining a high level of ideation, which is what SVA is known for, makes the possibilities seem vast.

heller There will be more oppor tunities to employ new technologies. Graphic design will continue to merge into product design, interaction design and who knows what else—assuming that the world does not blow itself to bits.

talarico We’re about to celebrate the department’s 25th anniversary, and we’re planning an alumni and faculty summit about this, talking about the next 20 years for the industry. It’s just going to expand more and be inclusive

of media, platforms . . . opportunities that we have not even considered yet.

The industry will always be changing, so you have to have a strong foundation of skills and be resilient and adaptable. Good design depends on critical think ing, communication, collaboration and creativity—that never changes.

anderson Now our graduates will be able to work from small towns, beaches and the tops of mountains—they don’t have to be cooped up in offices five days a week if they choose not to. I’m ex cited about the new crop of design and advertising professionals. They’re less single-minded than I was and have all kinds of crazy new media right at their fingertips.

danzico The industry has an opportu nity and a responsibility to listen, shape and act—that last verb is not optional, by the way. Designers have the par ticular benefit of being in the business of shaping the future. And where we stand, right now, is at a tremendous opportunity for design.

We happen to be on the precipice of two important moments: For lack of a better term, we’re turning a page on a new chapter being termed as “Web3”14 and with it comes a host of new oppor tunities for designers and the industry. It’s fitting for us, since our program began at the relative start of “Web2.”15

The blockchain, cryptocurrency, inter actions in one or more metaverses16 and other interactions yet to be defined are all emergent ideas and/or systems to be shaped, refined and reckoned with. And the industry has a critical role to play in humanizing the intersections across areas of life.

twemlow What’s new and particular right now of course is the urgency of the socio-political-environmental crises.

It may be the case that we’ll see graduates heading not so much to jobs in existing design firms in the U.S., but rather to setting up their own initiatives and platforms based around the issues they care most about, which may also lead them to spaces and geographical locations not traditionally associated with design. I’m quite excited about this development, where the full spectrum of skills, methods, approaches, theories and ideas that we introduce them to in their education can be put to the test, in situations where it really matters.

heintz The design industry is starting to understand that engaging with social justice is not only about the projects you work on, it’s about your own studio and diversifying the voices and life experi ences around the table and empowering those voices to be leaders. The same goes for design publications. It’s not just about covering diverse designers, it’s also about giving that byline to a new storyteller. And the same goes for schools. Bring in new faculty and change up the syllabus, readings and guest speak ers from the usual suspects to create an environment where a wider array of students can feel safe, feel heard and thrive.

osaki There’s a need for new design leadership—pathways that are more di verse and intersectional and abundant. There’s also a need for decentralization in the industry. While keeping things interconnected, acting locally may allow us some freedom to explore and dream.

Contributions and interviews have been condensed and edited.

Anne Quito (MFA 2014 Design Criti cism) is a journalist and design critic. She wrote Mag Men: Fifty Years of Making Magazines (2019) with Walter Bernard (1961 Graphic Design) and the late Milton Glaser, a longtime SVA faculty member and former acting chairman of the College’s board.

Paul Sahre is a graphic designer and BFA Design faculty member at SVA.

The danger with technology is there’s always this notion of, “ LET’S TAKE THE designer OUT of design.”

A

ost of you reading this al ready know a good deal about the School of Visual Arts.

In all likelihood you are one of the College’s 41,000plus alumni, but maybe you are one of the more than 7,000 undergraduate, gradu ate and continuing-education students, from more than 128 countries, who are attending now, or among the unknown number of applicants who hope to enroll next year. You could be among the approxi mately 1,300 people (many of them, not coincidentally, also alumni or current students) employed by SVA, whether as faculty, staff or adminis tration. Or maybe you are a relative stranger to SVA and found this magazine by happenstance—on a friend or relative’s coffee table, in an artist’s studio or, less likely, buried in a time capsule, someday far into the future.

Regardless, for all but a se lect few Visual Arts Journal readers, there is probably much of the College’s his tory—its founding, its founders, its 75 years of evo lution and growth—that you don’t know. A fuller, more colorful version of this story may be found in a commemo rative anniversary book that will be published early next year by the Visual Arts Press, the in-house design studio at SVA (see page 4). A truly exhaustive account may be pieced together through ded icated research at the SVA Archives, established in 2007 to house College publications, records and other ephemera (archives.sva.edu). But for those looking for an over view, the following text should suffice.

SVA’S FOUNDERS, Silas H. Rhodes and Burne Hogarth, came from different profes sional backgrounds. Rhodes, a Bronx-born World War II Army pilot with a PhD in English, was working in the federal government’s Vet erans Administration (now Veterans Affairs). Hogarth, four years Rhodes’s senior and raised in Chicago, had been a working cartoonist since his teens, and was best known for his work on the Tarzan of the Apes, a news paper strip he illustrated for many years beginning in the late 1930s. The two met through their shared interest in left-wing politics (more on that later).

With young veterans looking to start civilian ca reers and the GI Bill offering funding for education and vocational training, Hogarth had been trying to start a school that prepared artists for commercial and edito rial success—“teaching the actual, working, two-fisted facts about cartooning and illustration,” as he wrote not

long after, in an essay an nouncing the school’s launch. Together, the two established the Cartoonists and Illustra tors School, or C&I for short, with Rhodes securing the VA’s approval.

C&I was initially located in a partitioned loft space at 89th Street and Columbus Avenue on the Upper West Side, with an inaugural en rollment of 35 and a faculty of three. As both numbers grew, so did the school’s footprint. In 1950, opera tions relocated to the Demilt Dispensary, a 19th-century building at the corner of Second Avenue and 23rd Street, which has since been torn down. Six years later, to reflect its expanding mission, C&I was renamed the School of Visual Arts and by 1960, it had moved once again, to a one-time dental school at 209 East 23rd Street. SVA still occupies this address today, which now serves as the nucleus of a sprawling and noncontiguous campus comprising more than 10 buildings and nearly 1 million square feet of space.

IN 1970, Hogarth retired from SVA, eventually moving to California. He published a number of instructional books and collections of his work, lectured widely and was internationally rec ognized for his role in the development of comics as an art form. He died in 1996, at the age of 84.

Rhodes, who had been the driver behind the school’s transformation into a more fully rounded educational institution, attracting appli cants from not just the New York City area but around the world, served as president until 1978—when the current president, his son David, was appointed to the role—after which he served as chairman of the College’s board until his death in 2007, at the age of 91.

The SVA of today and the past several decades has been, in large part, a family enterprise. In addition to President David Rhodes, another of Silas’s sons, An thony, occupies the executive vice president position, from

which he runs the College’s administrative operations, admissions and alumni outreach. Both brothers have worked at SVA in varying capacities since their teens. Among other early jobs, David once painted the ban isters in the 209 East 23rd Street building. More con sequentially, he also served as director of Admissions, chair of Humanities and Sci ences and vice president for Academic Affairs. Anthony’s earlier service included time as an admissions counselor and director of Continuing Education, which reorganized with its current director, Joseph Cipri (BFA 1987 Me dia Arts). With Gary Shillet, the College’s long-serving chief financial officer, he also established the Human Resources office.

“We all had the same goal in mind, which is to make SVA much better,” Executive Vice President Rhodes says of his and his fellow admin istrators’ efforts. “I wanted SVA to be the best-run college in the country, and I’m so proud that everybody’s stuck to that idea.”

FROM LEFT

Early C&I posters; U.S. Army portrait of Silas Rhodes; undated photo of Rhodes teaching; early C&I catalog, featuring Burne Hogarth in the upper left photo; C&I’s second home; Will Eisner’s Gallery, 1975, presenting of SVA student work; SVA painting studio, c.1966. Images courtesy the SVA Archives and Visual Arts Press.

Glaser named gallery

Keith Haring (1979 Fine Arts) works in a campus space during his time as an SVA student, c. late 1970s; completed SVA gallery show proposal form by Haring, 1979. Images courtesy the SVA Archives.

C&I DID NOT OFFER degrees, but within a few years it had already grown to add classes in advertis ing and design. As SVA, the institution’s ambition and scope broadened further, with courses in fine art, fashion, television (and later film), photography and the humanities.

In 1972, the New York State Board of Regents— the governing authority for educational programs in the state—authorized SVA to confer the Bachelor of Fine Arts degree, mak ing it the first proprietary school in New York to be so recognized. The College’s offerings were subsequently accredited by other orga nizations, including the Middle States Commission on Higher Education. In 1991, SVA became a charter member of the Association of Independent Colleges of

Art and Design, or AICAD, a nonprofit consortium of 37 Canadian and American insti tutions, as well as six affiliate schools overseas, dedicated to sharing best practices and promoting the value of an education in the arts.

Just over 10 years after its introduction of BFA degree programs, the College won approval for its first master’s degree program, MFA Fine Arts. In 2022, SVA is home to 11 undergraduate and 19 grad uate departments in a range of creative fields, from ani mation to interior design to art therapy. Its most recent degree offering is a Master of Arts option from the Art Ed ucation Department (which has run an MAT program since 2003). This fall, what is arguably the College’s oldest department, for cartooning, changed its name to BFA Comics, in recognition of how the discipline has grown since 1947 (see page 11).

BEGINNING WITH Hogarth himself, SVA policy was to employ top working profes sionals as its instructors, a tradition that continues today. As Silas Rhodes once explained, “If students are not exposed to greatness, they will never understand certain aspects of greatness.”

A full accounting of distinguished SVA faculty would be impossible in this space. Instructors in the College’s foundational subjects—cartooning and illustration—have included the late Will Eisner, creator of The Spirit comic strip and early graphic novel A Contract With God; the late Harvey Kurtzman, creator of Mad (the late BFA 1976 Media Arts alumnus Nick Meglin and 1969 alumnus Al Jaffee, among other gradu ates, would go on to work for the magazine); and the late Robert Weaver, an illustrator whose journalistic approach helped to transform the practice. George Tscherny, the designer responsible for identity campaigns for W.R.

Grace and Texasgulf (as well as SVA’s flower-like logo, created in 1997), was the first design faculty member to be hired, in 1955, and such influential talents as Paula Scher and the late Ivan Chermayeff and Milton Glaser followed. Other past and present faculty include artists Carrie Mae Weems, Lorraine O’Grady and the late Alice Neel; critics Jerry Saltz, Amy Taubin and Lynne Tillman; avant-garde composer Steve Reich; the late cinematographer Gordon Willis (The Godfather trilogy) and three-time Academy Award-winning sound engi neer Christopher Newman (The Exorcist, Amadeus).

FROM THE START, SVA’s lean administration, its will ingness to experiment and its trust of faculty to structure and teach their courses and programs as they best see fit have given it an agility rare among institutions of higher education. This qual ity is often credited among administrative and academic leadership as the reason for the College’s success.

“I was a kid—I mean, really, a kid,” says Everett Aison, the artist, writer and filmmaker who co-founded the College’s film department in the early 1960s. “And [Silas] gave me a great deal of freedom and listened to me.”

“SVA, for me, was the freedom to have a vision and be able to not have anybody looking over you, or telling you you couldn’t do it,” says Lita Talarico, co-founder and co-chair of MFA Design at SVA (see page 42).

This spirit of experimen tation and innovation runs throughout the College’s operations. SVA was an early adopter of the computer as a creative tool: its MFA program in computer art, launched in 1986, is consid ered the first of its kind in the U.S. Since 2011, the BFA Fine Arts Department has been home to a “bio art” labora tory—equipped with a host of scientific instruments, work stations and collections—for the pursuit of projects at the intersection of science and fine art. The SVA Destina tions programs—short-term, location-based courses in Cuba, Los Angeles, Bali and Italy, among other places— are created and organized by faculty and staff, not the administration.

Begun in the mid-1950s, SVA’s most consistent adver tising effort, a long-running poster campaign designed for display in New York City’s subway stations (see page 11),

also functions as a public-art project: the participating faculty are given considerable leeway with the assignment, and encouraged to create a work that is personally mean ingful to them. Early on, SVA committed to an enterprising and inventive exhibitions program for both students and visiting artists (see page 28), and under the leadership of 3D Design Chair Kevin O’Callaghan (BFA 1980 Media Arts), students have also mounted attention-grabbing themed shows in such iconic New York spaces as Rockefel ler Center (such as “Dashing Through New York,” a 2018 exhibition of repurposed sleighs) and Grand Central Terminal (“Yugo Next,” a 1995 exhibition of repurposed Yugo cars).

FROM LEFT “Dashing Through New York,” 2018; C&I class, c.1947; Milton Glaser with students, 1987; an SVA Chelsea Gallery exhibition; November 23, 1981, cover of Canvas ; November 13 – 15, 1969, issue of The Utterer ; poster for “Black Artists” (1970), organized by the United Black Artists of SVA; “Send Our Boys Home” (1966), an anti-Vietnam War poster by Cris Gianakos (1955 Fine Arts), which Silas Rhodes displayed in his office; figuredrawing class; campus green-screen studio; WSVA, SVA’s radio station, c.1983, photo by Nuriel Guedalia. Images courtesy the SVA Archives, Gianakos and the Visual Arts Press.

First MFA program, in fine arts

SVA: A PRIMER

STUDENT LIFE AT SVA

—an urban campus in the heart of Manhattan, popu lated with artists from all over the world—has never been the stereotypical Ameri can college experience. There is no athletics program, no grassy quad, no Greek life. Instead, the College has developed a campus culture all its own.

In 1970, SVA established WSVA, the College radio station, which originally broadcast on the FM band and now streams online (wsvaradio.sva.edu). In the 1975 – 1976 academic year, SVA students formed the Visual Arts Student Associ ation, the College’s student government. VASA officers, elected annually, organize fairs, parties, cultural outings

and other events throughout the year and engage the SVA administration on issues affecting students’ experi ences. Student housing was introduced in 1981, with the rental of several dozen rooms in a nearby YMCA building, Sloane House; today the College operates four residence halls, including the purpose-built 24th Street Residence, opened in 2016. And while student newspa pers (Canvas, The Utterer) have come and gone through the years, Visual Opinion, a student-produced art and literary magazine, has been publishing for two decades and counting.

Veterans remain integral to the campus community.

SVA participates in the Yellow Ribbon Program, which offers tuition and fee assistance not covered by the Post-9/11 GI Bill, offers a veterans’ discount on continuing education, and is routinely included on the Military Friendly Schools list, compiled each year by the veteran-owned market ing and research company VIQTORY. The Veteran Coalition of Arts, a collec tive dedicated to supporting and promoting the work of veteran artists, is among the many student-run clubs on campus. (Others include the Asian American Student Union, Black Student Union, Cartoon Allies, La Bodega, LGBTQ+ SVA and a Women in Animation chapter.)

A PARAMOUNT VALUE

at SVA, as at any creditable college or university, is a commitment to free speech. This has been a personal value for the College’s leader ship as well.

Hogarth and Rhodes’s early political associations—both had attended Communist Party meetings years before founding SVA—resulted in a contentious appearance in 1956 before notorious red-baiting Senator Joseph McCarthy and a Senate subcommittee investigating schools that were supported through the GI Bill, and a subsequent audit from the VA, which temporarily put the school’s future in doubt.

Years later, David Rhodes, not yet SVA president, would be arrested in 1965 for his participation in the civil rights marches from Selma to Montgomery, Alabama, organized in part by the Stu dent Nonviolent Coordinating Committee, then led by John Lewis, who would later be come a member of Congress. (In 2014, Lewis delivered the SVA Commencement

keynote address. His Na tional Book Award–winning graphic-novel memoir series, March, was illustrated by BFA 2000 Cartooning gradu ate Nate Powell.)

On campus, SVA students have organized protests against the Vietnam War in the 1960s and ’70s and, in the 1980s, U.S. policies in Central America and South Africa; this past year, a group of SVA staff, faculty and students participated in New York City’s Pride March (see page 9), in support of LGBTQ+ equality. In 1969, SVA hosted the first meeting of the Art Workers Coalition, a group formed to advocate for workers’ rights and fair wages. Silas Rhodes was known for allowing antiwar activists to use the College’s facilities to print their post ers and leaflets, and David Rhodes directed College resources to support a num ber of advocacy campaigns masterminded by Milton Glaser (who became acting chairman of the SVA Board following the elder Rhodes’s death). These drew attention to everything from genocide in Darfur to our catastrophi cally warming planet.

AS SVA LOOKS to the future and the drafting of its next strategic plan, expected in the coming years, the institution’s challenges and opportunities are clear.

As the art and design pro fessions become increasingly global and decentralized— and long-running issues of representation and equal ity deservedly come to the fore—the College will endeavor to expand its curriculums and recruit its students, faculty and staff with an increased focus on inclusivity. To that end, SVA established an office of Diversity, Equity and Inclusion in 2020, charged with identifying, prioritizing and addressing inequities on campus, and engaging the entire College community in its efforts. Other ongoing efforts include developing a campus master plan, to best

harness SVA’s existing space and resources; encourag ing continued innovation in the College’s academic programs and engagement with peer institutions and industry partners; and, most significantly, converting the institution to a nonprofit organization, to better secure the College’s continued suc cess in the decades to come.

“In my 44 years as pres ident,” President Rhodes says, “there has been no ‘grand design’ other than to be the best art college. SVA has moved toward that goal incrementally—one deci sion, one program at a time. I expect that, whatever its structure, SVA will continue in this pragmatic way, while hiring good people and giving them the freedom to achieve excellence.” ◆

FROM LEFT 1966

SVA photo by Chris Stein (1973 Fine Arts); “Straight Information” lectures poster, 1971; 1981 exhibition flier printed at SVA; SVA Destinations; the BFA Fine Arts Bio Art Lab, opened in 2011; SVA’s International Student Office; Devaun Dowdy (BFA 2020 Cartooning) in a shirt by A.E. Kieren (MFA 2021 Illustration as Visual Essay) for the spring 2020 Style , a Visual Arts Press publication; SVA’s 24th Street Residence, opened in 2016; the SVA Theatre, opened in 2009.

Images courtesy the SVA Archives, SVA Printshop and Visual Arts Press.

Tscherny

Milton Glaser Design

Center

“His stories were like magic; he would always pull a new rabbit out of his hat.”

“With Marshall, everything was on the table, anything was possible and nothing was precious.”

“He was both comedic and serious, meditative and full of spontaneity.”

“‘Does that make sense?’ When Marshall would say that, he would usually be telling you something that made no sense, at least not immediately.”

“One Marshall-ism was, ‘If it’s a cow and it wants to be a pig, let it be a pig.’”

“I try to tell my students what he told us, which is to think of yourself not just as an illustrator, but as the author of your own projects.”

The Seer

REMEMBERING MARSHALL ARISMAN 1938 – 2022

The School of Visual Arts lost one of its most beloved and consequential figures in April, when artist Marshall Arisman, founder and chair of the Col lege’s MFA Illustration as Visual Essay program and longtime faculty mem ber, died suddenly of heart failure.

Arisman joined the SVA faculty in 1964 and three years later was named chair of Design and Illustration. In 1970, he became co-chair, with Richard Wilde, of Media Arts. In 1984, he established MFA illustration at SVA. First called MFA Illustration as Visual Journalism, it was the College’s sec ond graduate offering, after MFA Fine Arts. Nearly 40 years on, it is one of the most distinguished programs of its kind, with a long list of notable alumni whose work ranges from fine art to children’s books to film and television productions. Following Arisman’s death, longtime faculty member David Sandlin was named its acting chair.

Few SVA educators have had a ten ure as long as Arisman’s. Fewer still have inspired such devotion among their students. This was partly due to his professional renown. His art is in the collections of such institu tions as the Smithsonian Museum of American Art, and over the course of his career he contributed regularly

“Marshall knew just how to gently tip a student slightly off balance, to make them reconsider what they were doing.”

“I remember Marshall first of all for his generosity—it never felt like he favored anybody—and for his ability to be kind even when he was being critical.”

“Marshall helped us find things inside us that even we couldn’t see.”

“He always had a smile on his face, he was always full of stories, and he made you feel at ease about being an artist.”

to such publications as The New York Times and created cover art for books by authors like Bret Easton Ellis (American Psycho). His subject matter could be grisly, but it was just as often sublime, a polarity captured in the tagline he wrote for his 2014 poster series for the College: “Art is the space between angels and demons.”

Arisman attributed his success to his twin insights that illustrators should approach their work as a fine artist would, cultivating a distinct voice and an independent practice, and that one’s best work is rooted in one’s own biography— beliefs which formed the basis of his teaching. He would tell students stories from his own unusual life story—born and raised in rural western New York, he grew up steeped in hunting and butchery and was powerfully influenced by his spiritualist grandmother, who was a practicing psychic and medium— and engage them in wide-ranging conversations, urging them to mine their own backgrounds. The overall effect, by seemingly universal accord, was singularly inspirational.

“People say that Marshall changed their life,” says Kim Ablondi (BFA 1980 Photography), director of operations for MFA Illustration as Visual Essay for nearly 30 years. “But really, he was giving people the encouragement and confidence to change their own lives.”

“Marshall used his immense talent as a storyteller to engage people in explo rations of metaphysical sensations that can be hard for contemporary humans to detect, but which were part of his daily experience,” Sandlin says. “This extra sensory perception gave him an air of equilibrium and humor that could calm the fractious and charm the skeptic. In the two decades I worked with Marshall, I never once saw him lose his temper.”

In honor of Arisman’s impact at SVA, the Visual Arts Journal has gathered the following tributes from MFA Illustration as Visual Essay alumni. Any readers who have a memory or piece of art in spired by Arisman to share for a future memorial are encouraged to write to mfaillustration@sva.edu. Additionally, a Marshall Arisman Scholarship Fund, to benefit students in the MFA pro gram, has been established by Dee Ito, Arisman’s widow and the writer behind many of SVA’s best-known taglines and poster campaigns. To donate, visit visualartsfoundation.org.

THERE ARE A LOT of teachers who will teach you how to draw their way. Marshall’s approach was to take the best of what you did and make it better. If you didn’t understand that, you didn’t understand him.

I used to talk with him for hours. He was the funniest, most positive guy. Whenever you went to him with a problem, he just sort of smoothed your feathers. And then the week of graduation he said, “We’re starting the master’s program and I want you to be in it.” I was in the first class, with [fel low 1986 alumni] Gil Ashby [also BFA 1982 Media Arts] and Jeffrey Smith and Kevin McCloskey.

I used to work with my mom, who wrote children’s books. When she saw Marshall’s art—with the metal heads and the violent imagery—she couldn’t get why I was so impressed with him. And then she met him and said, “He’s not like his paintings at all!” He was like a lighthouse.

—Mickey Paraskevas (1986; BFA 1984 Media Arts) is an artist, illustrator, au thor and children’s television creator.

I FIRST MET MARSHALL in the mid’90s. I was teaching at the Kansas City Art Institute and John Ferry [MFA 1994 Illustration as Visual Essay], who also taught there, invited Marshall to give a workshop for the students.

I was totally prepared to dislike this man. I was thinking about all the metal teeth and the distorted space in his work, and he was from New York, and I just had this resentment. But then I watched him roll out black paint on white Plexi and start to make this face out of it by pulling the paint away, and the whole time he was talking about storytelling, and it just was so warm. It made me realize how unhappy I was, going from assignment to assignment. Afterward, at a faculty lunch, I went up to him and said, “I may just drop every thing and apply to your program.” And he said, “I think you should!”

I was kind of an illustration nerd, a little narrow-minded, but Marshall made you think about starting your own projects. Don’t just wait for clients to determine where you’re going with your work—be your own person. He didn’t believe illustration and fine art were

“Marshall said, ‘Every kind of work that every one of you is doing here has a home. It just needs to find that home.’”

“He was the funniest, most positive guy. He was like a lighthouse.”

CLOCKWISE FROM TOP LEFT Marshall Arisman and colleague Kim Ablondi; Arisman with former students Michael Lauritano, Mike Hirshon, Jonathan Bartlett, Lisa Anchin, Hyesu Lee and Kelley Hansing; portrait by Moonsub Shin; Arisman at work; sketch of Carl Titolo and Marshall Arisman by Jonathan Twingley; Arisman with former students Jin Xiaojing, Anna Raff, Ishita Jain, Doug Salati and Lys Bui; portrait by Michael Marsicano; Arisman with former student Arif Qazi. Photos courtesy Ablondi, Jain and Salati; portraits courtesy the artists.

irreconcilable. He said, “Every kind of work that every one of you is doing here has a home. It just needs to find that home, whether it’s a client or a gallery.”

And he was right. I threw overboard a lot of stuff I didn’t want to do anymore; I started getting work from the Los An geles Times and the Boston Globe; I was getting into the Society of Illustrators; I started showing my work in Chelsea. This was something I’d never dreamed of doing. I’d intended to be in New York for two years, and now I’ve been here for almost 25.

—Mark Bischel (2000) is an artist, illustrator, SVA faculty member and assistant professor at Kutztown University.

ALONG WITH BEING an exceptional image maker, mentor and mensch, Marshall was a true magician whose superpowers unlocked energies and paths you never knew you had inside. That’s what he did for me, and I’ve been trying to do the same for my students ever since.

Fortunately, when one is able to trans form generations of artists, teachers and friends, one is never lost. There is so much of him in so many of us, we’ll always find him in each other. Students who just missed him will feel his pres ence when we ask them to “draw what they know.” And when they do, they will get to know him, too.

—Viktor Koen (1992) is a designer, illustrator and chair of BFA Comics and BFA Illustration at SVA.

MARSHALL WAS THIS MAGICAL, shaman-like guy. He always had a smile on his face, he was always full of stories and he made you feel at ease about being an artist.

When I went to the MFA program, I was expecting it to put us through the wringer, but it wasn’t like that. From the first week, we were all just in the studio, working on our own. It was life-changing. It really taught us how to rely on and trust ourselves. I’ve shown Marshall’s TEDx talk, “The Woo Woo in Art,” in my classes. His philoso phy—that you look for inspiration in

your own life and the subjects that you know best—seems really simple, but it’s profound.

Marshall was super proud of his stu dents, and that’s something I’ve carried with me in my own work as a teacher and a chair. A few years after grad school, I visited him with the first book I’d published and he said, “You would’ve done it with or without us.” And I said, “Yeah, maybe.” [Laughs.]

—Shadra Strickland (2005) is an artist, author and assistant chair of illustration at the Maryland Institute College of Art.

IN MY SECOND YEAR at SVA I switched from the undergraduate illustration program to the MFA, and went from having tons of homework every week to an almost completely open schedule. There was a bigger structure to the program, but for the most part we were given studio spaces and then left alone, which was initially very weird for me.

As I settled in, I started to get Marshall’s teaching philosophy: Give students time and space and freedom.

“When one is able to transform generations of artists, teachers and friends, one is never lost. There is so much of him in so many of us, we’ll always find him in each other.”

CLOCKWISE FROM TOP LEFT Marshall Arisman with former students Annie Won and Paul Hoppe; portrait by Riccardo Vecchio; former student Liam Eisenberg with Arisman; portrait by Natalya Balnova (2013); Arisman with former students Elisabeth Alba and Eric Collins; live sketch of Arisman at the 2000 SVA Commencement by Mark Bischel; Arisman with former students Authan Chen, Boris Lyppens, Ishita Jain and Chris Reisenbichler; portrait by David Sandlin; Kim Ablondi, former students Nina Frenkel and Aya Kakeda, and Arisman; former student Allene La Spina with Arisman; Arisman. Photos courtesy Ablondi and Hoppe; portraits courtesy the artists.

“Charismatic people can be intimidating, but he was never like that. You could tell he loved all of his students equally.”

“Everyone wanted their time with Marshall, so any moment you could steal alone with him, you had to take it in.”

“He surprised me with his kindness, humor and wisdom. . . . Marshall enthralled and motivated everyone.”

Marshall and the instructors were there if we sought help, but they treated us more like “artists” than students. It was two years of finding myself through artmaking.

One time, Marshall said, “When we are going through the artistic process, we don’t know what we’re doing—we’re completely in the dark. But when you reach a benchmark in your artistic journey and look back, all the paths you took, in what felt like complete dark ness, make total sense.” And indeed, everything in those two years made total sense.

And did I mention that Marshall always had good stories? You would think he had run out of them, and there would always be a new one. They were like magic; he always pulled a new rabbit out of his hat.

—Yuko Shimizu (2003) is an artist, illustrator and SVA faculty member.

THE FIRST TIME I met Marshall was when I popped in for a visit a few weeks before the program started. The eleva tor opened up into this artist’s loft type of space. The whole floor smelled like art, and Marshall was the only person there. I’d known about him before I applied—he was very much one of the guys in illustration—and I couldn’t believe I not only had him to myself, but he was talking to me seriously about my thoughts about art. Everyone wanted their time with Marshall, so any mo ment you could steal alone with him, you had to take it in.

I grew up Catholic, but Marshall was the first spiritual person that made an impression on me. His presence alone could inspire and reinvigorate us. He’d tell stories and bring in guests to talk shop, but it was his thoughts on the intangible underpinnings of art in our minds that I loved the most. He was pure magic.

—Michael Marsicano (2008) is an illustrator and faculty member at the Ringling College of Art and Design.

MY FIRST MEETING with Marshall was when I came to SVA to discuss apply ing to the MFA program. I had brought along several of my oil paintings in a large case and, with childlike curiosity, he immediately wanted me to show him what was inside. He surprised me with his kindness, humor and wisdom. He seemed to know exactly what I needed to hear.

In my first semester, Marshall asked us to find interesting paper somewhere and create a piece with it. I tore off parts of different posters that were pasted on construction-site walls, glued them to a board and painted a prostitute from memory on it—a woman whom I saw every night on my walk home from the studios. When we brought the work in for critique, Marshall pointed to my piece and asked, “Who did this?” I came forward, and he said, “Hmmm, some thing really happened here. I think you had an epiphany.”

Marshall enthralled and motivated everyone. He helped me to see what was important within myself and in my work, especially when I couldn’t see it, and to be fearless and follow my intu ition. His amazing teaching usually came from the front, but important things also snuck in from the side when you didn’t see them coming. One Marshall-ism was, “If it’s a cow and it wants to be a pig, let it be a pig.” And then he’d say, “Does that make sense?”

He will be deeply missed. —Carol Fabricatore (1992) is an artist, illustrator and SVA faculty member.

“DOES THAT MAKE SENSE?”

When Marshall would say that, he would usually be telling you something that made no sense, at least not immedi ately. It’s a phrase that everybody who’s had him as a student picks up, particu larly if they go into teaching.

After I was hired as a chair at FIT, I made an appointment to talk with Kim and Marshall. I’d never been a chair person and I felt like I needed guidance. And Marshall told me, “In every choice you make, choose what will make life easier.”

At first I was disappointed—I was ex pecting some spiritual piece of wisdom. But with time, I realized what he meant and how important it is. It’s not about taking shortcuts. It’s about looking at ev ery decision through the lens of whether it will make myself and the people around me happier, and whether it will give us the space to focus on what we’re really there to do, which is to make art. —Brendan Leach (2010) is a comics artist, illustrator and chair of MFA illustration at the Fashion Institute of Technology.

MARSHALL ARISMAN changed my life with this single sentence:

“For those artists who believe that creativity is not the sole province of the

fine artist, we offer this program in illustration.”

In January of my senior year of college in Minnesota I sent out a lone graduate school application after stumbling across this description of Marshall’s program while making ramen noodle soup at midnight in the art department’s kitchenette. It was cold outside. My undergraduate career was coming to an end. I needed to do something.

A metaphor I’ve often used with my students when describing their young lives as artists seems to be the very spirit of the program Marshall founded, and what brought me to the MFA pro gram at SVA in the first place: It’s like sitting down and unfolding the map of your life only to find that the damned thing is blank. This is terrifying, but it is also an exhilarating possibility. Your future is your future. And with the right kind of pen and a lucky breeze, your life can be something extraordinary. –Jonathan Twingley (1998) is an au thor, illustrator, SVA faculty member and adjunct associate pro fessor at the University of the Arts in Philadelphia.

I GREW UP IN ITALY and came to SVA on a Fulbright Scholarship. This was way before the Internet and cell phones were what they are today, so when you left your home to go to another country, it was quite a leap. Marshall’s warmth and his ability to make you feel welcome were a great help.

I remember Marshall first of all for his generosity—it never felt like he favored anybody—and for his ability to be kind even when he was being critical. He took a playful approach and taught through stories and analogies. It never felt like he was imposing a solution on you, or a right or wrong way to do something. He would say, “I can’t give you advice, but I can give you a suggestion.” He wanted you to question yourself, look again and make the work on your own terms. —Riccardo Vecchio (1996) is an artist and SVA faculty member.

I GOT MY UNDERGRADUATE degree at the University of Arts London, and my chairperson recommended I apply to the MFA in illustration at SVA. At first I was put on the wait-list, but then Marshall sent me an email inviting me to enroll.

I was extremely insecure when I started. Because I’d been on the

wait-list, I thought all of the 19 other students were better than me, and I booked so many one-on-one meet ings with Marshall because I wanted encouragement. Charismatic people can be intimidating, but he was never like that. I’m sure everyone says this, but you could tell that he loved all of his students equally.

I just felt like the program was my home, like I was meant to be there. I met my husband, Ben Voldman [faculty, MFA Computer Arts; MFA 2011 Illustration as Visual Essay], when we were both students, and Marshall officiated our wedding! He was a real mentor to me.

Hyesu Lee (2011) is an artist, illustra tor and SVA faculty member.

MARSHALL WAS AND WILL REMAIN a powerfully influential storyteller and mentor. He had the kind of charm, personality, empathy and swagger that made it hard not to be swept up in his energy, his stories, his “Whatever, whatevers” and his aura of creativity. He had a way of engaging that made you feel like the most important person in the room. Whether he was teaching, critiquing or just hanging out, he was always present, welcoming and gener ous with his feedback and time.

As an educator, I admired his knack for getting to the story behind the story and helping students discover their personal voice. It was like he had a sixth sense of understanding what was at the

root of things and how to help you find your own path, what you had to say and why you were saying it. It inspired how I approached my work, and deepened my interest in visual storytelling beyond illustration as a professional pursuit, regardless of media. With Marshall, ev erything was on the table, anything was possible and nothing was precious—you just had to do the work to earn it.

So many of us who learned under Marshall and the program graduated with not just the confidence and ability to make beautiful work, but a sense of responsibility to create work that speaks to something larger than ourselves and contributes to the practice and culture of narrative art. He was one of a kind. I am forever grateful for all he shared and can only hope to give back as much as he gave.

—Nathan Fox (2002) is an illustrator and chair of MFA Visual Narrative at SVA.

MARSHALL CREATED DARK ART, but he was the most positive spirit I have ever met. He told dramatic stories, tragic stories and sometimes even made-up stories, and they enlightened us to the fact that every bad experience can be a good story, and we will not only survive but thrive from it.

He passed his passion and power on to everyone and gave us the best advice for life and art. I learned life lessons from Marshall: Balance the darkness and

hope, have fun with life and embrace sadness. The most important thing is that I have I learned to create a path of my own. I believe that every one of his students has captured a piece of Marshall’s spirit in their actions and in their minds.

—Yuke Li (2020) is an artist and illustrator.

TO HAVE BEEN singled out by Marshall to be his teaching partner for the past few years will remain one of the great est honors of my life. Each Tuesday morning, in the guise of a peer, I got to relive my own experience in the pro gram, secretly trying to soak up every moment I had with him.

In our class, Marshall chuckled every time I shared a comment he made about my piece in our first critique back when I was his student. “You’re going to have a hard time once you start to draw better,” he’d said.

That remains the most prescient, im portant bit of advice I ever got about my work. I think about it almost every day. Maybe I’m not supposed to draw better, whatever “better” means. Marshall knew just how to gently tip a student slightly off balance, to make them re consider what they were doing, nudging them toward their best work.

Marshall gave us permission to be the artists we want to be. He taught that the answers we seek about our work—about life—are already within us. The gifts are

“He encouraged his students to live lives beyond ‘illustration’ and to tap into their own silly, kooky and mundane interests.”

“Marshall created dark art, but he was the most positive spirit I have ever met. He enlightened us to the fact that every bad experience can be a good story, and we will not only survive but thrive from it.”

there for the taking, if we allow our selves to notice. And what a gift we all had in him.

—Anna Raff (2009) is a children’s book illustrator and SVA faculty member.

MEMORIES, VISIONS, PREMONITIONS, messages in rune stones, epiphanies on the dentist’s chair—Marshall loved to tell stories. He encouraged his students to live lives beyond “illustration” and to tap into their own silly, kooky and mundane interests.

“It doesn’t matter if someone has already done it—do it your way,” was his advice as we embarked on our thesis projects. He called illustration a lonely business, but when talking of art and community, he was amazed at how generous people are with their time and knowledge, and all that anyone is look ing for is, simply, connection.

On a single floor of a building in Chelsea, a bunch of curious, wandering, drawing souls armed with paint and paper find themselves intertwined by a maze of little studios. When I think of all the lives that have crossed paths there and feel connected through our shared memory of this mystical man, I think of his generosity, which carries on across generations of creators.

—Ishita Jain (2020) is an illustrator, designer and SVA faculty member.

“WHY DON’T I have my own style?”

This was one of my biggest concerns in the MFA program, because my drawing style had not been formed yet. When I discussed this with Marshall, he advised me to draw in all the styles I could, and to focus more on storytell ing during the process. He said that my identity as an artist would then be formed naturally.

This was one of the most important moments in my life as an artist, and it happened in a very peaceful and ordi nary way. And now I have grown into an illustrator who is cultivating his own style. I believe that something similar has happened to thousands of other artists, too, and that the inspiration that Marshall has given to us will be with us at every important moment, in a very peaceful and ordinary way.

—Moonsub Shin (2014) is an illustrator.

I WAS TENDING BAR in Hoboken and doing illustrations for The New York Times and the Village Voice when I found out about Marshall’s program. I don’t know if the school would want to print this, but I didn’t have a bachelor’s

degree when I applied. I convinced Marshall to let me enroll by promising to finish that degree while also getting my MFA.

We took classes with Marshall and [former faculty] Robert Weaver and Jim McMullan, and it was just eye-opening. Marshall would work in front of the students as he taught and he smoked these French cigarettes, even while he was painting in oils! People like [art editor and publisher] Françoise Mouly (whom I now work with) and [cartoonist and former SVA faculty member] Art Spiegelman came to speak. For my the sis project, I worked with [illustrator] Julian Allen. Marshall had contacts for everybody.

I really think of him as my mentor. When he told me that I should teach, I said, “I don’t know if I want to be a college professor. I would be a traitor to my working-class roots.” He told me that was the stupidest thing he’d heard—he was very frank—and I ended up teaching for more than 30 years. I try to tell my students what he told us, which is to think of yourself not just as an illustrator, but as the author of your own projects—you make something and then you find a place for it. —Kevin McCloskey (1986) is an author, illustrator and former professor of illustration at Kutztown University.

LIKE MANY OF HIS STUDENTS, I sa vored class time and interactions with Marshall. He was both comedic and serious, meditative and full of sponta neity. His drawing demos could include hilarious—and sometimes shocking— anecdotes that he would transpose moments later into universal truths.

Discussions often presented more ques tions than answers, but they were the significant and important questions he asked us to consider. Marshall did not dictate or demand in his instruction. He observed intently and guided us with an honest analysis of our work.

He asked you to observe with aware ness—to take note of what drew you into an idea, or a momentary interac tion, or the memory of a dream—and to pull from that energy with purpose. He encouraged you to judge yourself and the work less harshly in order to be free to move forward and to be open to letting something new emerge. —Doug Salati (2014) is an illustrator and SVA faculty member.

WHEN MARSHALL and Carl Titolo were teaching together, they were the

perfect team—entertaining, inspiring and knowledgeable. I learned from them that “style” or preferred medium and technique is not something you choose; it chooses you. If your work comes from the heart, it will be good work. But you have to try a lot of things, be open and listen. Marshall helped us to find things inside us that even we couldn’t see.

Marshall was also instrumental in getting [SVA President] David Rhodes to sponsor the printing of the Rabid Rabbit comics anthology, which I co-founded with fellow MFA alumni Chris M. Bu tzer [2005], Ben X. Trinh [2004] and Sungyoon Choi [2006]. In our five-year run, we featured contributions from doz ens of alumni and even Marshall himself.

Ten years after the program, I saw that Marshall was giving a workshop on drawing with a comb, one of his signa ture techniques, at the Rubin Museum of Art. I signed up for it and had a blast, and have been able to use the comb for quite a few pieces since. But mostly, I was just happy to spend more time with Marshall. Just being around him energized me to make my best art.

—Paul Hoppe (2005) is an author, designer, illus trator and SVA faculty member.

“DRAW WHAT YOU KNOW.”

I’ve been pondering that phrase for the past seven years. First I would get lost in the “know”—as a very rational being, my head went spinning. What does one even know? There is so much that I don’t! Then I’d get lost in the “you”— that deep tunnel of, “Who am I, really?” I would be rescued, profoundly, by the “draw,” but always with the sensation that I was missing something.

I was walking home recently and sud denly thought of Marshall’s advice, and for the hundredth time (or more) that I’ve said them, out loud or in my head, I suddenly heard it. “Draw what you know” is drawing what you know deep down inside, not in your head but in your heart. Draw with love. Draw from your gut. Draw what you know.

Marshall also told me not to think so much, so I’ll stop with the words. Thank you, Marshall, for sharing your light with all of us.

—Eugenia Mello (2017) is an illustrator, art director of Enchanted Lion Books and SVA faculty member. ◆

Contributions and interviews have been condensed and edited.

ALUMNI AFFAIRS

Printed materials from SVA Alumni Society activities from its earliest years in the 1970s through the present day. Courtesy the SVA Archives.

We’re Golden: The Alumni Society at 50

A message from Jane Nuzzo, director of Alumni Affairs and Development at SVA

❋In the fall of 1971, The SVA Alumni Chronicle—a precursor of sorts to the Visual Arts Journal reported on the formal establishment of the Alumni Society of the School of Visual Arts. That May, over 100 attendees had joined a reception and lunch at the George Washington Hotel to celebrate the occasion. Editorial cartoonist Tom Darcy (1955 Cartooning) received the first Outstanding Alumni Award. Alumni Affairs Director Tom Gill—a longtime faculty member and program chair, who received an honorary degree in 1983—conducted a brief inaugural business meeting. A slate of officers and board members were unanimously elected, including Bernard Wagner (BFA 1981 Fine Arts) as the Society’s president elect. And SVA co-founder and then President Silas H. Rhodes announced plans for the College's upcoming 25th anniversary, in 1972.

Five decades later, SVA is celebrating its 75th anniversary, and our global community of alumni is now more than 40,000

strong and growing. Alumni Affairs and Development remains dedicated to the early mission of the Society: advancing the cultural and educational interests of this diverse community; maintaining an active relationship with alumni through programs, publications like the Visual Arts Journal, and special events; and engaging alumni in the College’s mission to educate future generations of artists, designers and creative professionals.

With these goals in mind, the SVA Alumni Society evolved into an independent 501(c)(3) nonprofit following its formal incorporation in 1972. Beginning in 1976, the Society expanded its programs to include an annual fund for student scholarships.

SVA Executive Vice President Anthony P. Rhodes, who served as board chairman from 2000 to 2015, was instrumental in the organization’s expansion, including championing the annual Support the Talent campaign—and the distribution of scholarships—as its primary mission.

The current board of directors, overseen

by Chairman Todd Radom (BFA 1986 Media Arts) since 2015, has helped to sustain and grow these efforts, including the flagship Alumni Scholarship Awards program, started in 2002. In that year, 10 students received merit awards. Today, we administer more than two dozen funds— including the Alumni Society Merit Award, the Alumni Society Housing Scholarship and many named funds established by individual donors—distributing more than $150,000 to over 100 students each year. This growth has been made possible by the generosity of alumni, parents and friends of the College. Most recently, we established the Emergency Assistance Fund in the spring of 2020, providing monetary grant support to students with extenuating circumstances who are experiencing short-term financial hardship.

As we celebrate the College and the Alumni Society’s anniversaries, please consider contributing to our 2022 Support the Talent campaign and helping ensure our continued success. Through the end of the year, donors of $75 or more will receive a book, produced by the College’s Visual Arts Press studio, commemorating SVA’s history to date (see page 4). As always, 100% of donations to the Alumni Society go directly to current SVA students’ educational and financial needs.

To learn more and donate to the SVA Alumni Society, visit sva.edu/alumnisociety.

SPRING 2022 SVA ALUMNI SOCIETY AWARDS

The SVA Alumni Society celebrates its latest group of award winners: nine students and recent graduates, representing a range of the College’s undergraduate programs.

Thanks to the generosity of alumni and friends of the College, each spring the SVA Alumni Society distributes several awards honoring current and graduat ing students. The accolades include the Alumni Society Merit Award , for a BFA candidate who demonstrated commu nity building and leadership excellence while at SVA; the Brian Weil Memorial Award , for graduating BFA Photogra phy and Video students; the Jack Potter Memorial Award , given to two firstyear students who have demonstrated exceptional drawing skills; the Lila Eva Lewental Memorial Award and Rod man Family Scholarship, merit-based awards for second- or third-year stu dents; the Richard Wilde Award , given to third-year BFA Advertising and BFA Design students; the Russell J. Efros

Memorial Award , for graduating BFA Film students; the Silas H. Rhodes Me morial Award , established in memory of SVA’s founder, given to third-year BFA Visual & Critical Studies students who demonstrate excellence in writ ing; and the Will Eisner Sequential Art Scholarship, for BFA Cartooning students entering their third or fourth year of the program.

Alumni Society Merit Award

Nicole Otaola , BFA 2022 Animation

Brian Weil Memorial Award

Fernanda Lutteroth, BFA 2022 Photography and Video

Jack Potter Memorial Award

Zhixuan Chen, BFA Illustration

Reiko Numao, BFA Illustration

Lila Eva Lewental Memorial Award

Athena Gil, BFA 2023 Computer Art, Computer Animation and Visual Effects

Richard Wilde Award

Clara Angela , BFA Design

Rodman Family Scholarship Award

Aleyda Ortiz, BFA Computer Art, Computer Animation and Visual Effects

Russell J. Efros Memorial Award

Martin Matar, BFA 2022 Film

Silas H. Rhodes Memorial Award

Bridget Ashvil, BFA Visual & Critical Studies

Will Eisner Sequential Art Scholarship Apollo Baltazar, BFA Cartooning

1. Martin Matar, still from Dolma, 2022, 16 mm film.

2. Athena Gil, Big Moose , 2019, digital.

3. Bridget Ashvil, Open Window, 2021, oil on canvas.

4. Reiko Numao, Red Versus Black , 2022, oil.

5. Nicole Otaola, still from Directed By, 2022, animated film.

6. Clara Angela, Punch Guide to Drinking in Manhat tan, 2021, book design.

7. Fernanda Lutteroth, Por ti soy y tú eres por mí. Tú eres yo. , 2022, mixed media.

8. Zhixuan Chen, Self Portrait , 2021, acrylic on canvas.

9. Aleyda Ortiz, Hada en las Magnolias , 2022, 3D digital illustration.

10. Apollo Baltazar, Interlocking Pieces , 2021, digital.

DONORS

The Alumni Society gratefully acknowledges these SVA alumni who gave to the society January 1 through June 30, 2022.

Anonymous (6) Heidi Antman BFA 1986 Media Arts Eric Argiro BFA 2004 Graphic Design George Arthur 1967

David Balkan BFA 2017 Illustration Gina Barbusci BFA 1984 Media Arts Paul Basile 1969 Advertising Gary Brinson BFA 1985 Media Arts

Barbara Browne 1970

Julianna (Ferriter)

Bruce BFA 1986 Fine Arts Bob Callahan 1964 Advertising Carol Caputo 1960 Graphic Design Kevin J. Casey BFA 1976 Photography Te Chao MFA 2014 Illustration as Visual Essay Anthony Chibbaro 1979

Gladys CortezFeliciano, LCAT MPS 2006 Art Therapy Charles Curcio BFA 1983 Media Arts

Michael F. Daly BFA 1985 Media Arts Haydee Diaz BFA 1986 Media Arts Candace (alumnus) and Jeffrey Dobro MPS 2010 Digital Photography

E. Mercedes Everett BFA 1986 Media Arts

Diane Fienemann

BFA 1984 Photography David Fried BFA 1987 Photography Bill Giles 1968

Michele Hasson BFA 1986 Communication Arts Everetta Harper BFA 1997 Graphic Design

Chris Hung BFA 2001 Computer Art

Catherine A. Jones BFA 1979 Media Arts

J.H. Kim BFA 2020 Animation

Abby Kreh 1962 Illustration

Herbert Linden 1963 Fine Arts

Missy Longo-Lewis BFA 1984 Media Arts

Patrick F. Loughran BFA 1980 Fine Arts

Edward Luiso 1968 Media Arts

Patrick McDonnell (alumnus) and Karen O’Connell BFA 1978 Media Arts

Leith McLoughlin 1974 Graphic Design Karen Novak 1979

Donald A. Orehek 1951 Cartooning T. Padavano BFA 1984 Media Arts

Peter Papulis BFA 1977 Fine Arts Craig Plestis BFA 1987 Film and Video Steve Pullara BFA 1979 Fine Arts

Alfred Ragin 1969 Advertising

Edward Ramirez BFA 1981 Fine Arts

Barbara Rietschel BFA 1976 Media Arts

Frank Riley BFA 2003 Illustration

Jorge L. Rodriguez BFA 1976 Fine Arts

Julio Sanchez

BFA 1989 Media Arts

Laura Scarola Ferro 1973

Linda Siris 1969

William Sponn BFA 1985 Media Arts

Vesper Stamper MFA 2016 Illustration as Visual Essay Eva Tom BFA 1987 Media Arts

Thomas Trengove 1968

James Tung

BFA 1998 Graphic Design

Constance von Collande 1966

Kevin “Gig” Wailgum

MFA 1991 Illustration as Visual Essay

Mark Willis

BFA 1998 Illustration

Karen Wolf Leeman 1972

We also thank these parents and friends of SVA who supported the SVA Alumni Society. Anonymous (2) Michelle Bonime

BRD Foundation Ralph Colucci Donna and Louis Di Lillo EP Engineering

Patricia Garufi in honor of Carl Krupp, photographer Susan Ginsburg

Grant Thornton

Greene Family Mary Lee Grisanti Mr. and Mrs. John Guglielmo

Dr. J. Isenberg

Jiro Ito

Joyce Rutter Kaye Priscilla Lindenauer

Novartis

Laura Thomas TK Elevator

Urban Maid Green Wells Fargo Middle Market Banking Will and Ann Eisner Family Foundation Caroline Yamazaki Roberts

Michele Zackheim

ALUMNI NOTES & EXHIBITIONS

SVA alumni achievements from December 1, 2021, through May 31, 2022. To submit an item, email alumni@sva.edu.

GROUP EFFORTS

Keith Burns (BFA 2006 Fine Arts); MFA Photography, Video and Related Media alumni Daqi Fang (2017), William Miller (2017) and Rehan Miskci (2014); Antonio Pulgarin (BFA 2013 Photography); and Poyen Wang (MFA 2017 Computer Art) had work in the group exhibition “Bronx Calling: The Fifth AIM Biennial,” The Bronx Museum of the Arts, NYC, 11/10/21-3/20/22.

MFA Fine Arts alumni Graciela Cassel (2014), Donna Cleary (2014) and Kahori Kamiya (2009) had work in the group exhibition “Home Room: IRL,” Radiator Gallery, NYC, 11/20/21-1/17/22.

Many SVA alumni participated in or showed work during Miami’s Art Week, 11/29-12/5/21. Keith Haring (1979 Fine Arts), Rance Jones (MFA 1993 Illustration as Visual Essay), KAWS a.k.a. Brian Donnelly (BFA 1996 Illustration) and Kenny Scharf (BFA 1981 Fine Arts) had work on view at Art Miami. Barbara Kolo (BFA 1981 Media Arts) and Shai Kremer (MFA 2006 Photography, Video and Related Media) had work on view at Context. Mark Dion (1985 Fine Arts), Inka Essenhigh (MFA 1994 Fine Arts), Keith Haring and Kenny Scharf had work on view at INK. Erika Somogyi (BFA 1999 Fine Arts) and Jenny Morgan (MFA 2008 Fine Arts) had work on view at NADA. Quinn Dukes (MFA 2015 Art Practice) and Brian Whiteley (MFA 2013 Fine Arts) organized and participated in, Alexandra Hammond (MFA 2015 Art Practice) performed at, and Jennifer McDermott (MFA 2014 Fine Arts) and Alfredo Travieso (MFA 2014 Art Practice) had work on view at Satellite Art Show. Linjie Deng (MFA 2017 Design for Social Innovation), Heather Olker (MFA 2020 Photography, Video and Related Media), Rachel Pontious (BFA 2011 Illustration) and Robert Raizk (BFA 2010 Fine Arts) had work on view at Scope. MFA Fine Arts alumni Paul Amenta (2000), Nadine Faraj (2015) and Carlos Rosales (2020); BFA Fine Arts alumni Ryan Brown (2006) and Dana James (2008); and Ilona Szwarc (BFA 2013 Photography) participated in or showed work at Untitled. Also at Untitled: Dan Halm (MFA 2001 Illustration as Visual Essay; BFA 1994 Illustration) curated the SVA Galleries booth, which presented work by BFA 2021 Photography and Video alumni Carlos Becerra, Chris Facey and Abbey Gilbert ; MFA 2021 Fine Arts alumni

Doi Kim and Alexander Si; Danielle LaRose (MPS 2021 Digital Photography), Yizhi Liu (BFA 2021 Fine Arts), Song Lu (MFA 2021 Photography, Video and Related Media) and Thomas Quinlan (BFA 2021 Illustration). Other alumni who showed work during Miami Art Week include Charles Fazzino (BFA 1977 Media Arts), at Red Dot; Ja’Tovia Gary (MFA 2014 Social Documentary Film), at Art Basel Miami Beach; Carolina Paz (MFA 2021 Fine Arts), at Uncool Artist, Miami; Caprice Pierucci-Taniguchi (MFA 1989 Fine Arts), at Design Miami; and Kseniya Vlasova (BFA 2003 Graphic Design), at Spectrum Miami.

George Del Barrio (BFA 1998 Photography) curated and Doug Condon (MAT 2007 Art Education; BFA 1999 Illustration), Karen Gibbons (MPS 2005 Art Therapy), Markus Holtby (MFA 2019 Fine Arts), Juliet Martin (MFA 1998 Computer Art) and Jasmine Vollherbst (BFA 2005 Illustration) had work in the group exhibition “WHOLENESS: 17th Annual Small Works Show,” 440 Gallery, NYC, 12/1/21-1/7/22.

Trey Abdella (BFA 2016 Illustration), Vincent CY Chen (BFA 2015 Fine Arts) and Kenny Rivero (BFA 2010 Fine Arts) were featured in “Next Big Things 2021,” Galerie, 12/3/21.

Chris Prynoski (BFA 1994 Animation) and Shannon Prynoski (BFA 1994 Film and Video) were featured in “The Boys Animated Spin-Off Series Diabolical Announced by Amazon Prime Video,” Variety, 12/5/21.

Matthew Pillsbury (MFA 2004 Photography, Video and Related Media), Collier Schorr (BFA 1985 Communication Arts) and Caroline Tompkins (BFA 2014 Photography) were featured in “The Year in New Yorker Photography,” The New Yorker, 12/7/21.

Nora Krug (MFA 2004 Illustration as Visual Essay) and Dash Shaw (BFA 2005 Illustration) were featured in “The Best Graphic Novels of 2021,” The New York Times, 12/10/21.

Storm Ascher (BFA 2018 Visual & Critical Studies) co-curated and Ryan Cosbert (BFA 2021 Fine Arts) and Renée Cox (MFA 1992 Photography and Related Media) had work in the group exhibition “House of Crowns,” Phillips and Superposition Gallery, NYC, 12/15-12/20/21.

Tyler Comrie (BFA 2015 Design), Rodrigo Corral (1995 Graphic Design), Janet Hansen (BFA 2007 Graphic Design) and Rachel Willey (BFA 2012 Graphic Design) were featured in “The Best Book Covers of 2021,” The New York Times, 12/17/21.

Kyle Henderson (MFA 2019 Photography, Video and Related Media) curated and MFA Fine Arts alumni Eliza Boyer (2019), Dana Robinson (2019) and Hanna Washburn (2018) had work in the group exhibition “Pop Up! A Celebration of Art and Relaxation,” SoMad, NYC, 12/17/21-1/7/22.

Dawoud Bey (1977 Photography) and Pacifico Silano (MFA 2012 Photography, Video and Related Media) were featured in “Time’s 20 Best Photobooks of 2021,” Time, 12/22/21.

Jennifer Kinon and Bobby C. Martin, Jr. (both MFA 2003 Design), and Carina Sandoval (MPS 2018 Branding) were featured in “Champions Design,” Communication Arts, 1/1/22.

Tomoko Sugimoto (BFA 1999 Illustration) and Mel Reese (MFA 2017 Fine Arts) had work in the group exhibition “Embracing 2022,” The Gallery, NYC, 1/4-2/26/22.

Doi Kim curated and Nefeli Asariotaki, Maho Donowaki and Anthony Reamer (all MFA 2021 Fine Arts)had work in the group exhibition “As the light disperses into the eyes,” PCV A, NYC, 1/8-1/23/22.

BFA Fine Arts alumni Peter Hristoff (1981) and Judy Mannarino (1981) curated and had work in in the group exhibition “Acid Garden,” which also featured work by BFA Fine Arts alumni Gabrielle Benak (2019), Kenny Rivero (2010) and Michelle Weinberg (1983); Steve DeFrank (MFA 1990 Fine Arts); and Joey Gonnella (BFA 2020 Visual & Critical Studies), Charles Moffett, NYC, 1/19-2/19/22.

Andrea Cordoba (MFA 2018 Social Documentary Film) produced La Guerra Civil ; Zackary Drucker (BFA 2005 Photography) starred in Framing Agnes ; MFA Social Documentary Film alumni Yuby Hernandez (2020) and Jenni Morello (2011) were associate producer and director of photography, respectively, for Aftershock; Bao Nguyen (MFA 2011 Social Documentary Film)

MICHELLE WEINBERG (BFA 1983 Fine Arts), Night Bloomers, 2022, carbon transfer on mulberry paper. On view at “Acid Garden,” curated by Peter Hristoff and Judy Mannarino (both BFA 1981 Fine Arts), Charles Moffett, NYC, 1/19-2/19/22. Courtesy Charles Moffett.

produced Maika; Andrew Semans (BFA 2001 Film and Video) directed Resurrection; and Greta Zozula (BFA 2010 Film and Video) was the cinematographer for Call Jane and Summering, all of which screened at Sundance Film Festival, Park City, UT, 1/20-1/30/22.

James Bascara (BFA 2011 Illustration) directed Cathedral, and Olivier Bernier (BFA 2006 Film and Video) directed and co-produced, Michael Capone (BFA 2006 Film and Video) worked on post-production for and Justin Noto (BFA 2006 Film and Video) co-produced Forget Me Not which screened at Slamdance Film Festival, Park City, UT, 1/20-1/30/22.

Dawoud Bey (1977 Photography), BFA Photography alumni Nona Faustine (1994) and Justine Kurland (1996) and Penelope Umbrico (MFA 1989 Fine Arts) donated work for “Artists In Focus: Benefit Auction 2022,” Baxter Street Camera Club of New York, NYC, 1/28-2/10/22.

Katherine Miller (MFA 1996 Illustration as Visu al Essay), Peter Papulis (BFA 1977 Fine Arts), Peggy Roalf (1971) and Richard Vivenzio (MFA 2016 Fine Arts) had work in the group exhibition “Flag Project 2022,” Rockefeller Center, NYC, 2/1-4/30/22.

Janice Bond (BFA 1985 Media Arts), BFA Photography alumni Justine Kurland (1996) and Eric Weeks (1987) and Pacifico Silano (MFA 2012 Photography, Video and Related Media) had work in the group exhibition “2022 Print Auction Exhibition,” Houston Center for Photography, Houston, 2/11-3/11/22.

Tiffany Alfonseca (BFA 2020 Fine Arts) curated and Kenny Rivero (BFA 2010 Fine Arts) had work in the group exhibition “Pa’l Patio,” Calderón Gallery, NYC, 2/11-4/2/22, which was featured in “Editors’ Picks: 12 Events for Your Art Calendar This Week, From Ad Reinhardt Curated by James Turrell to Larger-Than-Life Chewing-Gum Art,” Artnet, 2/22/22.

Robbie Banfitch (BFA 2007 Film and Video) screened The Outwaters, and Joey Skaggs (BFA 1982 Media Arts) screened Joey Skaggs: Fish Condos, New Jersey Film Festival, New Brunswick, NJ, 2/12/22.

MFA Photography, Video and Related Media alumni Matthew Baum (2007), Jade Doskow (2008) and Christopher Rodriguez (2008) and Jaime Permuth (MPS 2009 Digital Photography; MFA 1994 Photography and Related Media) founded an online photography education platform, PhotoPhlo, 2/16/22.

Chris Bors (MFA 1998 Illustration as Visual Essay) curated and had work in and Ketta Ioannidou (MFA 1999 Illustration as Visual Essay) had work in the group exhibition “Dark Shadows,” SPRING/BREAK Art Show, Los Angeles, 2/16-2/20/22.

Nick Crist (BFA 2010 Computer Art, Computer Animation and Visual Effects), Kun-I Chang (MFA 2007 Computer Art) and K. Downs (BFA 2012 Animation) were featured in “School of Visual Arts Alumni Return as Faculty to Share Their Expertise,” Cartoon Brew 2/17/22.

MFA Fine Arts alumni Katherine Bernhardt (2000) and Sarah Sze (1997), Dozie Kanu (BFA 2016 Film) and Anna Sew Hoy (BFA 1998 Fine Arts) had work in Frieze, Los Angeles, 2/172/20/22; Kanu, Sew Hoy and Sze were featured in “The 10 Best Booths at Frieze Los Angeles 2022,” Artsy, 2/18/22.

MFA 2006 Fine Arts alumni Jill Alexander, Jeff Beebe, Steven Bindernagel, Brent Birnbaum, Matthew Bradley, Dan Drossman, Mookwon Han Allison Hester Eve Krawiec Adam Krueger, Dylan Mortimer, Ted O’Sullivan, Pete Petrine, Ted Riederer and Ricky Sears had work in the group exhibition “A Delicate Balance,” The Waiting Room Gallery, Denver, 2/18-3/17/22.

Dawoud Bey (1977 Photography) and Lorna Simpson (BFA 1982 Photography) had work in the group exhibition “Currents and Con stellations: Black Art in Focus,” The Cleveland Museum of Art, 2/20-6/26/22.

Jaime Permuth (MPS 2009 Digital Photog raphy; MFA 1994 Photography and Related Media) and An Rong Xu (BFA 2012 Photogra phy) have work in the ongoing group exhibition “Celebrating the City: Recent Photography Acquisitions from the Joy of Giving Something,” Museum of the City of New York, 2/20/22.

Zackary Drucker (BFA 2005 Photography) and Collier Schorr (BFA 1985 Communication Arts) had work in the group exhibition “Orlando: Based on a Novel by Virginia Woolf,” Fotomuse um Winterthur, Switzerland, 2/26-5/29/22.

Visual Effects) was nominated for Outstanding Model in a Photoreal or Animated Project; and Josephine Noh (BFA 2006 Computer Art) was nominated for Outstanding Supporting Visual Effects in a Photoreal Episode, 20th Annual Visual Effects Society Awards, Sherman Oaks, CA, 3/8/22.

BFA Design alumni Megan Bowker (2016) and Sanuk Kim (2017) were featured in “Inspiring Creative Women to Follow in 2022,” Creative Boom, 3/8/22.

Dario Calmese (MPS 2012 Fashion Photog raphy) gave a talk, “Designing for Liberation”; Taylor Levy (BFA 2012 Film and Video) was an editor on Bodies, Bodies, Bodies ; David Maire (MPS 2014 Live Action Short Film) was assistant director of Quiet Nights ; MFA Social Documen tary Film alumni Yuby Hernandez (2020) and Jenni Morello (2011) were associate producer

had work in the group exhibition “Folding the Edges,” Gallery Kiche, Seoul, 3/17-4/6/22.

Dan Halm (MFA 2001 Illustration as Visual Essay; BFA 1994 Illustration) curated “Watch Your Step,” a solo exhibition of work by Laura Murray (BFA 2012 Fine Arts), Here Arts Center, NYC, 3/17-5/7/22.

Dario Calmese (MPS 2012 Fashion Photogra phy) and Penelope Umbrico (MFA 1989 Fine Arts) gave master workshops at Fotografiska, NYC, 3/24/22 and 4/3/22.

Dane LaChiusa (BFA 1983 Media Arts) and Justin Rivenbark (BFA 2018 Computer Art, Computer Animation and Visual Effects) had work in the group exhibition “By Visceral Effect,” Starta Arta, NYC, 3/25-4/1/22.

SVA alumni worked on many films recognized at the 94th Academy Awards, Academy of Motion Picture Arts and Sciences, Los Angeles, 3/27/22. Ben Aguillon (MFA 2004 Computer Art) was a CG supervisor and Chris Hung (BFA 2001 Computer Art) was a lighting artist for The Mitchells vs. the Machines, which was nominated for Best Animated Feature.

McKinsey Seungwon Ahn (BFA 2019 Computer Art, Computer Animation and Visual Effects) was a layout apprentice, Michael Altman (BFA 2014 Computer Art, Computer Animation and Visual Effects) was a character rigger, Juan Pablo Chen (BFA 2004 Computer Art) was an environment modeler, Nick Manfredi (BFA 2015 Computer Art, Computer Animation and Visual Effects) was a layout finaling artist, Cathrina McDonnell (BFA 2017 Computer Art, Computer Animation and Visual Effects) was a technical animator, Bryan O’Connell (BFA 2006 Film and Video) was a senior script coordinator and Brett Taggart (BFA 2015 Computer Art, Computer Animation and Visual Effects) was a character technical director for Raya and the Last Dragon, which was nominated for Best Animated Feature Film.

Ryan Brown (BFA 2006 Fine Arts) and Dana Robinson (MFA 2019 Fine Arts) had work in the group exhibition “Homecoming: Artist Alumni Exhibition,” Kates-Ferri Projects, NYC, 3/1-4/2/22.

BFA Fine Arts alumni Elizabeth Peyton (1987) and Amy Sillman (1979) participated in Season 6 of Dialogues: The David Zwirner Podcast 3/2/22 and 3/30/22.

Yebin Ahn (BFA 2018 Computer Art, Computer Animation and Visual Effects) was nominated for Outstanding Visual Effects in a Commercial; Johnny Han (BFA 2003 Computer Art) was nominated for Outstanding Visual Effects in a Photoreal Episode; Jonathan Lin (BFA 2012 Computer Art, Computer Animation and

and director of photography, respectively, of Aftershock; BFA 2003 Film and Video alumni Peter Phok and Ti West were producer and di rector, respectively, of X; and Greta Zozula (BFA 2010 Film and Video) was cinematographer on Soft & Quiet, all of which screened at South by Southwest, Austin, TX, 3/11-3/20/22.

Jen Bartel (BFA 2009 Illustration), Phil Jimenez (1991 Cartooning) and BFA Cartooning alumni Joshua Swaby (2020) and Lynne Yoshii (2000) were featured in “DC Pride 2022,” DC Comics blog, 3/15/22.

Ok Hyun Ahn (MFA 2003 Photography and Related Media) and Jeongmee Yoon (MFA 2006 Photography, Video and Related Media)

Michael Altman was a character rigger, BFA 2020 Computer Art, Computer Animation and Visual Effects alumni Chrisy Baek and Kayleen Acosta Rodriguez were lighting apprentices, Jaime Klein (MFA 2016 Computer Art) was a character technical director, Jonathan Lin (BFA 2012 Computer Art, Computer Animation and Visual Effects) was a modeler, Kyra Procopi (BFA 2021 Computer Art, Computer Animation and Visual Effects) was a technical animator apprentice, Raymond Ross (BFA 2004 Computer Art) was an animator and Fatema Tarzi (BFA 2000 Computer Art) was a lighting artist for Encanto, which won Best Animated Feature Film. Yohance Brown (BFA 2006 Computer Art) was a colorist for Summer of Soul, which won Best Documentary. Daniela Dwek (BFA 2020 Computer Art, Computer Animation and Visual Effects) was a character technical director, Nancy Kato (MFA 1991 Computer Art) was the directing animator, Ivo Kos (MFA 1991 Computer Art) was a sets modeling artist, Maria Lee (BFA 1988 Media Arts) was a shading artist, Jessica Monteiro (BFA 2010 Computer Art, Computer Animation and Visual Effects) was a lead technical direc tor–sequence lead and David Peng (MFA 2000 Computer Art) was an animator for Luca, which was nominated for Best Animated Feature Film. Craig Gillespie (BFA 1989 Media Arts) directed Cruella, which won Best Costume Design.

BFA Computer Art, Computer Animation and Visual Effects alumni Danica Parry (2012) and Sabrina Tenore (2009) were compositors for Tragedy of Macbeth, which was nominated for Best Cinematography. Nick Tustin (BFA 2014

PETER HRISTOFF (BFA 1981 Fine Arts), Special K , 2017, mixed media on canvas stretched over MDF. On view at “Acid Garden,” curated by Hristoff and Judy Mannarino (BFA 1981 Fine Arts), Charles Moffett, NYC, 1/19-2/19/22. Courtesy Charles Moffett.

Computer Art, Computer Animation and Visual Effects) was a lighting artist for Dune, which won Best Visual Effects.

BFA Animation alumni Dana Terrace (2013), Ian Jones-Quartey (2006) and Rebecca Sugar (2009) were featured in “11 Queer Animated Kids’ Shows to Stream Right Now,” New York, 3/29/22.

Samantha Friend (BFA 2016 Photography and Video) was a finalist and Katheryn Brock (MFA 2021 Art Writing) was an alternate for the Fulbright U.S. Student Program, 4/5/22.

Daryl Myntia Daniels (MFA 2016 Fine Arts)

and Heather Williams (MFA 2020 Art Practice)

were recipients of the 2022 Governors Island Residency, “Boundaries and Connection,” ArtCrawl Harlem, NYC, 5/1-10/30/22.

MFA 2016 Photography, Video and Related Media alumni Erin Davis and Maxwell Lee were featured in “New York Gallerists Say Landlord Shut Down Their Space to Censor Exhibition,” The Art Newspaper, 5/5/22.

Many SVA alumni took part in the inaugural New York Art Week, NYC, 5/5-5/12/22: Asya Geisberg (MFA 1999 Fine Arts) curated booths for her eponymous gallery at NADA and Future

silver for General–Promotional Video, The Telly Awards, 5/24/22.

BFA 2022 Interior Design alumni Ariella Ahdut , Yudi Chen Xiran Geng Yoojin Lee Jiabao Li, Xinze Li, Junyan Lu, Sky Morales , Botao Wang and Shuangyu Xi were featured in “School of Visual Arts Presents 10 Student Design Projects,” Dezeen, 5/26/22.

Dawoud Bey (1977 Photography) and Willie Cole (BFA 1976 Media Arts) were included in “Seeing in Texas: From Dallas to Houston and San Antonio, Museums Are Showcasing a Spectrum of African American Art,” Culture Type, 5/29/22.

1973

Tim Maul (Fine Arts) had a solo exhibition, “Tim’s Ruler,” Florence Loewy Gallery, Paris, 3/5-4/23/22, and was featured in “Critic’s Picks: Tim Maul,” Artforum, 4/23/22.

1975

Jamie Nares (Fine Arts) was interviewed in “Multidisciplinary Artist Jamie Nares Practicing Her Brushstrokes,” T: The New York Times Style Magazine, 4/21/22.

1976

Willie Cole (BFA Media Arts) had work in the group exhibition “Annotations & Improvisations,” Miles McEnery Gallery, NYC,

Dominick Bedasse (MFA 2019 Computer Arts), Amanda Sparso (BFA 2018 Computer Art, Computer Animation and Visual Effects) and Frank Lee (MFA 2005 Computer Art) gave a talk, “The Imagination Business: New Careers in Animation,” Center for Communication, NYC, 4/6/22.

BFA Fine Arts alumni Beth B (1976) and Anna Sew Hoy (1998) and Ja’Tovia Gary (MFA 2014 Social Documentary Film) received Guggenheim Fellowships, 4/7/22.

Chemin Hsiao (MFA 2013 Illustration as Visual Essay; BFA 2011 Animation) and Angela Miskis (BFA 2013 Visual & Critical Studies) had work in the group exhibition “Care/Repair: Mending the Circle,” Queens Botanical Garden, NYC, 4/22-5/28/22.

Aileen Bassis (1972), David Driscoll (BFA 2004 Computer Art), Allan Gorman (1969 Advertising and Mark Roussel (MPS 2014 Digital Photography; BFA 2001 Photography) had work in the group exhibition “NOW IS RIGHT HERE: 13th Annual Benefi t Art Auction & Party,” Gallery Aferro, Newark, NJ, 4/23/22.

Mariam Ghani (MFA 2002 Photography and Related Media) and Eric Rhein (MFA 2000 Fine Arts) had work in the group exhibition “Who Writes History?,” Arts Westchester, White Plains, NY, 4/23-7/3/22.

Amy Sillman (BFA 1979 Fine Arts) and Marianne Vitale (BFA 1996 Film and Video) had work in the group exhibition “The Milk of Dreams,” 59th International Art Exhibition of La Biennale di Venezia, Venice, 4/23-11/27/22.

Elaine Ashburn (1979), Lisa Deloria Weinblatt (MFA 1991 Illustration as Visual Essay), BFA Fine Arts alumni Li-Fang Hsieh (2022) and Peter Papulis (1977) and Arantxa X. Rodriguez (MFA 2019 Fine Arts) had work in the group exhibition MvVO Art’s “Ad Art Show 2022,” Westfield World Trade Center, The Oculus, NYC, 5/1-5/31/22.

Fair; Paul Gabrielli (BFA 2005 Fine Arts), MFA Fine Arts alumni Jenny Morgan (2008) and Hanna Washburn (2018) and Lorna Simpson (BFA 1982 Photography) had work on view at NADA; Storm Ascher (BFA 2018 Visual & Critical Studies) curated a booth for her gallery, Superposition, and MFA Fine Arts alumni Matthew Craven (2010), Nadine Faraj (2015), Ruth Freeman (2016), Julie Schenkelberg (2011) and Trish Tillman (2009) and Paul Gabrielli (BFA 2005 Fine Arts) had work on view at Future Fair.

BFA 2021 Photography and Video alumni Abbey Gilbert and Joni had work in the group exhibition “Lacuna,” Here Arts Center, NYC, 5/12-9/3/22.

BFA 2021 Computer Art, Computer Animation and Visual Effects alumni Roshel Amuruz , Carlos Taborda and Ashley Williams screened Cariño; Chie Hayakawa (BFA 2001 Photography) screened Plan 75 , and won the Camera d’Or Special Mention Award; Taekyu Kim (BFA 2021 Computer Art, Computer Animation and Visual Effects) screened Cold Hand ; and GJ Pelczar (BFA 2021 Computer Art, Computer Animation and Visual Effects) screened Ballad of Yuka, 75th Cannes Film Festival, Cannes, France, 5/17-5/28/22.

MFA Fine Arts alumni Katherine Bernhardt (2000), Inka Essenhigh (1994), Christine Sun Kim (2006) and Sarah Sze (1997); Carlos Motta (BFA 2001 Photography); and T.J. Wilcox (BFA 1989 Fine Arts) had work in Frieze, NYC, 5/18-5/22/22.

Bradley Castellanos (MFA 2006 Fine Arts) and MFA Photography, Video and Related Media alumni Shuli Hallak (2005) and Shai Kremer (2006) had work in Volta Art Fair, NYC, 5/18-5/22/22.

Prapaporn Pinyopusarerk (MFA 2016 Social Documentary Film) edited and Wenxin Liu (MFA 2022 Social Documentary Film) and Yijia Zeng (MFA 2021 Social Documentary Film) contributed to cinematography for the SVA SocDoc 11th Thesis Showcase trailer, which won

INDIVIDUAL NOTES & EXHIBITIONS

1951

George Booth (Cartooning) was featured in “George Booth‘s Old-School Character and Cartooning,” 1/5/22, and “Cover Story: George Booth’s ‘Around the Clock,’” 1/17/22, The New Yorker

1961

Richmond Jones (Advertising) was listed in Archives of American Art, Smithsonian, Washington, D.C., 5/31/22.

1963

Ellen Pliskin (Fine Arts) gave a talk, “Correspondence With Landscape,” Artists Talk on Art, 1/31/22.

1968

Billy Sullivan (Fine Arts) was featured in “Don’t Delete: A Visit with Billy Sullivan,” The Paris Review, 2/17/22, and had work in the group exhibition “Some People,” Cheim & Read, NYC, 2/24-5/4/22.

1969

Rosemary Mayer (Fine Arts) was featured in “Rosemary Mayer’s Tethered Histories,” The New York Review, 12/9/21.

1971

Laura Rubin (Photography) was featured in “From the Warhol Circle to Rural Mexico: An Interview With Photographer Laura Rubin,” Medium, 4/20/22.

1972

Linda Stillman (Graphic Design) had work in the group exhibition “Hammond Museum January Exhibition,” Hammond Museum and Japanese Stroll Garden, North Salem, NY, 1/2-12/31/21.

Marsha Tidy had a solo exhibition, “Ordinary People Extraordinary Paintings,” Galleria D’Arte, Palm Coast, FL, 11/1-12/31/21.

12/9/21-1/29/22, and a solo exhibition, “No Strings,” Alexander and Bonin, NYC, 4/1-6/18/22.

Theresa DeSalvio (BFA Fine Arts) had a solo exhibition, “Life Patterns,” Croton Free Library, Croton-on-Hudson, NY, 5/3-6/29/22.

Jorge Luis Rodriguez (BFA Fine Arts) was featured in “Artist Jorge Luis Rodriguez Presented With a Proclamation From the City of New York on December 22, 2021,” GothamToGo, 12/22/21.

1977

Dawoud Bey (Photography) was featured in “Dawoud Bey: The Past Is Present,” The New York Times, 12/9/21; had a solo exhibition, “Dawoud Bey: An American Project,” The Museum of Fine Arts, Houston, 5/6-5/30/22; and has an ongoing solo exhibition, “Dawoud Bey: Night Coming Tenderly, Black,” Museum of Fine Arts, Boston, 2/3/22.

Larry Morse (BFA Media Arts) was featured in “Through Paintings, Poems and Photos, Black Artists Tell Their Stories in Bridgeport,” Stamford Advocate, 2/23/22.

Joni Sternbach (BFA Photography) was featured in “What Joni Sternbach Sees in Other Women,” The New Yorker, 3/2/22.

Philip Sugden (BFA Fine Arts) was featured in “Making more than art,” The Courier, 3/14/22.

1978

Sally Lelong (BFA Fine Arts) had a solo exhibition, “READ,” St. Mary’s Cathedral, Limerick, Ireland, 5/13-6/4/22, and was the recipient of a 2022 Governors Island Residency, Triangle Arts, NYC, 5/1-10/31/22.

1979

Ray Billingsley (BFA Media Arts) was featured in “For decades, cartoonist Ray Billingsley

ALICE BUTTS (BFA 1997 Advertising), apparel and pet accessories from the Pride Alice Butts Collection for Target, released in time for Pride Month, June 2022.

has depicted Black family life in Curtis,” NPR, 2/27/22.

Keith Haring (Fine Arts) art was featured in the solo exhibitions “Keith Haring: A Radiant Legacy,” Michener Art Museum, Doylestown, PA, 3/12-7/31/22, and “Chaos and Hope,” Nakamura Keith Haring Collection, Yamanashi, Japan, 5/14/22-5/7/23; and was featured in “NYC’s LGBTQ community center renames annex building after Keith Haring on what would’ve been artist’s 64th birthday,” New York Daily News, 5/4/22.

John Michael Pelech (BFA Media Arts) had work in the group exhibition “Photography Today,” Rockwell Gallery, NYC, 5/2-5/14/22.

Amy Sillman (BFA Fine Arts) contributed to the Robert Rauschenberg catalogue raisonné, The Robert Rauschenberg Foundation, 2/1/22.

1980

Patricia Bellucci (BFA Fine Arts) illustrated “American Targets,” The Nation, 3/7/22, and had work in the group exhibition “Women in the Heights: Up Close and Personal,” Northern Manhattan Arts Alliance, NYC , 3/17-4/14/22.

Kevin Reece (BFA Photography) was featured in “Meet Kevin Reece | Photographer,” Shout Out LA , 3/14/22.

Wendel White (BFA Photography) was the recipient of the 2021/2022 SPE Insight Award Society for Photographic Education, Cleveland, OH, 3/12/22.

1981

Ron Barbagallo (BFA Media Arts) was featured in a two-part interview, Alternate Earth Cinema podcast, 1/21/22 and 2/1/22.

Drew Friedman (BFA Media Arts) drew a portrait of Art Spiegelman, Air Mail, 2/12/22.

Peter Hristoff (BFA Fine Arts) was featured in “The Daily Heller: SVA’s Spring Subway Poster Heralds Optimism,” Print, 3/14/22; and had a solo exhibition, “Memento Istanbul: Hristoff Family Archive,” Yapı Kredi Culture Arts and Publishing, Istanbul, 3/31-8/7/22.

Barbara Kolo (BFA Media Arts) had work in the exhibition presented by Slate Contemporary Gallery, Art Market SF, San Francisco, 4/214/24/22.

Rita Maas (BFA Photography) had a solo exhibition, “Rita Maas: 2022 Frances Niederer Artist-in-Residence,” Hollins University, Roa noke, VA, 2/3-4/10/22.

Kenny Scharf (BFA Fine Arts) was honored at the Tribeca Ball, New York Academy of Art, NYC, 4/19/22; and had a solo exhibition, “Woodz ’N Thingz,” Totah, NYC, 4/21-6/25/22.

1982

Susan Leopold (BFA Fine Arts) had a solo exhibition, “school(s),” Elizabeth Harris Gallery, NYC, 1/8-2/19/22.

Lorna Simpson (BFA Photography) was featured in “The Infinite Universe of Lorna Simpson,” Harper’s Bazaar, 12/17/21, and Essence Wins a 2022 National Magazine Award for Photography,” Essence, 4/6/22.

Joey Skaggs (BFA Media Arts) was featured in “Our Favorite Stories in Film—An Interview With Joey Skaggs,” New Jersey Stage, 1/19/22, and organized “Mask Up. Help Stop the Spread of Putin!,” New York City’s 37th Annual April Fools’ Day Parade, NYC, 4/1/22.

1983

Paul Leibow (BFA Media Arts) was featured in “The 11 Best Art Shows of 2021,” Jersey City Times, Jersey City, NJ, 12/18/21.

Stephanie Pfriender Stylander (BFA Photog raphy) had work in “The Photography Show,” presented by AIPAD, Staley-Wise Gallery, NYC, 5/20-5/22/22.

1984

Installation views, “Chris Schanck: Off-World,” a solo exhibition of work by CHRIS SCHANCK (BFA 1998 Fine Arts) at the Museum of Arts and Design (MAD), NYC, 2/12/22-1/8/23. Photos by Jenna Bascom (BFA 2006 Photography), courtesy MAD.

Gail Anderson (BFA Media Arts) was an executive jury member at The Gerety Awards, Paris, 3/11/22.

Lisa Argentieri (BFA Photography) had work in the group exhibition “Issue 19—Online Gallery,” Artist Talk Magazine, 4/1/22.

Orly Maiberg (BFA Fine Arts) had a solo exhibi tion, “Where Do We Go From Here,” Shoshana Wayne Gallery, Los Angeles, 1/29-3/5/22.

Kam Mak (BFA Media Arts) was featured on “Humans of New York,” 12/11/21.

Lydia Panas (BFA Photography) had a solo exhibition, “Sleeping Beauty,” 1/7-3/22/22, and gave a corresponding artist talk, 2/3/22, Bailey Contemporary Arts, Pompano Beach, FL.

1985

Deborah Chusid (BFA Media Arts) was featured in “Made in Queens Makers Celebrate Women’s History Month 2022,” QNS, 3/31/22.

Francis Palazzolo (BFA Fine Arts) had work in the group exhibition “Art for Change: The Artist and the Homeless Collaborative,” New-York Historical Society Museum & Library, NYC, 12/2/21-4/3/22.

Alexis Rockman (BFA Fine Arts) illustrated “‘Most Wanted’ List Leads to Rediscovered Species. Conservation Group Sets Its Sights on Finding 8 More,” The Washington Post, 2/14/22.

Collier Schorr (BFA Communication Arts) was featured in “Inside a New Exhibition Exploring Photography, Intimacy and Desire,” AnOther, 3/28/22, and photographed “Apple Unveils New Apple Watch Pride Edition Bands,” Apple Newsroom, Cupertino, CA, 5/24/22.

1986

Dawn Ennis (BFA Communication Arts) was the recipient of “Outstanding Online Journalism Article,” 33rd Annual 2022 GLAAD Media Award, NYC, 4/2/22.

Jim Lahey (Fine Arts) was featured in “The 25 Essential Dishes to Eat in New York City,” T: The New York Times Style Magazine, 12/17/21.

Todd Radom (BFA Media Arts) was featured in “The Design Experts Weigh in on D.C.’s Reimagined NFL Team, The Commanders,” Print, 2/8/22.

Lizzy Rockwell (Illustration) had a solo exhibi tion, “Friends + Family,” The Norwalk Art Space, Norwalk, CT, 2/3-3/10/22.

Annie Sprinkle (BFA Photography) was fea tured in “Ecosexual: A Conceptual and Mythical Reframe,” Fat and the Moon blog, 4/18/22.

1987

Aleathia Brown (BFA Media Arts) was interviewed on “Voices of Art: Interviews with Master Artists,” 12/8/21, and had work in the group exhibition “Healing & Hope,” Kente Royal Gallery, NYC, 3/5-3/27/22.

Gary Petersen (MFA Fine Arts) had work in the group exhibition “All Small,” Pamela Salisbury Gallery, Hudson, NY, 12/18/21-1/23/22, and had a solo exhibition, “Gary Petersen,” McKenzie Fine Art Inc., NYC, 5/20-6/26/22.

Elizabeth Peyton (BFA Fine Arts) was featured in “Elizabeth Peyton Portrait Oil, ca. 1987,” Antiques Roadshow, PBS, 1/1/22; had work in the group exhibition “Unrepeated: Unique Prints from Twin Palms,” David Zwirner, 1/13-2/12/22; and had a solo exhibition, “transformer,” Thaddaeus Ropac, Paris, 5/4-6/18/22.

Jean Schapowal (BFA Media Arts) competed in Foodtastic, Disney+, 12/15/21, and was nominat ed for “People’s Choice Award,” American Cake Awards, Miami, 4/30/22.

1988

Devon Dikeou (MFA Fine Arts) had a solo exhibition, “Mid-Career Smear,” The Dikeou Collection, Denver, 6/22/21-3/20/23.

Michelle Kumata (BFA Media Arts) had a solo exhibition, “Emerging Radiance: Honoring the Nikkei Farmers of Bellevue,” Bellevue Arts Museum, Bellevue, WA, 2/3-3/13/22.

Kathy Shorr (BFA Photography) was featured in “From the Mouths of Mothers,” The Philadel phia Inquirer, 2/17/22.

Gary Simmons (BFA Fine Arts) had a solo exhibition, “Remembering Tomorrow,” Hauser & Wirth, Los Angeles, 2/17-5/22/22; and was featured in “‘The Residue of a Performance You Never Get to See’: Gary Simmons Discusses His First Show at Hauser & Wirth with Thelma Gold en,” ARTnews, 2/17/22, and “Who Remembers Subliminal Racism? Gary Simmons’s New Body of Work Explores the Symbols That Shaped Us,” Cultured, 2/18/22.

1989

Craig Gillespie (BFA Media Arts) was featured in “Pam & Tommy Director Speaks on the Show’s Creation and Controversy,” Dazed, 2/2/22.

Al Nickerson (BFA Cartooning) participated in a panel, “Christians in Comics and Media: Tales From the Inside II,” Terminus Media, 12/12/21.

Brian Rutenberg (MFA Fine Arts) had a solo exhibition, “Deeps of Peace,” Forum Gallery, NYC, 3/17-4/30/22.

Paul Schuyler (BFA Film and Video) was featured in “Cape Cod Family Is Cast and Crew in Psychological Thriller Red River Road,” The Boston Globe, 4/26/22.

Alli Truch (Graphic Design) was featured in “Small Businesses That Are a Big Deal,” Wework Ideas, 5/6/22.

T.J. Wilcox (BFA Fine Arts) had a solo exhibi tion, “T.J. Wilcox, 2022,” Gavlak Gallery, Los Angeles, 4/30-6/4/22.

1990

Jonathan Bouw (MFA Illustration as Visual Essay) was featured in “Illustrations from Taylor Art Professor Jonathan Bouw Selected for the

Society of Illustrators Annual Exhibition,” Taylor University, 12/17/21.

Jimmy DiResta (BFA Media Arts) hosted Making Fun, Netflix (2022).

Michael Giacchino (BFA Film and Video) was featured in “Thor: Love and Thunder : Michael Giacchino Set to Compose Score,” 12/9/21, and “From Rogue One to Up: Top 7 Michael Giacchi no Scores, Ranked,” 2/5/22, Collider

Gina Minichino (BFA Media Arts) had work in an exhibition with artist Derek Buckner, George Billis Gallery, NYC, 5/5-5/21/22.

Jennifer Sirey (Fine Arts) was featured in “Jen nifer Sirey by Sabine Russ,” Bomb, 4/5/22.

Renée Cox (MFA Photography and Related Media) had a solo exhibition, “Soul Culture,” Hannah Traore Gallery, NYC, 4/14-5/28/22, and was featured in “With Her Collages Where All Isn’t What It Seems, Artist Renée Cox Wants to Inspire Close Looking,” ARTnews, 5/2/22.

Christine Romanell (BFA Graphic Design) was the recipient of an Individual Artist Fellowship Award, New Jersey State Council on the Arts, Trenton, NJ, 2/22/22; and had work in the group exhibitions “Sempiternity,” The Monmouth Museum, Lincroft, NJ, 2/13-3/13/22, and “Archeoastronomy,” Out Left Art, NYC, 4/74/30/22.

1994

Joseph Castronova (MFA Fine Arts; BFA 1991 Fine Arts) curated “Are We Fiddling While the World Burns?,” Rotunda Gallery, Metuchen, NJ, 3/22-6/17/22.

Steve Ellis (BFA Illustration) had work in the group exhibition “These Aren’t the Paintings You’re Looking For,” 1053 Main Street Gallery, Fleischmanns, NY, 3/26-4/24/22.

Nona Faustine (BFA Photography) gave a talk, “ White Shoes With Nona Faustine,” Brooklyn Museum, NYC, 2/11/22.

Tina LaPorta (MFA Photography and Related Media) held a screenprinting fundraiser,

A Century of Image Overload,” International Center of Photography, NYC, 1/28-5/2/22, and “Our Selves: Photographs by Women Artists from Helen Kornblum,” The Museum of Modern Art, NYC, 4/16-10/2/22.

Jonathan Roumie (BFA Film and Video) was featured in “The Chosen Series Brings Authentic Jesus to Theaters, Sets Records with Christmas Special,” USA Today, 12/1/21, and “Jonathan Roumie: I First Portrayed Jesus in My Long Island Backyard,” Christianity Today, 12/20/21.

KAWS, a.k.a. Brian Donnelly (BFA Illustration) had a solo exhibition, “KAWS: NEW FICTION,” Serpentine, London, 1/18-2/27/22, and was honored at the 60th Anniversary Gala, Ameri can Folk Art Museum, NYC, 4/7/22.

1997

Alice Butts (BFA Advertising) was one of seven designers invited by Target to create an LGBTQ+ pride-themed collection for a limited-edition release in June, for Pride Month.

Eva Crebolder (BFA Fine Arts) had a solo exhibition, “Fluid Facades,” Annet Gelnik, Amsterdam, 10/15-12/24/21.

Abigail Dansiger (BFA Photography) was appointed director of libraries and archives, Brooklyn Museum, NYC, 3/1/22.

Johanna Fateman (BFA Fine Arts) wrote “Revisiting The World of ‘Carnival Strippers,’” The New Yorker, 3/5/22, and was featured in “Q&A: Le Tigre’s Johanna Fateman on Riot Grrrl Culture, Past and Present,” Washington Square News, 5/2/22.

Murray Hill (MFA Photography and Related Media) was featured in “Murray Hill Is Bridget Ever ett’s Biggest Fan” New York, 2/2/22, and “Even After a Fire Took it All, Murray Hill—New York’s ‘Best Kept Secret’—Is Finally Ready to Be Revealed,” Today, 3/25/22.

Sarah Sze (MFA Fine Arts) had work in the group exhi bition “Calder Now,” Kuns thal Rotterdam, Rotterdam, 11/21/21-5/29/22, and was featured in “LaGuardia Airport Is No Longer a Hellscape,” New York, 2/11/22.

Patricia Spergel (MFA Fine Arts) had work in the group exhibition “Drawing Through,” The Painting Center, NYC, 5/24-6/18/22.

Jennifer Steinhauer (BFA Communication Arts) is the new director of speaker series and strategic initiatives, University of Chicago Institute of Politics, 2/28/22.

1991

Luca Buvoli (MFA Fine Arts) had a solo exhibition, “Astrodoubt and the Quarantine Chronicles (An Introduction),” Cristin Tierney, NYC, 1/28-3/5/22, and was featured in “Luca Buvoli’s Art Explores COVID Spacetime,” Symmetry, 5/31/22.

Lisa Deloria Weinblatt (MFA Illustration as Visual Essay) had a solo exhibition, “School Lunch,” Bill and Patty Gorelick Galleries, Cen tral Piedmont Community College, Charlotte, NC, 1/1-12/31/22.

1992

Desirée Alvarez (MFA Fine Arts) had work in the group exhibition “Among Friends 3,” Equity Gallery, NYC, 5/6-5/22/22, and gave a talk, “Poems & Paintings with Desirée Alvarez: A Personal Ecopoetics,” Burnham Library, Bridgewater, CT, 5/19/22.

David Bleich (BFA Illustration) won Best Pro duction Design–Feature, 49th Annie Awards, ASIFA-Hollywood, Los Angeles, 3/12/22.

1993

Guy Aroch (BFA Photography) photographed the cover story, “The Dream of Oscar Isaac,” Esquire, 3/30/22.

R. Gregory Christie (BFA Illustration) was fea tured in “When Art Meets History at the NCCIL: Christie’s Passion Is to Share Untold Stories,” Abilene Reporter News, Abilene, TX, 1/31/22, and “New Albany-Plain Local Schools: Book Illustra tor Christie Likens Self to ‘Character Actor,’” The Columbus Dispatch, 2/16/22.

Miles Ladin (MFA Photography and Related Media) had work in the group exhibition “Group Show #2 NYC,” Usagi Gallery, NYC, 2/4-2/11/22.

Shawn Martinbrough (BFA Illustration) was featured in “Shawn Martinbrough Writing Red Hood Six-Issue Series From DC In 2022,” Bleeding Cool 1/3/22.

Alan Robert (BFA Illustration) was featured in “Alan Robert of Wasted Talent Entertainment: 5 Things I Wish Someone Told Me When I First Became An Artist,” Medium, 1/5/22.

Carlos Saldanha (MFA Computer Art) was fea tured in “Animation Dynamo Carlos Saldanha Talks Career, Latin America’s Bright Future,” 12/2/21, and “Rio’s Carlos Saldanha Teams With Ventre Studio, Warner Bros. on Brazilian Super Hero Film Series,” Variety, 2/2/22.

“Support for Mental Health Awareness Month Event,” Tina La Porta Studio, Fort Lauderdale, 5/28/22.

Derick Melander (BFA Fine Arts) was an artist in residence and had a solo exhibition, “The Witness,” Catskill Art Society, Livingston Manor, NY, 3/5-4/23/22.

Leemour Pelli (BFA Fine Arts) had work in the group exhibitions “Mowna NFT Show,” Museum of Wild and Newfangled Art, NYC, 2/1-4/30/22, and “I HeART Connection,” Art Therapy Insti tute of NC, Carrboro, NC , 2/11-3/10/22.

Chris Prynoski (BFA Animation) was featured in “Titmouse Union Drive Opens New York Beachhead for Animation Guild,” Variety 1/12/22.

1995

Michael DeFeo (BFA Graphic Design) had a solo exhibition, “From Behind the Glass,” Park House, Dallas, 2/3-4/18/22, and had work in the group exhibition “Mother Nature,” Core Club, NYC, 3/29-6/5/22.

David Levy (BFA Animation) was featured in “Ex-Disney Exec David Levy Joins Invisible Universe, the Would-Be ‘Pixar of the Internet’,” Cartoon Brew, 2/17/22.

1996

Justine Kurland (BFA Photography) had work in the group exhibitions “A Trillion Sunsets:

1998

Brian Finke (BFA Photography) was featured in “Hat & Beard: Brian Finke: Backyard Fights,” The Eye of Photography, 1/20/22, and had a solo exhibition, “American Pictures,” Kirk Hopper Fine Art, Dallas, 2/26-3/26/22.

Nanette Fluhr (BFA Illustration) had work in the group exhibition “‘HerStory’ 2022” and was the recipient of Showcase Membership Award, Manhattan Arts International, NYC, 1/31-3/31/22; and was featured in “Interview: Matawan Artist Nanette Fluhr’s Work Is Heading to the Moon. For Real,” News 12 New Jersey, 5/8/22.

Rachel Marks (BFA Graphic Design) was fea tured in “Anna Louizos, Derek McLane, David Rockwell, More Will Design Exhibits for The Museum of Broadway,” Playbill, 5/3/22.

Juliet Martin (MFA Computer Art) had work in the group exhibition “Movement,” 440 Gallery, NYC, 4/27-5/29/22.

Chris Schanck (BFA Fine Arts) had a solo exhi bition, “Chris Schanck: Off-World,” Museum of Arts and Design, NYC, 2/12/22-1/8/23, and was featured in “Chris Schanck Goes Cosmic With His Surreal Chairs and Chandeliers,” Curbed, 3/1/22.

Steven Zeitzoff (BFA Graphic Design) was appointed executive creative director, Starch Creative, 2/2/22.

GEORGIA LALE (MFA 2016 Fine Arts), DEFENSE (installation view), 2022, the U.S. Constitution, hospital gowns, thread, six-hour durational performance. On view at The Border, NYC, 4/164/23/22. Photo by Konstantinos Lales (MFA 2022 Fine Arts), courtesy Georgia Lale.

Kevin Box (BFA Fine Arts) had work in the group exhibition “Origami in the Garden,” Museum of the Shenandoah Valley, Winchester, VA, 5/2811/13/22, and was featured in “Origami Exhibit Combines Nature with Grand Art Sculptures at MSV,” The Winchester Star, 5/28/22.

Ketta Ioannidou (MFA Illustration as Visual Essay) had work in the group exhibition “Occu py Art Project,” Consulate General of France, NYC, 2/17/22.

Gideon Rubin (BFA Fine Arts) had a solo exhi bition, “The Sun Also Rises,” Ryan Lee Gallery, NYC, 11/11-12/22/21.

Anna Zaderman (BFA Fine Arts) had work in the group exhibition “Winter Art Show 2022 Virtual Galleries,” Bayside Historical Society, 2/1-2/28/22.

2000

Katherine Bernhardt (MFA Fine Arts) was fea tured in “Artist-Led Campaign Urges Climate Action Across California,” The Art Newspaper, 4/1/22.

Jarin Blaschke (BFA Film and Video) was featured in “Robert Eggers Historical Visions Go Mainstream,” The New Yorker, 3/28/22.

Lauren Redniss (MFA Illustration as Visual Essay) was featured in “How Art and Language Work Together in Lauren Redniss’s Visual Non fiction,” Working podcast, Slate, 4/10/22.

Kyle Reeves (MFA Fine Arts) had a solo exhibi tion, “(Re)volution,” Aurora Public Art, Aurora, IL, 4/1-5/21/22.

2001

Luke DiTommaso (BFA Computer Art), senior visual effects supervisor at Molecule VFX, is working to merge the visual effects company with Crafty Apes, 1/27/22.

Dan Halm (MFA Illustration as Visual Essay; BFA 1994 Illustration) curated “SPACELAND,” Here Arts Center, NYC, 1/20-3/13/22.

Chie Hayakawa (BFA Photography) was featured in “Chie Hayakawa’s Plan 75 Quietly Devastates Cannes,” Vulture, 5/20/22, and was interviewed in “Plan 75 film competing in Cannes features Filipina actresses,” GMA News Online, 5/22/22.

Daina Higgins (BFA Fine Arts) had work in the group exhibitions “Inspired Reunion—A Celebration,” Fort Hayes Metropolitan Education Center, Columbus, OH, 3/9-4/17/22, and “Traversing Terrain,” Cerulean Arts Gallery, Philadelphia, 3/23-4/16/22.

James Jean (BFA Illustration) created the poster for the film Everything Everywhere All At Once, 3/1/22.

Noah Landfield (BFA Fine Arts) had a solo exhibition, “Ephemeral Cities,” Findlay Gallery, NYC, 12/7/21-1/7/22, and was featured in “ArtSeen: Noah Landfield’s ‘Ephemeral Cities,’” The Brooklyn Rail, 12/1/21.

Carlos Motta (BFA Photography) had work in the group exhibition “When I Leave This World,” OCD Chinatown, NYC, 2/11-4/10/22, and was featured in “‘The Pain Is Part of the Process’: Why Two Artists Are Pushing Body Modification to the Extreme,” Artnet, 4/7/22.

Danielle Scott (BFA Fine Arts) was featured in “‘I Put Myself Into Every Story’—An Interview

With Visual Artist Danielle Scott,” New Jersey Stage, 2/25/22.

Amy Talluto (MFA Fine Arts) was featured in “Amy Talluto: Moments of Light in the Forest,” The Centre for the Sustainable Practice in the Arts, 1/8/22.

2002

Marlena Buczek Smith (BFA Graphic Design) was featured in “The Daily Heller: Graphic Peace in a War-Torn Land,” Print, 3/16/22; and had work in the group exhibitions “Posters Against the War,” Leipzig, Germany, 4/7/22, and “Tolerance: 6th International Poster Exhibition,” Graphic Stories with the Col·legi Oficial de Disseny Gràfic de Catalunya, Barcelona, 4/1-4/30/22.

Mariam Ghani (MFA Photography and Related Media) was featured in “LaGuardia’s New Delta Terminal to Be Defined by New York Artists,” The New York Times, 2/22/22, and had a solo ex hibition, “Follow the Leader,” Ryan Lee Gallery, NYC, 3/17-4/30/22.

David Heredia (BFA Animation) was featured in “David Heredia’s Little Heroes of Color Make a Big Splash,” LA Weekly, 2/24/22.

Reka Nyari (BFA Fine Arts) had work in the group exhibition “Patriarchy RIP,” SaveArtSpace, 3/7-4/3/22.

Christopher Reiger (MFA Fine Arts) was featured in “Posters: Field Guide Series,” BirdWatching Magazine, 2/20/22.

Diana Shpungin (MFA Fine Arts) had a solo exhibition, “Always Begin at the End,” Smack Mellon, NYC, 1/15-2/20/22.

Raina Telgemeier (BFA Illustration) was featured in “The Inaugural ‘Get Little’ with YA

Author Raina Telgemeier,” All of It With Alison Stewart, WNYC, 2/1/22.

Sam Tufnell (BFA Fine Arts) had work in the group exhibition “Chicken Soup Is Not Good for Your Soul,” Spring Break Art Show, Los Angeles, 2/16-2/20/22.

2003

Kevin Amato (BFA Photography) photo graphed “Anatomy of a Crew: Getting Chill With Zack Bia & Friends,” Highsnobiety, 5/19/22.

Damon Freed (BFA Fine Arts) was featured in “Damon Freed. Town & Country,” Wall Street International Magazine, 12/17/21.

Natasha Jen (BFA Graphic Design) was featured in “Featured: Natasha Jen on Design Resonating with Socially Relevant Issues,” Graphika Online, 2/24/22.

Guadalupe Maravilla (BFA Photography) was featured in “The Artist as Healer,” The New York Times, 4/7/22; had a solo exhibition, “Guadalupe Maravilla: Tierra Blanca Joven,” 4/8-9/18/22, and gave a talk “Brooklyn Talks: Guadalupe Maravilla,” 4/14/22, Brooklyn Museum, NYC.

Yuko Shimizu (MFA Illustration as Visual Essay) was a judge for The International Folio Book Illustration Award, The Folio Society, London, 5/4/22, and was featured in “How Japanese Illustrator Yuko Shimizu Made Her Name in the Art World,” CBS Saturday Morning, 5/14/22.

Nicolas Touron (MFA Fine Arts) was selected as a 2022-23 artist in residence, Ceramics Program, Office for the Arts at Harvard, Cam bridge, MA, 5/18/22.

Ti West (BFA Film and Video) was featured in “X Review: Trash, Art and the Movies,” The

New York Times, 3/17/22, “Sex Gets You Killed in Horror Movies, But the Slasher X Wants to Reexamine Why,” Vulture, 3/18/22, and “The Slasher Film X Is a Modern Classic,” The Atlantic, 3/19/22.

Timur York (BFA Advertising) was featured in “Valentine’s Day Story,” VOA, 2/13/22.

2004

Mary Klie (MFA Fine Arts) had a solo exhibition, “You Won’t Be Laughing,” Blockfort, Columbus, OH, 2/1-2/28/22, and was featured in “Artist Mary Klie Leans into the Discomfort with ‘You Won’t Be Laughing,’” Columbus Alive, Colum bus, OH, 2/2/22.

Vashtie Kola (BFA Film and Video) was featured in “eBay Celebrates Women’s History Month With Capsule Honoring Top Women In Sneaker Culture,” Essence, 3/3/22.

Nora Krug (MFA Illustration as Visual Essay) gave the talks, “‘On Tyranny: Twenty Lessons from the Twentieth Century’ with Timothy Snyder and Nora Krug,” Midwest Center for Holocaust Education, Overland Park, KS, 12/8/21, and “In These Times: Steve Brodner and Nora Krug in Conversation,” MoCCA Arts Festival, NYC, 4/3/22; was featured in “Editors’ Choice: 11 New Books We Recommend This Week,” The New York Times, 12/23/21; collected and illustrated “Diaries of War,” Los Angeles Times, 3/23/22; and had a solo exhibition, “Illustrator as Witness,” Society of Illustrators, NYC, 5/4-9/4/22.

Lindsey Rome (BFA Photography) had work in the group exhibition “Drawers: Provocative Drawings,” Oz Arts Nashville, TN, 5/12-5/31/22.

Sasha Schwartz (MAT Art Education) was fea tured in “Art Workshop for Kids, Adults, Opens in Kent: ‘It All Starts From That Scribble,’” The Greater New Milford Spectrum, 1/25/22.

2005

David Ben-David (BFA Graphic Design) was featured in “The Six-Step Creative Process of a Fashion Icon,” Forbes, 2/28/22.

Jenny Brown (MFA Fine Arts) was featured in “Artist to Know: Jenny Brown—Inside Art With Michael Rose,” GoLocal Prov, 2/2/22.

Andrea Burgay (BFA Fine Arts) had work in the group exhibitions “Putting It Together,” The Lockwood Gallery, Kingston, NY, 2/26-3/26/22, “Corporeal Gestures: Fragmentary Explorations in the Cultivation of the Human Body,” Shattuck Hall, Portland State University, OR, 4/44/29/22, and “Red Means Go,” Tomato Mouse, NYC, 5/21-6/18/22.

Zackary Drucker (BFA Photography) was featured in “8 Underappreciated & Underrated Queer TV Shows From 2021,” Out, 12/9/21, and “Sundance 2022 Presents a Broader Queer Scope for an Expanded Global Audience,” NBC News 1/20/22; and had work in the group exhibition “Shapeshifting: Transformations on Paper,” Baltimore Museum of Art, 5/8-10/2/22.

Karen Gibbons (MPS Art Therapy) moderated a talk, “Artist Talk: Ghosts of War and Playful Geometry,” 3/6/22, and had work in the group exhibition “Contemplations,” 440 Gallery, NYC, 3/26-4/24/22.

Ishan Khosla (MFA Design) was the recipient of the Book Cover Prize 2022, Oxford Bookstore, New Delhi, India, 3/24/22.

Rachel Papo (MFA Photography, Video and Related Media) had a solo exhibition, “It’s Been Pouring: The Dark Secret of the First Year of Motherhood,” 12/2-12/31/21; gave an in-gallery artist talk, 12/4/21, Blue Sky Gallery, Oregon Center for the Photographic Arts, Portland, OR; and published an excerpt of her book It’s Been Pouring (Kehrer Verlag, 2022), Lenscratch 5/7/22.

Lisa Elmaleh (BFA Photography) gave a talk, “Documenting West Virginia Traditional Music Through Tintype Photography,” Glenville State University, WV, 4/22/22.

Kristen Martin-Aarnio (BFA Fine Arts) had work in the group exhibition “Beyond the Brush: The Contemporary Imagination,” Alfa Art Gallery, New Brunswick, NJ, 4/26-8/28/22.

Ryan Pfluger (MFA Photography, Video and Related Media) photographed “Nicolas Cage Asks: ‘What Do You Really Care About?’,” Los Angeles Times, 1/28/22.

2008

Spencer Chalk-Levy (BFA Fine Arts) had a solo exhibition, “Heat of the Moment,” TW Fine Art, Palm Beach, FL, 3/5-4/8/22, and was featured in “How Spencer Chalk-Levy Weaves Emotional Crescendos,” Surface, 3/26/22.

Cannaday Chapman (BFA Illustration) was interviewed in “Cannaday Chapman’s ‘Open Vistas,’” 5/23/22, and illustrated the cover, The New Yorker, 5/30/22 ; and illustrated “The Root of Haiti’s Misery: Reparations to Enslavers,” The New York Times, 5/20/22.

Cat Del Buono (MFA Photography, Video and Related Media) had work in the group exhibition “Agency: Feminist Art and Power,” Museum of Sonoma County, Santa Rosa, CA, 1/22-6/5/22; was the recipient of a Fulbright U.S. Scholar Award, 2/25/22; gave a talk, “Intimate Partner Violence: Art, Education and Advocacy,” Re member the Women Institute and the Human Rights Program at Roosevelt House, Hunter College, NYC, 4/11/22; and was featured in “How Soon Is Now? On Cat Del Buono’s Art,” Art Spiel 5/12/22.

Jade Doskow (MFA Pho tography, Video and Relat ed Media) photographed

“Everybody Loves Red Hook. Or So They Say,” The New York Times, 3/3/22.

Blooming Blossoms, a mural at Lincoln Medical Center, Bronx, NY, 3/8/22. Photos by Linda Morales and Anders Jones (MFA 2017 Photography, Video and Related Media), courtesy Arantxa X. Rodriguez.

Gillian Robespierre (BFA Film and Video) was featured in “Gillian Robespierre & Mathilde Dratwa to Write & EP Wiip’s Separation Anxiety TV Series Starring Julianne Nicholson,” Dead line, 3/11/22.

Emily Silver (BFA Fine Arts) had the solo exhibi tions “In the weeds,” Yucca Valley Material Lab, Yucca Valley, CA, 5/1-5/29/22, and “Garbage Person,” Alchemy Gallery C3, Charlotte, NC, 5/6-7/31/22.

2006

Negar Ahkami (MFA Fine Arts) had a solo exhibition, “Le Caftan, Le Turban,” Arlington Arts Center, VA, 1/29-3/19/22.

Jenna Bascom (BFA Photography) photo graphed “Maker Monday: An Aspire Exclusive Interview With Jake Szymanski,” Aspire Design and Home, 4/4/22.

Christine Sun Kim (MFA Fine Arts) was featured in “She’s Creating Her Own Language: Christine Sun Kim’s Unique Sound Art,” The Guardian, 3/24/22.

Bryan O’Connell (BFA Film and Video) was promoted to director of development, Disney Junior, Burbank, CA, 4/25/22.

Solon Quinn (BFA Film and Video) was interviewed in “Asian Americans Standing

Strong: The Mission Behind Solon Quinn’s Cre ativity and Passion for Storytelling,” LocalSYR, 5/30/22.

Shen Wei (MFA Photography, Video and Related Media) had a solo exhibition, “I miss you already,” SinArts Gallery, The Hague, Netherlands, 5/7-5/29/22.

2007

Robbie Banfitch (BFA Film and Video) was featured in “The Outwaters Is a Disturbing and Awe-Inspiring Descent Into Cosmic Horror Madness [Unnamed Footage Festival 2022],” Dread Central, 3/30/22, and screened The Outwaters (2022), Panic Fest, Kansas City, MO, 4/28-5/7/22.

Elizabeth Castaldo (BFA Fine Arts) had work in the group exhibition “Patterns of Power,” Empty Set, NYC, 1/22-3/19/22.

Amy Elkins (BFA Photography) had work in the group exhibitions “Per(Sister): Incarcerated Women of Louisiana,” Syracuse University Art Museum, Syracuse, NY, 1/18-3/11/22, and “When Light Becomes Form: Processing Pho tography,” San Francisco State University Fine Arts Gallery, 2/19-3/31/22; and was featured in “Inside Quantum Art, the Photography Platform Making Art History on the Blockchain,” Feature Shoot, 3/3/22.

Ashley Garrett (BFA Fine Arts) had work in the group exhibitions “Forest Bathing,” The Woodstock Byrdcliffe Guild, NY, 1/15-2/27/22, and “Small Works: Largeness Writ Small,” Woodstock Art ists Association & Museum, NY, 5/20-7/4/22.

Victor Kerlow (BFA Illustration) illustrated “How Kim Kardashian Is Bringing Buzz (and Business) to Staten Island,” The New York Times, 5/27/22.

Krzysztof Pastuszka (BFA Fine Arts) had work in the group exhibition “Facing Abstraction,” Elisa Contemporary Art, Riverdale, NY, 2/24/20/22.

2009 Allison Belolan (MAT Art Education) had work in the group exhibition “Spring Crafts Lynd hurst,” Artrider Productions Inc., Tarrytown, NY, 4/29-5/1/22.

Jarrett DePasquale (BFA Film and Video) was featured in “Get to Know These 10 Filmmakers Making Creative Waves with Vimeo Experts,” Vimeo blog, 12/21/21.

John MacConnell (MFA Illustration as Visual Essay) was featured in “I Posed Naked So I Could Finally Quit Hating My Body,” Men’s Health, 1/14/22, and had a solo exhibition, “Taking Pleasure in a Likeness,” SoHo Project Space, NYC, 2/3-2/13/22.

Alex Merto (BFA Graphic Design) was featured in “Alex Merto Combines Wit and Considered Typography in His Book Cover Designs,” It’s Nice That, 4/13/22.

Marilyn Montufar (BFA Photography) co-cu rated “Migrant Youth/Chicana Perspectives:

ARANTXA

X. RODRIGUEZ (MFA 2019 Fine Arts) painted

Living in Multiple Spaces,” Museum of North west Art, La Conner, WA, 2/26-5/15/22.

Rich Tu (MFA Illustration as Visual Essay) was featured in “The Colorful World of Rich Tu,” Big Wide World, 1/19/22.

Paul Vogeler (BFA Fine Arts) had work in the group exhibition “Life, Death, Hereafter,” St. Peter’s Church, NYC, 4/4-5/29/22.

2010

Wes Benson (MFA Illustration as Visual Essay) was featured in “Art, Addiction and Paleontol ogy: How Local Artist Wes Benson Overcame His Past to Paint a Brighter Future,” UMKC Roo News, Kansas City, MO, 4/19/22.

Sara Berks (BFA Graphic Design) was featured in “Good Company: MINNA’s Ethical Home wares,” Barron’s, 3/24/22.

Matthew Craven (MFA Fine Arts) had a solo exhibition, “Times Gone By,” Asya Geisberg Gallery, NYC, 3/31-5/7/22, and was featured in “‘Must See’ Exhibition List,” Artforum, 4/20/22.

Sophia Dawson (BFA Fine Arts) was featured in “F5: Sophia Dawson Tells Us About the Driving Force in Her Life + More,” Design Milk, 3/18/22.

Natan Dvir (MFA Photography, Video and Related Media) photographed the cover story, “Who’s Afraid of the Subway?,” New York, 4/25/22.

Bennett Elliott (BFA Film and Video) was the field producer of Dreaming Walls, Internationale Filmfestspiele Berlin, 2/12-2/20/22.

Stian Foss (BFA Photography) had a solo exhi bition, “I sleep but my heart is awake,” Lillesand Kunstforening, Norway, 4/2-4/18/22.

Yulia Gorbachenko (MPS Digital Photography) photographed Gigi Hadid for the March cover story, “The Unabashed Joy of Gigi Hadid,” InStyle, 3/1/22.

Elizabeth Libert (MFA Photography, Video and Related Media) had work in the group exhibition “Dollhouse,” Cambridge Art Association, MA, 12/1-12/17/21, and was featured in “Too Tired Week: Elizabeth Clark Libert: Passing Eden,” Lenscratch, 4/14/22.

Dina Litovsky (MFA Photography, Video and Related Media) photographed “We Watch the News and We’re Crying,” The New Yorker 3/8/22.

Kenny Rivero (BFA Fine Arts) was featured in “Chucka-Chucka-Chucka-Poom-Poom: Kenny Rivero,” Bomb, 12/6/21.

Raissa Venables (MPS Digital Photography) had work in the group exhibition “Image and the Photographic Allusion,” Oakland University Art Gallery, Rochester, MI, 2/1-4/3/22.

Kevin Wang (BFA Graphic Design) was featured in “#WeAreCondeNast: Kevin Wang—Head of Editorial Content, GQ Taiwan,” Condé Nast, 5/6/22.

2011 David Brandon Geeting (BFA Photography) was featured in “David Brandon Geeting and Lina Sun Park on Working With Your Other Half Over Lockdown,” It’s Nice That, 12/10/21.

Molly Heintz (MFA Design Criticism) wrote “Zoe Zenghelis on Pursuing Creative Freedom,” Metropolis, 4/26/22.

Aileen Kwun (MFA Design Criticism) wrote “One Garment’s Journey Through History,” The New York Times, 4/9/22.

Adehla Lee (MFA Fine Arts) had a solo exhibi tion, “Hide and Seek,” Ochi Gallery, Los Angeles, 3/8-4/2/22.

Hyesu Lee (MFA Illustration as Visual Essay) illustrated “My Parents’ Divorce Stopped Me from Being the Kid I Wanted to Be. Here’s How I Healed,” The Lily, 1/2/22.

Luke McCambley (BFA Illustration) was fea tured in “Meet Luke McCambley, the Running Cartoonist,” Runner’s World, 2/28/22.

Manuel Molina Martagon (MFA Photography, Video and Related Media) was the recipient of a fellowship, Apexart, NYC, 1/18-2/17/22.

Shellyne Rodriguez (BFA Visual & Critical Studies) had work in the group exhibition “Siempre En La Calle,” Calderón, NYC, 10/28/211/29/22, and was named the 2022 artist in residence, Greenwich House Pottery, NYC, 12/21/21.

Julie Schenkelberg (MFA Fine Arts) had a solo exhibition, “Aurora,” Franconia Sculpture Center, Shafer, MN, 6/20/21-6/21/23.

Tony Toscani (MFA Fine Arts) had work in the group exhibition “Higher Than the Sun,” Volery Gallery, Dubai, 12/15/21-1/11/22, and had a solo exhibition, “Tarantula,” Stems Gallery, Brussels, 2/6-2/7/22.

Michele Washington (MFA Design Criticism) launched the podcast Curious Story Lab, 1/1/22. Efrem Zelony-Mindell (BFA Photography) was featured in “Witness: Efrem Zelony-Min dell in conversation with Drew Nikonowicz,” Lenscratch, 01/10/22.

2012

Christopher Borrok (MPS Digital Photography) was featured in “Christopher Borrok,” aint–bad, 4/15/22.

Beyza Boyacioglu (MFA Computer Art) was honored in the category “Best Websites and Mobile Sites – NetArt” for the website Zeki Müren Hotline, The Webby Awards, NYC, 4/18/22, and was featured in “Beyza Boyacioglu ’16 and the ‘Zeki Müren Hotline,’” Arts at MIT, 5/3/22.

Andrew Brischler (MFA Fine Arts) had work in the group exhibition presented by Gavlak Gal lery, Felix Art Fair, Los Angeles, 2/17-2/20/22.

Dario Calmese (MPS Fashion Photography) was featured in “A Fashionable Start to the Lunar New Year,” The New York Times, 2/4/22, and was on the jury for the New City Critics fellowship, Urban Omnibus and Urban Design Forum, NYC, 2/8/22.

Pablo Delcan (BFA Graphic Design) illustrated “America Has a Free Speech Problem,” The New York Times, 3/18/22.

Bon Duke (MPS Fashion Photography; BFA 2009 Photography) photographed “Maxwell Osborne’s anOnlyChild Launches New Cam paign for Debut Collection,” Complex, 1/31/22, and “Fashion Designer Christopher John Rodgers Hanging Out With Friends,” T: The New York Times Style Magazine, 4/21/22.

Latoya Charisse Flowers (MFA Social Docu mentary Film) gave a talk about her in-progress documentary, Still Searching: Chicago’s Missing Black Women and Girls, TEDx Quincy Studio, 5/26/22.

Sonja Georgevich (MPS Fashion Photography) provided art direction for “Where Ashima Shiraishi Dreams About Going to Enjoy the Outdoors,” Harper’s Bazaar, 4/22/22.

M. Benjaminl Herndon (BFA Fine Arts) had work in the group exhibition “Transitions,” A.M. Bjiere Gallery, NYC, 1/20-3/5/22.

Ina Jang (MPS Fashion Photography; BFA 2010 Photography) was featured in “These 30 Women Photographers Look at Nudes in a Fresh New Way,” BuzzFeed News, 3/26/22, and “Fashion Through the Artist’s Lens,” Vanity Fair, 4/13/22.

Elektra KB (BFA Visual & Critical Studies) was featured in “9 Artworks that Respond to the Fight for Abortion Access,” ARTnews, 5/3/22.

Peter Ash Lee (MPS Fashion Photography; BFA 2009 Photography) photographed “The South Korean Presidential Hopeful Who Believes His Childhood Can Help Him Heal His Nation,” Time, 3/3/22; “How 3 South Asian Women Learned to Love Their Curls,” Allure, 3/17/22; and the cover stories “How Blackpink Went From Strangers to Sisters to Pop Supernovas,” Rolling Stone, 4/9/22, and “Model Sisters Ymi Nu and Natalie Nootenboom on Representa tion, the Fashion Industry and Finding Their Roots,” Teen Vogue, 5/11/22.

Lucia Love (BFA Fine Arts) had a solo exhibi tion, “Angel at the Wheel,” JDJ Tribeca, NYC, 2/4-3/19/22, and was featured in “Art We Saw This Spring,” The New York Times, 4/6/22.

Lee Ann Norman (MFA Art Criticism and Writ ing) was featured in “In Conversation: Baseera Khan with Lee Ann Norman,” The Brooklyn Rail, 2/1/22.

Pacifico Silano (MFA Photography, Video and Related Media) had solo exhibitions “Don’t Worry Baby,” Monti8, Latina, Italy, 1/15-2/15/22, and “If You Gotta Hurt Somebody, Please Hurt Me,” Fragment Gallery and The Rubber Factory, NYC, 4/1-5/8/22; and was featured in “Pacifico Silano Examines Violence and Desire by Reenvisioning Gay Erotica,” Artsy 4/12/22 and “A Fresh View of Queer Masculinity, Through Scraps of Old Magazines,” The New Yorker, 5/6/22.

Julia van den Hout (MFA Design Criticism) edited Another Kind: A Survey of the Possible City (Actar Publishers, 2021).

Rebecca Ward (MFA Fine Arts) had a solo exhibition, “Infinite Plane,” Peter Blum Gallery, NYC, 3/19-4/30/22.

An Rong Xu (BFA Photography) photographed “Manhattan’s Chinese Street Signs Are Disap pearing,” The New York Times, 3/11/22.

Victoria Campbell (MFA Social Documentary Film) curated “New York City Symphonies of the Millennium Film Workshop,” The Museum of Modern Art, NYC, 2/16-2/17/22.

2013

Austin Chang (BFA Film and Video) screened The Riverside Bench (2021), Movies Under the Stars, NYC, 5/19/22.

Mytran Dang (BFA Advertising) was featured in “How a Super Bowl Ad Full of Fake Celebrities Rekindled this Creative’s Love for Advertising,” AdAge, 5/10/22.

Haruko Hayakawa (BFA Design) designed cover art for “The Future of Food,” Bon Appetit, 5/1/22.

Chemin Hsiao (MFA Illustration as Visual Es say; BFA 2011 Animation) had work in the group exhibition “Homegrown,” ChaShaMa Gallery, NYC, 12/2/21-1/7/22, and curated and had work in the group exhibition “Reconcile: Begin Anew,” Flushing Town Hall, NYC, 2/1-2/16/22; and was selected as the inaugural winner, Open Call for Artist Banners, 12/6/21, and led a workshop, AAPI Community Day, 5/7/22, The Isamu Nogu chi Foundation and Garden Museum, NYC.

James Perkins (MPS Fashion Photography) had a solo exhibition, “Burying Painting,” Han nah Traore Gallery, NYC, 5/12-7/30/22, and was featured in “He Was Inspired by Nature for His New ‘Post-Totem’ Land Art,” In Habitat, 5/31/22.

Antonio Pulgarin (BFA Photography) was the recipient of an alumni grant for his work, “Lost Throughout the Pages (Whispers of the Caballeros),” YoungArts, 4/19/22.

LATOYA CHARISSE FLOWERS (MFA 2012 Social Documentary Film), stills from Still Searching: Chicago’s Missing Black Women and Girls, 2022, documentary (in progress).

Distinctive Soul: Hailun Ma’s Diverse Portraits of China,” Vogue, 5/18/22.

2019

Miranda Bruce (MFA Illustration as Visual Essay) was featured in “Miranda Bruce’s Pencil Drawings Draw Inspiration from ’90s Punk Posters and Her Dream Diary,” It’s Nice That, 3/18/22.

Chun Yao Chang (MFA Computer Arts) was featured in “Talented Film Industry Artist Turns Illusory Into Reality,” Film Daily, 2/13/22.

Olivia Fields (BFA Illustration) illustrated the Google Doodle for Martin Luther King Jr. Day, 1/17/22.

Oxana Kovalchuk (MFA Fine Arts) had a solo exhibition, “Making Fools Pray to God,” Chinese American Arts Council/Gallery 456, NYC, 3/10-3/30/22.

Monica Nelson (MA Design Research, Writing and Criticism) wrote “A Savannah Home Melds Georgian Architecture With ’60s Flair,” The New York Times, 12/1/21.

Marianna Peragallo (MFA Fine Arts) had work in the group exhibition “Organs Without Bodies,” Transmitter, NYC, 4/2-5/8/22.

Arantxa X. Rodriguez (MFA Fine Arts) painted a mural, Blooming Blossoms, Lincoln Medical Center in the Bronx, NYC, 3/8/22, and was featured in “Artist Arantxa X. Rodriguez on Painting Murals at Lincoln Hospital in the Bronx,” Untapped New York., 3/23/22.

Laura Scofield (MA Design Research, Writing and Criticism) was featured in “Deciphering the Symbols of the Jan. 6 Insurrection,” Newsy 1/5/22.

Michael Shirey (MPS Branding) was featured in “What Matters to Michael Shirey,” Print 5/3/22.

Mai Ta (BFA Illustration) had work in the group exhibition “Wonder Women,” Jeffrey Deitch Gallery, NYC, 5/7-6/25/22.

Mojo Wang (MFA Illustration as Visual Essay) was featured in “Vibrant UPS Boxes Commu nicate the Strength of the AAPI Community,” AdAge, 5/11/22.

Hugo Yu (BFA Photography and Video) was featured in “Emerging Photographers: The Global Rising Stars,” Wallpaper, 12/14/21, and “Top 10 Emerging Artists to Follow in 2022,” Hue&Eye, 4/9/22.

Yihuang Zhou (BFA Design) was featured in “Community Highlights: Meet Yihuang Zhou of OLIVIO&CO,” Voyage LA , 2/25/22.

2020

Kayleen Acosta Rodriguez (BFA Computer Art, Computer Animation and Visual Effects) was featured in a video about her work on Disney’s Encanto, NowThis on Instagram, 1/20/22.

Gabriel Barreto Bentin (BFA Photography and Video) gave a talk, “Gabriel Barreto Bentin presents Andinos with Jose Luis Falconi,” Rizzoli Bookstore, NYC, 4/18/22.

Jinuk Choi (MFA Computer Arts) directed Beyond the Line (2020), which was nominated for Best Animated Series, 41st College Televi sion Awards, 12/8/21.

Amina Gingold (BFA Photography and Video) was a finalist for the Palm* Photo Prize 2022, Palm* Studios, London, 4/1/22, and had work in the group exhibition “Palm* Photo Prize,” 10 14 Gallery, London, 5/5-6/5/22.

Jimmy Mezei (MFA Fine Arts) had work in the group exhibition “3rd Annual Head Hi Lamp Show,” Head Hi, NYC, 2/26-3/26/22.

Pilar Newton (MFA Visual Narrative) partic ipated in “Tongal Talks with Animator Pilar Newton—’90s Babies: Meet the Creator Who Animated Your Childhood,” Tongal, 2/25/22.

Barbara Owen (MFA Art Practice) had a solo exhibition, “I need a guru,” Tiger Strikes Asteroid Greenville (TSA GVL), Asheville, NC, 1/24/22.

Cody Silver (BFA Cartooning) was interviewed in “These Queer Asian Performers Are Breaking Stereotypes By Embracing Sex Work,” HuffPost, 5/27/22.

Heather Williams (MFA Art Practice) had a solo exhibition, “Protective Spirits,” Bridge Arts Gallery, Bayonne, NJ, 5/14/22, and received an honorable mention for her film Safe Passage II (2020), Juried Art Exhibition 2022 Awards, Museum of Science and Industry Chicago, 4/30/22.

Natcha Wongchanglaw (MPS Digital Photography) gave a talk, “Grad Night,” Society for Photographic Education, 2/8/22, and had work in the group exhibition “LensCulture Exhibition in New York 2022,” Caelum Gallery, NYC, 5/20-5/22/22.

2021

Ryan Cosbert (BFA Fine Arts) was featured in “Ryan Cosbert Paints a New Portrait of History,” Cultured, 12/6/21, and “10 Emerging Black Artists Show That Blackness Is Not a Monolith,” Artsy, 2/10/22.

Michelle Duncan (MA Design Research, Writ ing and Criticism) wrote “A New Period Room at The Met Challenges the Whole Idea of Period Rooms,” Metropolis, 12/14/21.

Lisa Durden (MFA Social Documentary Film) won Lightbeam.tv’s National Short Film Pitch Competition, African American Women in Cine ma International Film Festival, NYC, 2/1/22.

Chris Facey (BFA Photography and Video) was featured in “Girls Who Fly: Photos Celebrating the Power of Double Dutch,” The Daring, 3/3/22.

Mia Gahrmann (BFA Photography and Video) had work in the group exhibition “Homecoming 2021,” JKC Gallery, Trenton, NJ, 12/9/21-1/29/22.

Carles Garcia O’Dowd (MFA Illustration as Visual Essay) illustrated “The Problem with Blaming Robots for Taking our Jobs,” The New Yorker, 5/18/22.

Handowin He (MFA Visual Narrative) was a finalist in the London International Creative Competition 2021, London Creative Awards, 2/23/22.

Doi Kim (MFA Fine Arts) was the recipient of “Outstanding Achievement Award,” Tripvill International Film Festival, NYC, 1/29/22, and had a solo exhibition, “CE 20XX I,” Space XX, Seoul, 4/9-4/19/22.

Song Lu (MFA Photography, Video and Related Media) had work in the group exhibition “Lost,” Floor_ Seoul, NYC, 2/12-3/21/22.

Ricardo Saca (MPS Branding) wrote “How Lu cha Libre Continues to Inspire Colorful, Vibrant Branding Systems,” Print, 3/21/22.

Lamu Shangchoo (BFA Film) was the recipient of Best Women Student Filmmaker Award, DGA Student Film Awards, 2/17/22.

Swati Sharma (BFA Film) was featured in “A Glance at Brat TV’s Writer, Swati Sharma,” India Today, 4/25/22.

Alexander Si (MPS Fine Arts) curated “Steeped in Spilled Milk pt.2,” EFA Studio Program, NYC, 4/21-6/10/22, and was featured in “In Witty Installations, Alexander Si Plays Anthropologist, Studying White Culture of the Recent Past,” ARTnews, 5/16/22.

2022

Ida Anita del Mundo (MPS Directing) was featured in “Fil-Am Filmmaker Ida Del Mundo’s New Project Never Forget Explores Historical Revisionism Amid a Contentious Philippine Election,” Asian Journal, 3/30/22.

Wenjing Yang (BFA Illustration) was featured in “What if Bacteria Celebrated Christmas? Illustrator Wenjing Yang Investigates,” It’s Nice That, 5/27/22.

AN RONG XU (BFA 2012 Photography), Mott and Bayard, 2022, from “Manhattan’s Chinese Street Signs Are Disappearing,” The New York Times, 3/11/22. Courtesy the artist.

MOMO KIM (BFA 2016 Illustration), installation view of “Home Sweet Home,” SVA Seocho Gallery, Seoul, 1/8-2/17/22. Photo courtesy Heewon Seo (MFA 2012 Fine Arts).

IN MEMORIAM

Anne D. Bernstein

(BFA 1983 Media Arts) died on February 8, 2022. Bernstein was a writer and artist in underground comics and animation, best known for her writing on the MTV series Daria (1997 – 2001), authoring the tie-in book The Daria Diaries (MTV Books, 1998) and her work as a scriptwriter for television channel Nickelodeon and as senior editor of Nickelodeon Magazine Bernstein’s other work included contributing to Drawn & Quarterly —and illustrating its debut issue’s cover—and writing for the 1999 MTV series Downtown, created by Chris Prynoski (BFA 1994 Animation).

Je rey Brooks

(BFA 1976 Fine Arts) died on April 6, 2022. Brooks began his career as a graphic designer and moved into advertising and video production, eventually becoming creative director at Image Productions in Norwalk, Connecticut. He also wrote short stories and screenplays as an avocation. He is survived by his wife, Betsy; his brother, Norman; his sister Keisa (Andy) McPartland; and many nieces and nephews. He was predeceased by his sister Laura Fast.

Ellis Gaskell

(MPS 2015 Digital Photography) died on August 6, 2021. Born in Brooklyn in 1941, Gaskell grew up on Long Island and earned his BA from Syracuse University. He worked in advertising at Foote, Cone and Belding in Manhattan, where he met his wife, Jacqueline. Gaskell continued at SC Johnson, in Wisconsin, before starting his own marketing consulting firm, which he later sold to Omnicom. Later in life, he pursued photography, establishing a business for fi tness, theater and ballet clients; writing photography books; and presenting a solo exhibition at the National Arts Club. He is survived by his wife; brothers Allen (Marion) Gaskell and Lee (Suzanne) Gaskell; daughters Catherine (Eric) Solsaa and Christine Gaskell; and grandchildren Ryan, Emma, Ingrid and Greta.

Susan M. Heinz

(née Byrne) (1966) died on February 7, 2022. Heinz was born in New York City. After attending SVA, she married and moved to Egg Harbor Township, New Jersey, where her art was regularly on view at local venues. She donated work for community causes, served on the Atlantic County Cultural and Heritage Advisory Board and received a Paul Aiken Encore Award from the South Jersey Cultural Alliance. Heinz is survived by her sons John and Christopher; daughter-in-law, Amy Grant; granddaughter, Abigail; and siblings Edward (Marilyn) Byrne, Mary (John) Stelben and Sheila Giancaspro. She was predeceased by her husband, John, parents Edward and Ellen Byrne and brotherin-law Vic Giancaspro.

M. Henry Jones

(BFA 1979 Film and Video) died in June 2022.

An artist and filmmaker originally from western New York, Jones maintained a studio, Snake Monkey, in Manhattan’s Alphabet City. One of his best-known works was Soul City (1979), a stop-motion video for The Fleshtones, a band fronted by Peter Zaremba (1978 Fine Arts). In recent years, Jones worked on his “Fly’s Eye 3D” portraits, which combined digital and analog

effects to create 3D images of such subjects as performer Kembra Pfahler (1982 Fine Arts). He is survived by his wife, filmmaker Rachel Amodeo, and their son, Atticus.

Marcus Leatherdale

(1978 Media Arts), whose photography is in the collections of such museums as the Art Institute of Chicago and was featured in such publications as The New Yorker, died on April 22, 2022. Originally from Montreal, he moved to San Francisco in the 1970s, moving to New York not long after. Before he became known for his own photography, he was the office manager and romantic partner of photographer Robert Mapplethorpe. Leatherdale’s black-and-white work was characterized by moodiness and the famous faces who posed for him, including Keith Haring (1979 Fine Arts). Later, he spent over 20 years living and working in India.

Reeves D. Lehmann

(1978 Film), longtime SVA faculty member and former BFA Animation and BFA Film chair, died on May 27, 2022. Lehmann chaired SVA’s animation and film programs from 1989 through 2018 and for many years oversaw the Dusty Film and Animation Festival, an annual screening and awards ceremony for graduating students in his departments. A Marine Corps veteran, he served a combat tour of duty in Vietnam in 1968, and later spoke out against war. Lehmann is survived by his partner, Marion; son Zachary (Christina); daughter Meaghan (Michael) Hesekiel; grandchildren Eliza, Nolan, Ryan, Hazel and Bellamy; brother Craig (Susan); and nephews Aaron and Jason (Kathleen).

Ziggy Livnat

(MFA 2002 Photography and Related Media; BFA 1995 Photography) died on June 11, 2022.

An underwater filmmaker and environmental activist, Livnat specialized in films that raised awareness about the importance of the ocean’s ecosystems. CBS Sunday Morning aired his documentary shorts; his PSAs aired in the Caribbean, Hawaii and Israel. Born and raised in Israel, Livnat lived for many years in Kansas City, Kansas. His other ocean-conservation efforts included an educational program on coral rehabilitation at the Underwater Observatory in Eilat, Israel; and curating art exhibitions about the scourge of plastics in the ocean.

Suzanne Noli

(BFA 1984 Media Arts) died on August 13, 2022. Noli grew up in Sayville, New York, and after graduating from SVA worked in publishing, designing book covers for G.P. Putnam’s Sons and HarperCollins; art directing for magazines like O, The Oprah Magazine, Fitness and Veranda; and freelancing for magazines like Brides Lucky and Prevention. She is survived by siblings Carol (Ralph), Mary (James) and Robert (Denise), and nephews and nieces Caroline, Christine, Christopher, Erin, Kelly, Kieran and Nick.

Arthur Olsen

(1967) died on March 28, 2022. He was a graphic artist, member of Greater Vision Baptist Church and resident of Owensboro, Kentucky. He is survived by his wife of 25 years, Tracy Brown Olsen, and their daughter, Bonnie Beth.

Lily Renée Phillips

(1964) died on August 24, 2022, at the age of 101. Phillips emigrated to New York from Nazi-occupied Austria and studied art at SVA and the Art Students League before becoming one of the few female artists of the comic-book industry’s “Golden Age,” working on such titles as Abbott and Costello Comics, Kitty and Fight Comics. Later in life, she was celebrated for her contributions when Comic-Con International inducted her in its hall of fame. She was predeceased by her husband, and is survived by her children, Nina and Richard.

E e Serlis

(BFA 1976 Fine Arts) died on November 5, 2021.

A lifelong New Yorker, Serlis was an artist and sculptor who taught at Community Works and Bronx Art Ensemble, designed greeting cards and showed her work at MITTE Projects in Miami, among other venues. She was an avid attendee of SVA Alumni Affairs and Development’s model-drawing sessions, sang in the Metropolitan Greek Chorale and was active in her community garden. She is survived by her sisters Helen and Irene; her nieces Kristen, Rachel and Rebecca; and many cousins.

CLOCKWISE FROM TOP LEFT

Cover for Drawn & Quarterly #1 , Spring 1990, © Anne Bernstein, courtesy Drawn & Quarterly; Spider Webb tattooing Annie Sprinkle, photo courtesy Sprinkle; Ellis Gaskell, Joan Copeland, 92, Raconteur, 2016; M. Henry Jones, photo cut-out for Soul City, 1979, courtesy online Gallery 98.

Goo-Shun Wang

(MFA 2006 Computer Art) died on May 4, 2022. In 2019 he founded Hill Over Wind in Taipei, a studio that provides design strategies and animation production. The company name originated from Wang’s name ( ). He had previously worked at Blue Sky Studios and at Psyop. Wang’s short film Hallucii was selected by more than 50 international film festivals, and he collaborated on commercial projects for such clients as Golden Melody Awards, Mercedes-Benz and Acer.

Spider Webb

a.k.a. Joseph O’Sullvan (1971 Fine Arts), died on July 2, 2022. Spider was an influential tattoo artist who made news in the late 1970s and early ’80s for flouting New York City’s prohibition on the practice. He twice inked women outside of Manhattan museums: The first act, in 1976, resulted in his arrest; the second, in 1981, involved friend Annie Sprinkle (BFA 1986 Photography) as his subject. Spider ran tattoo parlors in Connecticut and New York, produced books on his work, sold hand-built tattoo machines online and recently lived in Asheville, North Carolina. He is survived by his wife, Sharon; children Becca, Joseph, Kathleen and Patricia; brother, David; and seven grandchildren.

FROM THE ARCHIVES

Clockwise from far left 1999 New York Digital Salon poster; Bruce Wands’s 2000 SVA poster; 2001 NYDS poster; Wands teaching at SVA, c.1988; Wands, Buddha Light Painting No. 4 , 2004; Wands in the MFA Computer Art offices, photo by Hsiang Chin Moe.

Remembering Bruce Wands

The School of Visual Arts lost one of its most influen tial and forward-thinking educators in July when Bruce Wands, MFA Com puter Arts chair emeritus and former chair of the College’s BFA and MFA programs in computer art, died at 72.

Wands played a vital role in the study and practice of computer art and animation at SVA during his 32-year tenure. He joined the College as a Con tinuing Education faculty member in 1984, teaching a workshop on business graphics. Four years later he joined the MFA Computer Art faculty and began collaborating with other department chairs to develop their digital-art course

offerings, work that led to his appointment as director of Com puter Education in 1992. From there he went on to serve as chair for the BFA and MFA com puter art programs, from 1994 through 1998 and 1998 through 2016, respectively. Upon his re tirement as MFA chair in 2017, he assumed the title of MFA Computer Arts chair emeritus.

Both in and outside of SVA, Wands thrived at the intersection of art, writ ing, music and technology. In the late 1970s, he was a computer animator for the Spectacolor electronic billboard in Times Square, one of the earliest displays of its kind. He authored the books Art of the Digital Age (Thames & Hudson, 2006) and Digital Creativity (John Wiley & Sons, 2002). He lectured, performed and exhibited his art interna tionally, and was an integral member of the New York Digital Salon, an organiza tion founded with support from SVA in 1993 to present digital-art exhibitions, serving as a curator for its first two years and director for the following two decades. In 1998, in memory of fellow

SVA faculty member Dan Preda, who died in a motorcycle accident on his way to the 1994 SIGGRAPH conference in Orlando, Wands undertook the same journey, turning it into a web-art piece, regularly posting videos and images from his trip to a website. And as a mu sician, he performed often and created sound art and compositions for films and interactive installations; in 1992, he gave the first live musical performance over ISDN lines on the Internet. As a tribute to his legacy, select pieces of Wands’s work are on display in this fall’s MFA Computer Arts exhibition (see page 6).

“Bruce built a community that was really nurturing,” says BFA Animation Chair Hsiang Chin Moe (MFA 2008 Computer Art), who after graduating from SVA worked with Wands in the MFA department for six years. “He supported everyone, especially anyone who wanted to try something different to move forward with their artistic ca reer. He not only saw your potential, he did everything he could to give you the opportunity to shine.” ◆

—Joyce Rutter Kaye and Greg Herbowy

To learn more, visit archives.sva.edu.