history of art and design student handbook
DESCRIPTION
ÂTRANSCRIPT
History of art and design
student handbook
2015-16
Published by History of Art and DesignSchool of Liberal Arts and SciencesPratt Institute200 Willoughby AvenueBrooklyn, NY 11205
Tel. 718-636-3598Fax. [email protected]
pratt.edu/arthistoryhadpratt.wordpress.comhttp://hadthesis.pratt.edu/
Gayle Rodda Kurtz, Ph.D., Acting ChairEvan Neely, Ph.D., Acting Assistant ChairJill Song, Assistant to the Chair © 2015 HA&D, Pratt InstituteDesigned by Sheila Cheng
Academic Calendar
Museum Studies
Local Info
Pratt Galleries
Welcome,New Students!
Foreign Language
Where to Eat!
Free Museums
Important Numbers
Grading Assistantship
Degree Program Worksheet
Libraries
CampusResources
Thesis Guidelines
Requirements
Memberships
Web Resources
Faculty and Staff
Internship Program
4 5 6 7
8 9 10 11
16
20 21 25
27 29 49
17
19
1312
Contents | 3
WELCOME,NEW STUDENTS!
MS G8300
Rebecca Armstrong
Anne Boissonnault Lindsey Davis
AnaMaria Guzman Borrero
Sara Magin
Alessandra Manduca
Maggie Portis
Lilian Day Thorpe
MS/MS G8360
Polly Cancro
Laura Haynes
Anna Holbert
Lily Martin
Saebra Waterstraut
4 | Welcome!
Brooklyn Main 718-636-3600
Manhattan Main 212-647-7199
Security (Brooklyn) 718-636-3540
Security (On Campus) x3333
Security (Manhattan) 212-647-7199
Emergency Closings 718-636-3700
Athletics 718-636-3700
Bursar 718-636-3639
Copy Center 718-636-3691
Financial Aid 718-636-3599
Health & Counseling 718-399-4542
Library (Brooklyn) 718-636-3420
Library (Manhattan) 212-647-7546
Registrar 718-636-3663
Residential Life 718-399-4551
Student Activities 718-636-3422
Important Numbers | 5
Art & Educationartandeducation.net
ArtBabbleartbabble.org
Getty Research Institutegetty.edu/research
Heilbrunn Timeline of Art Historymetmuseum.org/toah
Google Art Projectgoogleartproject.com
The Pratt Library website also offers full access to a number of useful resources including JSTOR, ARTstor and Oxford Art Online.
Visit library.pratt.edu/find_resources to find out more.
History of Art & Designpratt.edu/arthistory
HADpratt (Department newsletter)hadpratt.wordpress.com
HADSA (Student Organization)prattweekly.wordpress.com
HAD Twittertwitter.com/pratthad
PRATT Twittertwitter.com/prattinstitute
PRATT
ART HISTORY
6 | WEB RESOURCES
DOC LAB (LARGE FORMAT PRINTING)Engineering Building, 2nd Floor
EDS LAB (COMPUTERS, SCANNERS & PRINTING)Engineering Building, 2nd Floor
MCC LAB (COMPUTERS AND PRINTING)Machinery Building, 1st Floor
THEATER TICKETS, MOVIE TICKETS & CAR SERVICEFor discounted tickets and neighborhood car service, visit the student involvement office, located in the Chapel Hall 007.
FREE YOGA, DANCE & EXERCISE CLASSESIn addition to a spacious indoor-track and a weight and exercise room, Pratt’s athletic center in the ARC building offers a number of free classes every day of the week. For more information, pick up a class schedule from the athletics center or check out pratt.edu/student_life/athletics_and_recreation.
COMPUTER/PRINTING LABS
DISCOUNTS
ATHLETICS
Campus Resources | 7
PRATT MANHATTAN GALLERY
Pratt Manhattan Building144 West 14th Street, 2nd FloorWednesday-Saturday 11am-6pmTuesdays 11am-8pm212-647-7778
THE RUBELLE and NORMANSCHAFLER GALLERY
Pratt Brooklyn CampusChemistry Building, 1st FloorMonday-Friday 9am-4pm
8 | PRATT GRALLERIES
Your Pratt ID can get you into a number of museums and attractions for free:*
BROOKLYN BOTANIC GARDEN900 Washington Avenue, Brooklynbbg.org
BROOKLYN MUSEUM200 Eastern Parkway, Brooklynbrooklynmuseum.org
COOPER HEWITTNATIONAL DESIGN MUSEUM2 East 91st Street, Manhattancooperhewitt.org
FRICK COLLECTION1 East 70th Street, Manhattanfrick.org
MUSEUM of ART and DESIGN2 Columbus Circle, Manhattanmadmuseum.org
MUSEUM of MODERN ART11 West 53rd Street, Manhattanmoma.org
WHITNEY MUSEUM of AMERICAN ART99 Gansevoort St, New York, NY 10014
* Some museums offer weekly free nights. On Thursday evenings, the New Museum offers free admission for students and on Friday nights, the Guggenheim offers pay-what-you-wish admission, and the Brooklyn Museum offers free Art and entertainment frist Saturday of the month.
Free Museums | 9
10 | Memberships
SOCIETY of ARCHITECTURAL HISTORIANSwww.sah.org/
The Society of Architectural Historians (SAH) promotes the study, interpretation and conservation of architecture, design, landscapes and urbanism worldwide.
There are several organization memberships that are beneficial to art history students. Here are a few:
AMERICAN ALLIANCE of MUSEUMSaam-us.org
Most accredited museums throughout the country offer free admission to AAM members. Students can join for a mere $50!
COLLEGE ART ASSOCIATIONcollegeart.org
The CAA is an organization consisting of students and professionals with the goal of promoting visual arts both nationally and internationally. With a membership, students have access to a number of perks including discounted admission to CAA conferences and a subscription to either The Art Bulletin or Art Journal.
CONSORTIUM of ART and ARCHITECTURAL HISTORIANSBit.ly/caah-listserv
Keep up-to-date and in the know with this listserv-based community of art and architectural historians.
LIBRARIES | 11
BROOKLYN CENTRAL LIBRARY10 Grand Army Plaza, Brooklyn718-230-2100
NEW YORK PUBLIC LIBRARYSTEPHAN A. SCHWARZMAN BUILDING5th Avenue & 42nd Street, Manhattan917-275-6975
COOPER HEWITT SMITHSONIAN DESIGN MUSEUM2 East 91st Street, Manhattan212-849-8330, by appointment only
FRICK ART REFERENCE LIBRARY10 East 71st Street, Manhattan212-547-0641
MORGAN LIBRARY & MUSEUM225 Madison Avenue, Manhattan212-685-0008, by appointment only
MUSEUM of MODERN ART4 West 54th Street, Manhattan212-708-9433, by appointment only
METROPOLITAN MUSEUM of ART:THOMAS J. WATSON LIBRARY1000 Fifth Avenue, Manhattan212-650-2312, by appointment only(For a complete list of the Met’s libraries, visit metmuseum.org/education)
* Pratt’s library also offers special access to other academic libraries throughout Brooklyn with the ALB Card. For more information, speak with a librarian or call 718-636-3420
PUBLIC LIBRARIES
MUSEUM LIBRARIES
CLINTON HILL/FORT GREENECLINTON HILL BLOGclintonhillblog.com
NEW YORK TIMES’ FORT GREENE BLOGfort-greene.thelocal.nytimes.com
BROOKLYN FLEAbrooklynflea.com
ART/GALLERIESART FAG CITYartfagcity.com
ARTCARDSartcards.cc
ARTINFO GALLERY GUIDEartinfo.com/galleryguide
CREATIVE TIMEcreativetime.org
CITYWIDEFLAVORPILL
flavorpill.com/newyork
GOTHAMISTgothamist.com
HOPSTOP (Subway Directions)hopstop.com
12 | LOCAL INFO
LUNCH/DINNER
CHEZ OSKARA beautiful French Bistro with great food.
Also great for their amazing brunch.211 DeKalb Ave 718-852-6250
GENERAL GREENEClassic American tapas for the foodie and locavore. Amazing
homemade ice cream.229 DeKalb Ave 718-222-1510
LOS POLLITOS IIIMexican/Italian food. Great atmosphere.
Also great for their unlimited mimosa brunch.499 Myrtle Ave 718-636-6125
MAGGIE BROWN
Funky and cozy. A new spin on Southern American classics. Also great for: Drinks, Brunch.
455 Myrtle Ave 718-643-7001
OLEAA beautiful, relaxing Mediterranean restaurant.
171 Lafayette Ave 718-643-7003
THAI 101Tasty and affordable Thai food.
448 Myrtle Ave 718-855-8518
WAZASushi & Ramen
485 Myrtle Ave 718-399-WAZA(9292)/718-399-3839
YAMASHIROAn intimate and inexpensive Sushi restaurant.
466 Myrtle Ave 718-230-3313
ZAYTOONSThe best Middle-Eastern food in
the neighborhood. BYOB.472 Myrtle Ave 718-623-5522
WHERE TO EAT! | 13
LUNCH/DINNER
CONNECTICUT MUFFIN423 Myrtle Avenue718-935-0087
EL COFRE454 Myrtle Avenuebtw. Waverly and Washington718-935-1153
WRAY’S CARIBBEAN & SEAFOOD503 Myrtle Avenue718-789-1111
JOHN’S DONUT AND COFFEE SHOP481 Myrtle Avenue at Hall Street718-638-0412
CHEAP BREAKFAST
PILLOW CAFÉA warm, cozy, and low-key spot for a light meal and coffee. Try their homemade tea.505 Myrtle Ave 718-246-2711
MIKE’S COFFEE SHOPA charming neighborhood diner frequented on weekend mornings by hungry Pratt students and churchgoers. Directly across the street from Pratt.328 DeKalb Ave 718-857-1462
MEGA BITESA casual Greek/American diner. Perfect for a quiet breakfast when Mike’s is full.245 DeKalb Ave 718-398-8112
BERGEN BAGELSThe best bagels in the neighborhood (and maybe the world).536 Myrtle Ave 718-789-9300
14 | WHERE TO EAT!
TAKEOUT
BAGUETTEABOUDIT!Where Paris meets Brooklyn
270 Vanderbilt Ave 718-622-8333
CHOICE MARKETA cute, casual café with amazing coffee,
mouth-watering sandwiches and gourmet pastries.318 Lafayette Ave 718-230-5234
CASTRO’SCheap, fun, and (very) filling Mexican food.
511 Myrtle Ave 718-399-0084
LUIGI’S PIZZERIAThe most amazing slice of pizza you will ever have in your life.
Right next to Pratt.326 DeKalb Ave 718-783-2430
NEW GRACE CHINESE KITCHENTasty, cheap, and friendly Chinese food.
484 Myrtle Ave 718-789-6296
BARS
ALIBIThe local seedy (and awesome) dive bar. Complete with pool table and jukebox.
242 DeKalb Ave 718-783-8519
FIVE SPOTA funky soul food restaurant that doubles as a bar after hours. Great for
live music, cheap beer, and their kitchen that closes at 2 am.459 Myrtle Ave 718-852-0202
WHERE TO EAT! | 15
REQUIRED COURSES (all programs)
HA 602 Art Historical Theory & MethodologyHA 650 Chemistry of Materials, Techniques, & ConservationHA 605 Thesis
MS DEGREE PROGRAM REQUIREMENTS
36 credits in History of Art & Design
DUAL DEGREE PROGRAM REQUIREMENTS
MS/MFA or MS/MS requirements + 30 credits in History of Art & Design.
DISTRIBUTION REQUIREMENTS
One course, or its equivalent, in each of the following categories:
Photo/Film/Design ArchitectureNon-WesternPre-RenaissanceRenaissance/Baroque/18th Century19th/20th/21st Century
For more information about distribution requirements, please see the worksheet available in the History of Art & Design Office, and bring your questions to your next advising appointment.
Course offerings are subject to change.
16 | REQUIREMENTS
HISTORY OF ART & DESIGN DEGREE PROGRAM WORKSHEET G2160 G2161 G2162 Name: Degree Program (CIRCLE ONE): MS MFA/MS MS/MS ID#: HA&D Credits Required: 36 30 30
Total Credits: 75 60 Required Courses YR/SEMESTER Core course HA 602—Art Historical Theory & Methodology 3 Core course HA 650—Materials, Techniques & Conservation 3 Thesis HA 605—Thesis 3 Foreign Language Proficiency Requirement (FRENCH or GERMAN or OTHER approved by the chairperson)___
Date Passed: French / German / Other ______________________
Elective Courses in HA, HD, and ARCH DISTRIBUTION AREA COURSE NUMBER + NAME CREDITS YR/SEMESTER
Elective Courses in other areas (up to 6 credits in studio, language, LIS, etc. approved by the chairperson)
CERTIFICATE IN MUSEUM STUDIES
Core Courses (9 CREDITS) YR/SEMESTER HA 560—Museology 3 HA 9603—Internship (at ) 3 HA 9603B—Internship (at ) 3
Elective Courses (6 CREDITS) COURSE NUMBER + NAME CREDITS YR/SEMESTER
G8300 G8350 G8360
DEGREE PROGRAM WORKsheet | 17
History of Art & Design Distribution Areas for Graduate Programs G2160/G2161/G2162 At least one class in each category is required Photo/ Film/ Design Electives (COURSES ARE 3 CREDITS UNLESS OTHERWISE NOTED)HD 501 Survey of Design History HD 505 -‐ 2cr History of Modern Design HD 506 -‐ 2cr Concepts of Design HD 511 -‐ 2cr History of Illustration HD 606 Concepts of Design II HD 608 -‐ 2cr History of Industrial Design HD 609 -‐ 2cr History of Interior Design I
HD 610 -‐ 2cr History of Interior Design II HD 640 Aspects of Japanese Design HA 514 Film Criticism HA 517 Documentary Film HA 552 Women in Photography HA 551/651 Issues in Art History HD 551/651 Issues in Design History
Architecture Electives (ALL COURSES ARE 3 CREDITSHA 551/651 Issues in Art History HD 551/651 Issues in Design History
HD 609 -‐2cr History of Interior Design I HD 610 -‐2cr History of Interior Design II
Non-‐Western (ALL COURSES ARE 3 CREDITS)HA 502 Asian Art HA 510 Chinese Landscape Painting HA 512 African Art HA 522 Pre-‐Columbian Art HA 526 Native American Art
HA 533 Oceanic Art HD 640 Aspects of Japanese Design HA 551/651 Issues in Art History HD 551/651 Issues in Design History
Pre-‐Renaissance (ALL COURSES ARE 3 CREDITS)HA 504 Aegean and Greek Art HA 529 Roman Art HA 531 Medieval Art I HA 532 Medieval Art II
HA 631 Making Medieval Manuscripts HA 551/651 Issues in Art History HD 551/651 Issues in Design History
Renaissance / Baroque / 18th Century (ALL COURSES ARE 3 CREDITS)HA 501 Renaissance Art HA 507 Art by Women: 15th Ctry-‐Pres HA 515 Southern Baroque Art HA 516 Northern Renaissance Art HA 519 Drawings and Prints Seminar HA 523 Rembrandt & His Contemporaries
HA 590I Art History of Venice (Pratt in Venice) HA 623 Dutch Art Seminar HA 630 Michelangelo Seminar HA 632 Venetian Renaissance Seminar HA 551/651 Issues in Art History HD 551/651 Issues in Design History
19th / 20th / 21st Century (ALL COURSES ARE 3 CREDITS)HA 509 Impressionism & Post-‐Imp. HA 511 Picasso/Matisse Seminar HA 513 David to Delacroix HA 520 American Art 1770-‐1940 HA 552 Women in Photography HA 553 Dada and Surrealism HA 627 Contemporary Art Seminar
HA 633 German 19th-‐Century Art HA 634 The Beginnings of Abstract Art HA 635 Creating Exhibitions HA 670 The Current Season HA 551/651 Issues in Art History HD 551/651 Issues in Design History
Some courses can fulfill different requirements, but a single course cannot fulfill two requirementS.
G8300/G8350/G8360(Not a complete list)
19
Vermeer
18 | DEGREE PROGRAM WORKSHEET
CERTIFICATE IN MUSEUM STUDIES
The Advanced Certificate in Museum Studies complements the MS degree in History of Art and Design by offering both a solid educational base in art and design history and a practical, in-depth experience in the museum world. The faculty members are museum professionals who bring their diverse expertise and experience to the classroom. The Certificate is particularly helpful to graduate students seeking employment in museums and galleries. The Certificate is available to graduate students in the History of Art and Design only, and will not be awarded without completion of the MS degree. Some of the certificate courses may also be used towards the MS degree requirements.
The required courses (9 credits):HA 560 Museology (3 cr)HA 9603 Internships at two different museumsHA 9603B (6 cr total)
Elective course options (6 credits):HA 600I
ADE 524 LIS 629 LIS 632 ACM 621 ACM 622 ACM 624 ACM 642 ACM 651
Please sign up for the Certificate in the Registrar’s Office or the History of Art & Design Department (East 205).
Please email any questions to the department at [email protected].
MUSEUM STUDIES | 19
It is essential to the conduct of research in art history to acquire reading knowledge of several languages. The department requires that students demonstrate proficient reading comprehension in French or German prior to commencing work on the thesis. In rare cases, and only if required for a major part of thesis research, a different language may be substituted with permission of the Chair.
You can fulfill the foreign language requirement in either of the following ways:
* Pass the department’s exam, which consists of translating a short passage into English; dictionary allowed (45 minutes). * Pass one of CUNY’S Reading Comprehension Language courses with a grade of B+ or better.
FOREIGN LANGUAGE REQUIREMENT
20 | FOREIGN LANGUAGE
MASTER THESIS REQUIRNMENTS
1. A Master’s Thesis is a requirement for the M.S. degree. The thesis will be a substantial essay of about 40 pages (8,000-9,000 words), excluding illustrations and bibliography. A written 2-3 page Proposal with a brief but well-considered annotated bibliography is a required part of the thesis; the proposal is due by the end of the third term and must have been approved by the advisor before the actual writing of the thesis may begin. The thesis is to be completed in the fourth semester (typically the Spring term).
2. Students choose an advisor by the end of the second semester of the first year and will schedule a first meeting with the advisor at this time to discuss topic ideas and possible critical approaches to the material. Students are strongly encouraged to begin thinking about and researching their thesis topic over the summer or the semester break prior to beginning their proposal.
3. In choosing a topic, students in consultation with their advisor, should consider questions that are appropriate to the recommended length. It is strongly suggested that a student develop a topic from a prior seminar paper; other topics are also possible and must be approved by the advisor.
4. The student should set up a degree audit with the Assistant Chair by the end of the third term before embarking on the writing of the thesis.
5. Students, if not already using Zotero, should visit the library for instruction.
The proposal must:- state the subject of the thesis and a one to three sentence hypothesis of the main argument.- explain the method and means of research- include a preliminary outline of chapters or sections.- include a substantial bibliography (primary and secondary sources) with at least eight annotated sources. Annotations entail a brief summary of each that addresses its usefulness and perspective.
MASTER THESIS REQUIRNMENTS | 21
Proposal Timeline:
1. Two weeks into the semester the student will present a preliminary brief bibliography to the advisor.
2. Six weeks into the semester a first draft of the proposal is due to the advisor. The advisor will return the proposal draft within 10 days and will work with the student on any requested revisions.
3. Eight or nine weeks into the semester the finished proposal is submitted to the advisor with the fully annotated bibliography
4. Five weeks before the semester ends the advisor has approved the proposal. The proposal is given to a 2nd reader together with the department’s form for further feedback and suggestions. The second reader is a faculty member; the selection made in consultation with the advisor or the chair. The student should have approached the 2nd reader earlier in the semester to see whether he or she is available to comment on the proposal. If the faculty member has agreed, then he or she is obligated to work within the required timeline and return the proposal by the due date.•It is the student’s responsibility to hand the proposal to the 2nd reader and remind the 2nd reader at least one week before the date of the forthcoming submission.
5. At least three weeks before the last day of classes the 2nd reader returns the proposal and form to the student and the advisor with his or her suggestions. The 2nd reader will copy the Advisor on his comments.•Once the 2nd reader submits recommended changes and comments, the 2nd reader’s responsibility ends. The advisor supervises further editing of the proposal and the writing of the thesis.•Students should continue research and begin drafting text while the proposal is being reviewed.
6. One to two weeks before the last day of classes the approved proposal signed by the advisor with annotated bibliography is due in the Chair’s office where it will become a record in the student’s file. Student fully embarks on writing the thesis.
22 | MASTER THESIS REQUIRNMENTS
Thesis Writing:
While researching the material, the student may begin work on a draft but more importantly, continues to work on mastering the relevant literature on the chosen topic and to annotate the bibliography so that when the actual writing begins, the student will have a thorough grasp of the material and the question the thesis is to address.
1. Format: The thesis should be prepared using the Chicago Manual of Style and following the formatting guidelines established by the Pratt Institute Library (see http:// libguides.pratt.edu/thesisguide). Students should use the software Zotero from the start of their research in order to facilitate easy organization and consistency in bibliography and citations.
2. The thesis will go through two revisions with the advisor. This is a requirement for both the student and the advisor.• By the end of the semester in which the proposal is approved the student will submit 1/4 to 1/3 of his thesis draft to the advisor.• By 3 weeks into the second semester of thesis work (or the semester following proposal is approved) one-half of the thesis is due to the advisor.• By halfway through the second semester (and one month before it is due in the Chair’s office) a full draft is due to the advisor.
3. The final advisor-approved thesis is due in the Chair’s office four weeks before the deposit deadline for the library (May 15 for spring submissions, September 15 or January15 for fall submission). The student must submit one hard copy printed on regular paper. In addition, a digital copy must be deposited in the designated shared Dropbox folder. Separate guidelines will be sent out to lead the student through the final submission steps.
4. The final draft copy should include an official title page (Pratt Library template for HAD) in 3 copies printed on archival paper, signed by the advisor. The Advisor’s signature indicates that the advisor has approved the final draft. The signature pages should be printed on archival paper to facilitate final submission of thesis.
MASTER THESIS REQUIRNMENTS | 23
5. The thesis, while approved by the advisor, is still considered a draft until the Chair has approved the copy. After the Chair (or the faculty member designated by the Chair) has approved the final draft, the student will make any required final corrections and then print three copies on archival paper, one for Library deposit, one for the HAD archives, and one a personal copy. The title page must bear the signa-tures of both the advisor and Chair.
6. Final submission dates: May 15 for Spring,(September 15, or January 15 for Fall). Before depositing the thesis in the library, the student must:
•have a final degree audit at the Registrar’s Office;•settle all outstanding fees at the Bursar’s Office;•have the HAD office do a scan of the title page;•sign an authorization form to make the thesis available on the HAD website;•send the final corrected and approved thesis as a digital copy to the designated departmental Dropbox.
24 | MASTER THESIS REQUIRNMENTS
GRADING ASSISTANTSHIP
JOB DESCRIPTION
General
Being a Grader constitutes a contractual agreement between a faculty member and a student in the Department of History of Art & Design, with obligations to both parties, and with the Department of History of Art and Design in a supervisory capacity. The work of a Student-Grader is governed by Pratt’s student employment policies, which are reflected in the job description below.
The principal responsibility of the grader is to grade student assignments in consultation with the instructor.
Instructors and graders are advised to maintain open communication via email or phone.
Graders must attend all class sessions of the sections for which they grade, unless the instructor has determined an alternative arrangement (For example attending alternate class sessions of two sections of the same survey course).
Graders must attend scheduled museum field trips.
Both the instructor and the Grader must be present at all examinations. Graders assist in proctoring the exam.
Neither the Grader nor the Instructor may be in the classroom when students fill out course evaluations at the end of the term, a policy that must be strictly enforced.
Grading
Under the supervision of the course instructor, graders grade quizzes, the mid-term and final exams, and any written homework for the sections to which they are assigned. In all cases, the instructor will provide a thorough key and basic written guidelines for grading and should discuss them with the assistant.
GRADING ASSISTANTSHIP | 25
GRADING ASSISTANTSHIP
The instructor will check and discuss with the grader sample exams (to determine a typical grade of A, B, C, etc.).
Exam papers and museum assignments must be returned to the students within two weeks. Final grades are due two days after the exam period ends; thus the grader must submit final exam grades to the instructor prior to the grade deadline so that course grades can be submitted on time. The instructor will set a reasonable deadline by which s/he needs the final exam grades.
Graders will meet with the instructor in the last week of the term to help compile grades and, particularly, to help decide border-line case grades, since often the grader will be more familiar with a given student’s work than the instructor. Final responsibility for grades rests with the instructor. The instructor must review the grader’s work and communicate any concerns. The instructor must be prepared to explain all assigned grades.
Grading assistants cannot be assigned the responsibility of teaching a class in the instructor’s absence.
Graders are hired, and their paperwork is processed, by the Assistant to the Chair (please pick up hiring paperwork in the HA&D office no later than 2:00 pm on the second Friday of the semester).
Both grader and instructor should report any concerns over the course of the semester to the Assistant to the Chair.
HA&D Main Office: East Hall, Room 205. e: [email protected] p: 718 636 3598
26 | GRADING ASSISTANTSHIP
INTERNSHIP PROGRAM
Graduate students in the History of Art and Design have internships at a variety of institutions—including major museums, non-profit cultural institutions, auction houses and galleries. These internships offer a wide range of experiences that often become career-defining.
An internship includes course requirements: To conduct an extensive interview with someone who is a potential role model for the students and their own aspirations. This project has proven to be informative and, in some cases, fascinating. The internship includes three required meetings with the department’s coordinator which students discuss their internship experience. Students must also contribute to a blog about their weekly activities and learning opportunities.
Graduate students in the Certificate of Museum Studies are required to do two internships at different museums.
The department maintains a list of the institutions that have sponsored our students in the past. The department seeks to assure that all internships done for credit are valuable learning experiences.
INTERNSHIP | 27
ART21
Artforum International
Brooklyn Museum of Art
The Cloisters Library and Archives
Christie’s
Cornell NYC Tech, Jacobs Institute
Frick Art Reference Library
Gagosian Gallery
International Print Center New York
Judd Foundation
Moss Bureau
Museum of Arts and Design
Museum of Modern Art
New Museum
New-York Historical Society
The Noguchi Museum
Richard Avedon Foundation
Rubin Museum of Art
Solomon R. Guggenheim Museum
Visual AIDS Foundation
Whitney Museum of American Art
HAD Internships -Academic Year 2014-15
28 | INTERNSHIP
KIRA MAYE ALBINSKYVisiting InstructorHistory of Art and Design
Ph.D. candidate, Rutgers, The State University of New JerseyM.A., Rutgers, The State University of New JerseyB.A., Boston College
Kira Albinsky is a Ph.D. Candidate specializing in early modern art in Italy. She is currently completing a dissertation on the social history, devotional practices, and art patronage of the Archconfraternity of the Holy Crucifix of San Marcello in Rome, which explores the interdependence of art, ritual, and reform during the Catholic Reformation. Portions of her work will appear in “The Performance of Devotion: Patronage and Ritual at the Oratorio del SS. Crocifisso in Rome” in Space, Place, & Motion: Locating Confraternities in the Late Medieval and Early Modern City forthcoming in 2016. Grants from the Andrew W. Mellon Foundation, the Graduate School-New Brunswick, and the Department of Art History at Rutgers University have supported her research.
SONYA ABREGOVisiting InstructorHistory of Fashion
Ph.D. candidate, Bard Graduate Center, M.Phil, Decorative Arts, Design History & Material Culture Studies, Bard Graduate Center
Sonya Abrego is a Ph.D. candidate specializing in twentieth century fashion, currently completing a dissertation on Western wear in postwar United States. Her work focuses on the interconnections between fashion and popular culture, specifically music and film. She has presented papers in New York, Montreal and San Francisco, worked with the costume collections at the Museum of the City of New York and the Metropolitan’s Costume Institute. She is the recipient of graduate fellowships from the Metropolitan Museum of Art, the Bonnie Cashin Foundation and the Autry National Center. Sonya is a senior editor at Worn Fashion Journal and works in the vintage clothing market.
FACULTY & STAFF | 29
KELLY RAE ALDRIDGEVisiting InstructorModern and Contemporary Art and Theory
Ph.D. candidate, Stony Brook UniversityMA, Art History and Criticism, Stony Brook UniversityBA, Art History, Colorado State University
Kelly Rae Aldridge conducts research on the place of food in art with particular focus on contemporary collaborative interdisciplinary projects. Currently working on a dissertation, Crumbs from the Revolutionary Table that examines art practices that focus on the table as a critical site of physical consumption, sensuous encounter, social production, and material exchange. She is also Instructor at Stony Brook University. She was Session Chair at the Association of Art Historians and has presented papers at CAA and other venues. [email protected]
LISA BANNERVisiting Associate ProfessorSpanish Baroque; Curator of Contemporary Art
Ph.D., Institute of Fine Arts, NYUB.A., Princeton University
Lisa A. Banner is an art historian and curator. Her publications include Spanish Drawings in the Princeton University Art Museum (Yale University Press, 2013), and The Religious Patronage of the Duke of Lerma (Ashgate, 2009). She has lectured on old master drawings at the Frick Collection, Metropolitan Museum of Art, Morgan Library, Courtauld Institute, and the Meadows Museum. As a curator she has worked with The Frick Collection (The Spanish Manner: Drawings from Ribera to Goya, 2010-2011), the Museo del Prado (Dibujos del Siglo de Oro en la Coleccion de la Hispanic Society of America, 2006), the Museu Nacional d’Art de Catalunya, and the Institute of Fine Arts, NYU.
30 | FACULTY & STAFF
ÁGNES BERECZVisiting Assistant Professor Modern and Contemporary Art
Ph.D., Université Paris I (Panthéon-Sorbonne)
Ágnes Berecz teaches modern and contemporary art history. She is also an Associate Professor at Christie’s Education and a lecturer at The Museum of Modern Art. Her writings have appeared in Art Journal, Art in America, Artmargins and the Yale University Art Gallery Bulletin as well as in Euro-pean and US exhibitions catalogues. Her most recent work includes the two volume monographic study, Simon Hantaï, and the essay, “The Event of Painting,” written for Judit Reigl’s retrospective at the Ludwig Museum in Budapest. Her recent review articles for Műértő, the Budapest-based art monthly, include “Thomas Hirschhorn’s Gramsci Monument,” and “American Traumspiel: Mike Kelley.” She is currently working on a book titled Paint No More: France, 1948-1982.
SAM BRYANAdjunct Associate ProfessorDocumentary Film, Film Criticism
D.A., History, Carnegie-Mellon University M.A., Howard University B.A., Dartmouth College
Sam Bryan is a filmmaker and film archivist who specializes in documentary film and criticism. He has taught courses in film history and production at Brooklyn College, Fordham University and at Pratt since 1983. Since 1960 he has filmed for the International Film Foundation in Africa and South America. His films have been shown at the American Film Festival, at the Museum of Modern Art and the Metropoli¬tan Museum of Art. He is past president of the New York Film Council and continues as executive Director of the International Film Foundation.
FACULTY & STAFF | 31
COREY D’AUGUSTINEVisiting Assistant ProfessorConservation
M.A., Art History, Institute of Fine Arts, New York UniversityAdvanced Certificate in Art Conservation, Institute of Fine Arts, New York UniversityB.A., Visual Arts and Biochemistry, Oberlin College
Corey D’Augustine is a conservator of modern and contemporary art and technical art historian. He works for the Solomon R. Guggenheim Museum and lectures on art history conservation at New York University, Sotheby’s Institute of Art, City College of New York, and Museum of Modern Art. A specialist in American and European Post-war art, his research includes 20th century painting materials and techniques and conservation of monochrome paintings. Selected publications: “Taoism in the Work of Agnes Martin,” Kunst Nu, “Laser Cleaning of a Study Painting by Ad Reinhardt and the Analysis / Assessment of the Surface after Treatment,” Modern Paints Uncovered; Selected Awards: Samuel H. Kress Foundation grant; Dedalus Foundation grant.
ED DECARBOAdjunct Associate ProfessorAfrican Art, Pre-Columbian Art, Oceanic Art
Ph.D., M.A., Indiana University M.A., University of Chicago
Ed DeCarbo’s concentration is art and aesthetics in Post-Colonial Societies with foci in traditional and contemporary arts; field research in aesthetics in a traditional multicultural society in West Africa and in the Pacific (Moana) in contemporary arts. His courses survey the traditional and contemporary arts of Africa and the Pacific, and consider the theories and methods of analysis that are applied to the post-colonial world. He serves as a consultant to the College Board effort to globalize the Advanced Placement Curriculum in Art History. He was Director of Education at the National Museum of African Art, Smith-sonian Institution, and served as a senior university administrator for many years.
32 | FACULTY & STAFF
EVA DÍAZAssistant ProfessorContemporary Art and Art Criticism
Ph.D., M.A., Princeton University
Eva Díaz’s book The Experimenters: Chance and Design at Black Mountain College will soon be released by the University of Chicago Press. The project examines how an interdisciplinary group of artists at Black Mountain proposed new models of art and focuses on three Black Mountain teachers in the late 1940s and early 1950s: Josef Albers, John Cage, and Buckminster Fuller. Professor Díaz’s writing appears in magazines and journals such as The Art Bulletin, Art Journal, Art in America, Cabinet, The Exhibitionist, Frieze, Grey Room, October, and Tate Etc. and she is a regular contributor to Artforum. She was recently awarded a Creative Capital/Warhol Foundation Art Writers Grant to research for her book about Buckminster Fuller’s work, titled The Fuller Effect: The Critique of Total Design in Postwar Art.
MARY EDWARDSAdjunct ProfessorTrecento Art, Native American Architecture, Native American Art
Ph.D., M.L.S., M.A., Columbia University
Publications include: “Wind Chant and Night Chant Sand Paintings”, articles in Journal of the Society of Architectural Historians, Studies in Iconography, Source: Notes in the History of Art, Il Santo: rivista francescana, Zeitschrift für Kunstgeschichte, and elsewhere. Co-edited and wrote portions of Gravity in Art: Essays on Weight and Weightlessness in Painting, Sculpture and Photography. Sessions chaired and papers read at meetings of CAA; SECAC; International Congress on Medieval Studies. Awards include: Samuel H. Kress Dissertation Fellowship; NEH Travel to Collections Grant; Delmas Foundation Grant. Past president, 14th-century Society. Former member, Executive Council of Southeastern Medieval Association. Two-term associate, editorial board, Medieval Perspectives.
FACULTY & Staff | 33
CHARLES EPPLEYVisiting InstructorModern and Contemporary Art
Ph.D. candidate, Stony Brook UniversityM.A. Art History and Criticism, Stony Brook UniversityB.A. Art History and Music, Hiram College
Charles Eppely focuses on site-specific art, sound, and new media. Eppley is completing a dissertation on Un-Fixed Media: Site-Specificity and Materiality in the Work of Max Neuhaus. He has organized a panel on Soundsites at the Southeastern College Art Conference, and presented papers on sound art and Max Neuhaus at various venues. He also teaches at Stony Brook University.
DIANA GISOLFIProfessorItalian Renaissance, Art Methodology
Ph.D., M.A., University of Chicago
Research focus is on Cinquecento art in Venice and the Veneto, including religious and political context and artistic practice. Gisolfi developed and directs the Pratt in Venice program. She lectures and chairs sessions regularly at CAA and RSA and at international conferences, and contributed essays to three international exhibitions on Paolo Veronese: Venice 2011, Sarasota,FL 2012-13, Verona 2014. Publications include: The Rule, The Bible, and the Council: The Library of the Benedictine Abbey at Praglia (CAA Monograph Series); On Classic Ground, Caudine Country (Illustrations), and articles in: Yale University Art Gallery Bulletin Artibus et Historiae, Arte Veneta, The Art Bulletin, The Dictionary of Art (Oxford Art Online), Renaissance Quarterly, Burlington Magazine, caareviews.org.
34 | FACULTY & STAFF
DIMITRI HAZZIKOSTASAssistant ProfessorAegean and Greek Art, Roman Art, Medieval Art
Ph.D., M.A., Columbia University
Dimitri Hazzikostas has done archeological field work in Greece and published in the Encyclopedia of Comparative Iconography. His awards include: Sears Distinguished Professor 1991, Whiting Fellowship.
FRIMA FOX HOFRICHTERProfessorNorthern Baroque Art
Ph.D., Rutgers UniversityCertificate in Fine and Decorative Art Appraisal, Pratt Institute--in collabora-tion with the American Society of Appraisers.M.A. Hunter College
Issues of gender and class have informed Hofrichter’s work. She is the author of a monograph on the 17th-C Dutch artist, Judith Leyster; numerous articles within Dutch art and feminist/gender studies; organized several Dutch exhibitions; and is currently working on the theme of old women. Hofrichter is a co-author of Janson’s History of Art: The Western Tradi-tion (for the Baroque and Rococo sections), was Dutch Book Review Editor (2008-2013) for the Historians of Netherlandish Art (HNA), a member of the College Art Association’s Committee on Women in the Arts and Chair, Jury for the Distinguished Feminist Award (2012).
FACULTY & STAFF | 35
HEATHER HORTONVisiting Assistant ProfessorMedieval and Renaissance Art and Architectural History
Ph.D., Institute of Fine Arts, New York UniversityM.A., Institute of Fine Arts, New York UniversityB.A., DePauw University
Heather Horton’s current research focuses on questions of authorship, originality, and imitation, especially in the career of the pivotal writer and architect Leon Battista Alberti. She recently published a new interpretation of Alberti’s treatises on painting and is completing a book manuscript titled Leon Battista Alberti and the Renaissance Crisis of the Author. She has taught at New York University, The City University of New York, Pur-chase College, and The Cloisters Museum, where she remains a frequent guest lecturer.
SUSAN KARNETVisiting InstructorModern and Contemporary Art
M.F.A., Hunter College, City University of New YorkB.F.A., The School of Visual Arts, New York City (cum laude)
Susan Karnet is a painter and sculptor, who has exhibited her work in Chelsea, the East Village, 57th Street, Brooklyn, New Jersey, Europe and Africa. Her work has been reviewed in The New York Times. She has taught at a number of schools in New York, New Jersey; and Cairo, Egypt; including Parsons, New York University, and The School of Visual Arts. She is interested in Modern and Contemporary Art, sculpture, and Egyptian Art.
36 | FACULTY & STAFF
DARA KIESEVisiting Assistant Professor Modern Art
Ph.D., Art History, CUNY Graduate CenterM.Phil., Art History, CUNY Graduate CenterB.A., Modern History, University of Minnesota
Dara Kiese’s research centers around the artistic and architectural avant-gardes in Weimar Germany, with focus on the Bauhaus. She has received a number of grants, including a Fulbright fellowship to Berlin and a Getty research travel grant. She worked as a Curatorial Assistant in the Architecture and Design Department at the Museum of Modern Art and has presented papers on architectural and design pedagogies at conferences and symposia including the College Art Association and the Bauhaus Universität Wei-mar and has published essays on the Bauhaus.
VIVIEN KNUSSIAdjunct Assistant InstructorHistory of Photography
Ph.D., Columbia UniversityM.A.,Tufts University, BosonB.A., Tufts Univeristy, Boston
Vivien Knussi studied American Art and Photography at Columbia University. She was a Lecturer at the Museum of Modern Art through the Department of Photography. Subsequently she assembled and catalogued two major corporate collections, The Dreyfus Fund and McFrank and William Advertising Agency. With the insight she gained into emerging photographers which featured in both, she has specialized in teaching Contemporary Photography at Pratt. She is currently writing a book on the subject. She has written catalogue essays and most recently translated a German essay on Deconstructed Poetry for Les Figues Press.
FACULTY & STAFF | 37
GAYLE RODDA KURTZActing Chair, AssociateProfessorEighteenth-Century Art, Nineteenth-Century Art
Ph.D., CUNY, The Graduate Center M.A. Hunter CollegeB.A. Stanford University
Gayle Rodda Kurtz specializes in eighteenth and nineteenth-century European art. She was a contractual lecturer at The Metropolitan Museum of Art with a focus on the African Art Galleries from 1995 to 2013. She is an Associate of Zeteo Journal (zeteojournals.com) where she is a contributing editor and writer. She has presented papers at the Nineteenth Century Studies Association. She taught at Caldwell College, Hunter College, and New York City College of Technology, CUNY. She received a Graduate Teaching Fellowship from CUNY Graduate Center.
MARILYN KUSHNERVisiting ProfessorCuratorial Studies
Ph.D., Modern Art, Northwestern UniversityM.A., University of Wisconsin MilwaukeeB.A., University of Wisconsin Milwaukee
Marilyn Kushner is Curator and Head of the Department of Prints, Photographs and Architectural Collections at the New-York Historical Society (2006-present). Previously she was Chair of the Department of Prints, Drawings, and Photographs and Curator of Prints and Drawings at the Brooklyn Museum (1994-2006). She has also served as Curator of Collections at the Montclair Art Museum, New Jersey, and Research As¬sociate at the Whitney Museum of American Art. Kushner has published and lectured extensively on works on paper and she has served on juries and guest curated exhibitions nation-wide.
38 | FACULTY & STAFF
ANCA I. LASCAssistant Professor History of Interior Design
Ph.D., M.A., Art History, University of Southern CaliforniaB.A. Jacobs University, Bremen, Germany
Anca Lasc studies the invention and commercialization of the modern French interior and the development of the professions of interior designer and commercial window dresser. She received numerous grants, including a NEH Summer Institute Grant at the Bard Graduate Center, and published essays in the Journal of Design History and Interiors: Design, Architecture, Culture. Designing the French Interior, co-edited with Georgina Downey and Mark Taylor, is forthcoming from Bloomsbury Publishing in 2015. Lasc presented papers at various conferences, including the College Art Association, Society of Architectural Historians, Society for French Historical Studies, and Interior Design Educators Council’s annual meetings.
MICHELE LICALSIVisiting Assistant ProfessorArt and Conservation
M.A., New York University, Institute of Fine Arts; with Certificate in Art Con-servationB.A., New York University
Michele LiCalsi studied art at the New York Academy of Art, the Art Students’ League, and the National Academy of Design. She has been teaching drawing, color and composition at the National Academy of Design from 1994 to the present. She taught fresco painting at the Conservation Center, Institute of Fine Arts, NYU from 1993 to 2005. She has also worked in art conservation at the Brooklyn Museum and The Metropolitan Museum of Art. She has worked as a conservator on sites in Florence, Rome, Parma, and Sardis.
FACULTY & STAFF | 39
WILLIAM LORENZOVisiting Assistant ProfessorHistory of Animation
B.F.A., Brooklyn College
William Lorenzo is independent artist, researcher, film archivist, and programmer. Publica¬tions include museum notes and articles in Animation Magazine, Ani¬maFilm, and others. Author: “Lillian Friedman Astor – Pioneer Woman Animator”. Executive Board Member ASIFA-East, The International Animated Film Association. Curator, “Animation Over Broadway”, Museum of Modern Art, February 1993. Other areas of interest: Film and Illustration.
ELIZABETH MEGGSVisiting Instructor Communication Design
M.F.A., Pratt Institute: PaintingB.F.A., Virginia Commonwealth University: Communications Arts and Design, Illustration, summa cum laude
Elizabeth Meggs is an illustrator, writer, designer, including paintings, photography and hand-bound artist books. Meggs is also a graphic designer (Hearst’s Victoria) and writer for the Los Angeles Daily News; she has worked at Pierogi Gallery and taught at BBG, VCU, Pratt and NYCCT. Exhibitions include: ISE Cultural Foundation, Los Angeles Center for Digital Art, Mariner’s Museum, Firehouse Art Collective, Anderson Gallery, Target Gallery/Torpedo Factory, Galapagos Art Space, Edward Hopper House, Pratt Dean’s Gallery, Lincoln Center, and Brooklyn Museum’s Go! Brooklyn. Selectee, NYC Center for Book Arts’ Letterpress Printing/Fine Press Publishing Seminar for Emerging Writ-ers; recipient, Virginia Museum of Fine Arts Fellowship/Drawing.
40 | FACULTY & STAFF
MARSHA MORTON ProfessorAbstract Art, Impressionism and Post-Impressionism, German Nineteenth-Century Art
Ph.D. Institute of Fine Arts, New York UniversityM.A., University of Chicago
Books include Max Klinger and Wilhelmine Culture: On the Threshold of German Modernism (Ashgate 2014), the co-edited anthology The Arts Entwined: Music and Painting in the Nineteenth-Century (Garland 2000), and Pratt and Its Gallery: The Arts & Crafts Years (1999). She has pub-lished numerous essays on nineteenth-century German and Austrian art, many with a focus on interdisciplinary topics (cultural history, Darwinism, music, and ethnography) and artists and critics such as Alois Riegl, Gustav Klimt, Klinger, Alfred Kubin, Max Beckmann, and Max Liebermann. She is currently serving her second term as President of the Historians of German and Central European Art (HGCEA).
JUAN MONROYVisiting Assistant ProfessorHistory of Film
M.A. Cinema Studies. New York UniversityB.A. Film Studies. University of California, Santa Barbara
Juan Monroy is a scholar of film, television and media studies, specializing in history, technology, and cultural impacts of US film and television. He is a doctoral candidate in the Department of Cinema Studies at New York University, writing a dissertation on television, Latin America, and economic development in the 1960s. He teaches film and media classes at Fordham University, Lincoln Center, CUNY Queens College, and Pratt Institute. Since 2009, Juan has also worked as a video and digital media librarian and database technician at NYU-TV.
FACULTY & STAFF | 41
EVAN NEELYAdjunct Assistant ProfessorNorthern Renaissance, Mondern Art and Aesthetic Theory
Ph.D., Art History, Columbia UniversityM.Phil., M.A., Art History, Columbia UniversityB.F.A., Fine Arts, Parsons School of Design
Evan Neely studied twentieth century and Northern European Renaissance Art, as well as post-Enlightenment political and aesthetic theory. His most recent work investigates the relationships between nine teenth-century American literature and twentieth-century painting and new genres. He has taught courses at Columbia University, Parsons School of Design, and the Museum of Modern Art, on modern and postmodern art, the history of ethical and political theory, and Enlightenment aesthetics. He is currently Core Lecturer for Art Humanities at Columbia University in addition to teaching at Pratt.
NICHOLAS PARKINSONVisting InstructorNineteenth-Century Art
Ph.D. candidate, Art History & Criticism, Stony Brook UniversityM.A., Philosophy, Stony Brook UniversityB.A., Philosophy, DePauw University
Nicholas Parkinson is a PhD candidate at Stony Brook University, where is he completing his dissertation on the popular and critical reception of Nordic art in nineteenth-century France. His areas of research interest include imaginary geographies of the nineteenth century, fin-de-siècle art and culture, and the history of art criticism. He is an active member of the Society for the Advancement of Scandinavian Study, and his most recent publication, “De Chirico and the Fin-de-Siècle,” will be printed in Symbolist Roots of Modern Art, in 2015.
42 | FACULTY & STAFF
JOYCE POLISTENAAdjunct Associate ProfessorNineteenth and Twentieth-Century Art
Ph.D., The City University of New YorkM. Phil., The City University of New YorkM.A., Art History, Hunter CollegeCertificate in 19th-century British History, Oxford University, UKTESOL, Columbia University
Joyce Polistena’s primary research areas are nineteenth- and early twentieth-century European and American Art, with emphasis on French Romanticism. Publications include The Religious Paintings of Eugène Delacroix (Mellen, 2008) and contributions to scholarly volumes: NCAW; Bulletin du Société des amis du Musée nationale Eugène Delacroix; The Van Gogh Museum Journal. Current research involves artists’ activism and political prints as well as ongoing research about French Romanticism. Polistena was appointed Visiting Assistant Professor of Art History at The College of The Holy Cross (2014-2015) and she has served on the Board of Directors of ASCHA. She has organized several symposia on nineteenth-century Romantic Art.
KATARINA V. POSCHProfessorIndustrial Design, Interior Design, Japanese Design
Katarina V. Posch is a Design Historian specializing in intercultural themes. She teaches and publishes on Japanese, European and American design in a socio-historical context. Her publications cover issues relating to design and material culture, from cross-cultural comparisons (“Changing Worlds, Changing Designs,” MAK, Vienna, 2012) to feminist approaches (“The Seen and the Hidden. [Dis]covering the Veil,” Austrian Cultural Forum New York, 2007). She has written monographs and exhibition catalogues and curated for major museums including the Pompidou Center in Paris (Portrait d’une collection, 1995), the Vitra Design Museum in Germany (“Isamu Noguchi – Sculptural Design”, 2001) and the Noguchi Museum in New York.
FACULTY & STAFF | 43
MAX ROSENBERGVisiting Assistant ProfessorHistory of Art and Design Ph.D., Yale UniversityB.A., Columbia University Max Rosenberg focuses on twentieth-century modern and contemporary art and art institutions. His research areas are postwar German art, culture and society. He’s currently revising his dissertation for publication as a book on the instrumentalization of modern art in the years following World War II in West Germany and the critical reformulation of the art institution in the late sixties and early seventies. He has received fellowships and awards from the Fulbright Foundation, the Dedalus Foundation, the Getty Foundation and the German Academic Exchange Service (DAAD).
ELENA ROSSI-SNOOKVisiting Assistant Professor History of Film
M.A., Film Archiving, University of East Anglia (England).B.A., Cinema, Binghamton University, State University of New York
Elena Rossi-Snook is an Archivist for the Reserve Film and Video Collection of The New York Public Library; Director of the Board, Association of Moving Image Archivists; Chair, AMIA Film Advocacy Task Force. Her selected publications include: “Persistence of Vi-sion: Public Library 16mm Film Collections in America,” The Moving Image, “Continuing Ed: Educational Film Collections in Libraries and Archives,” Learning With the Lights Off: a Reader in Educational Film. Her selected Awards: 2002 recipient of the Kodak Fellowship in Film Preservation; Other: Producer, “Why We Film” 16mm series; Docu-mentary film “We Got the Picture” made official selection of the 2005 Tribeca Film Festival.
44 | FACULTY & STAFF
ANN SCHOENFELDAdjunct Assistant ProfessorDesign History, Modern Art
Ph.D., CUNY Graduate CenterM.A., University of Chicago
Ann Schoenfeld received a CUNY Dissertation Fellowship. Her work includes Lecturer, SUNY Purchase, and Nominator for the Joan Mitchell Foundation for Painting and Sculpture. She has published in M/E/A/N/I/N/G: An Anthology of Artist’s Writings, Theory, and Criticism, i-D, Eye.
DOROTHY SHEPARDAdjunct Associate ProfessorMedieval Art and Manuscripts
Ph.D., Bryn Mawr College M.A., Southern Methodist University
Dorothy Shepard received an AAUW American Fellowship and a Haakon Traveling Fellowship. Her invited lectures include: CAA, Kalamazoo and Medieval Academy; Symposia on History of the Bible held at Barnard, Rutgers, and Princeton Universities. She has published in Medieval Germany: An Encyclopedia; Rutgers Art Review; The Apocalypse in Word and Image; and Canterbury and the Medieval Bible.
FACULTY & STAFF | 45
ELIZABETH ST. GEORGEVisiting InstructorDesign History
Ph.D. candidate, Bard Graduate CenterM.A., Bard Graduate CenterB.A., Kent State University
Elizabeth St. George specializes in late nineteenth- and twentieth-century architecture and design. She has been an invited speaker at the Los Angeles County Mu¬seum of Art and has served as a research assistant for the Bard Gradu¬ate Center’s exhibitions on Knoll textiles (2011), Artek and Alvar Aalto (forthcoming), and the architect and designer, William Kent (forthcom¬ing). While her dissertation explores interwar architecture and design and themes of modern living in the former Czechoslovakia, she is broadly interested in how design is used to construct modes of cultural interaction and identity, and how modernism and notions of modernity were used to disseminate social, political, and cultural reform in America and Europe.
JACK TOOLINVisiting Assistant ProfessorNew Media
M.F.A., San Jose State University: Photography, Performance, and InstallationB.F.A., Ohio University, Athens, Ohio: Photography
Jack Toolin is an artist working in new media, digital imaging, and performance; his work considers contemporary life in light of the changing political,economic, and technological landscape. Toolin’s individual and collaborative work has been exhibited nationally and internationally, including San Francisco Camerawork; The Walker Art Center; the Whitney Museum of American Art (2002 Whitney Biennial); and the Museo Nacional de Bellas Arte, Buenos Aires, Argentina. He has performed in the San Francisco Bay Area, New York, Pittsburgh, Reno, Phoenix, Hong Kong, and Linz, Austria. Commissions include the Walker Art Center and the Whitney Museum of American Art and he has lectured widely, nationally and internationally.
46 | FACULTY & STAFF
ALICE WALKIEWICZVisiting InstructorNineteenth Century European and American Art
Ph.D. candidate, The Graduate Center, The City University of New York M.Phil., The Graduate Center, The City University of New York B.A., The University of Kansas
Alice Walkiewicz specializes in nineteenth-century art from Europe and the United States. Her current research focuses on issues of gender and labor, and the way that anxieties about these issues are addressed through visual culture (both in fine art and popular imagery) within a transnational (and transatlantic) context. Her dissertation explores these concerns by examining representations of the archetypal figure of the exploited, laboring seamstress in England, France, and the United States in the late nineteenth century within the context of the rising labor movement. She has taught at Parsons The New School for Design as well as Pratt Institute.
BOR-HUA WANGAdjunct Assistant ProfessorAsian Art
Ph.D., Columbia UniversityM.A., University of Kansas
Bor-Hua Wang is a specialist in Chinese painting and calligraphy of the Song dynasty. Her other areas of research include: Contemporary Chinese Art; Buddhist Art of Southeast Asia and Western art theory. She is a curator of Contemporary Korean Art, Abstract Chinese Art, for Taipei Fine Art Museum. She presented “Pan Yuliang’s Life and Art: Alienation to Freedom of Expression,” CAA, 2001.
FACULTY & STAFF | 47
SARAH WILKINSVisiting Assistant ProfessorLate Medieval and Renaissance Art
Ph.D., Rutgers, The State University of New JerseyM.S., Pratt InstituteB.A., Vanderbilt University
Sarah Wilkins specializes in Italian late medieval and Renaissance art, with interests in mendicant patronage, Angevin Naples, and the cult of the saints. Her awards include a Fulbright fellowship and a Mellon Finishing Grant. Publications include “Imaging the An¬gevin Patron Saint: Mary Magdalen in the Pipino Chapel in Naples” (2012) and “Adopting and AdaptingFormulas: The Raising of Lazarus and Noli me tangere in the Arena Chapel in Padua and the Magdalen Chapel in Assisi” (2013). She has presented papers at conferences including Kalamazoo and RSA and is currently chair of the Italian Art Society’s Emerging Scholars Committee.
KARYN ZIEVEVisiting Assistant ProfessorNineteenth and Early Twentieth-Century Art and Design
Ph.D., Institute of Fine Arts, New York UniversityM.A., University of PennsylvaniaB.A., Wellesley College
Karyn Zieve is a specialist in nineteenth- and early twentieth-century art, with a focus on Eugène Delacroix, orientalism, the history of photography and the graphic arts. In addition to teaching at various NYC institutions and museums, she has written about and organized exhibitions of prints, drawings and photographs on various topics. Presently she is working on a manuscript based on her work on Delacroix and images of the East.
48 | FACULTY & STAFF
OFFICE OF REGISTRAR
Fall 2014 – Summer 2015
ACADEMIC CALENDAR
Calendar Highlights 2014-2015
Date Fall 2014 Spring 2015 Summer 2015
Last Day for 100% tuition refund upon withdrawal (WD)
August 25 January 20 May 18
First Day of Class August 25 January 20 (Jan 10 Sat/Sun Classes) May 18
Last Day to Add Classes or Drop without a WD grade
September 8 February 2 May 24
Last day to withdraw (WD) from a course November 14 April 17 June 8
Dates that classes DO NOT MEET
Labor Day September 1
Midterm Break
October 13 – 14
Thanksgiving November 26 – November 30
Martin Luther King January 19
Spring Break
March 16 - March 22
Memorial Day May 25
Independence Day July 3 – 4
Studio Days December 9 – December 12 May 5 – May 8 n/a
Final Critique and Exams December 13
through December 19
May 9 through May 15
n/a
Last Day of Class December 19 May 15 July 24
Grades Due Online December 22 May 18 n/a
Important Telephone Numbers Academic Advisors Admissions (toll-free) (800) 331-0834 Architecture (718) 399-4333 Admissions (718) 636-3514 Art and Design (718) 636-3611
Bursar (718) 636-3539 Information and Library Science (212) 647-7682
Career Services (718) 636-3506 Intensive English Program (718) 636-3450
Financial Aid (718) 636-3599 Writing Programs (718) 399-4497
Health & Counseling Services (718) 399-4542
International Affairs Office (718) 636-3674 Please note: This calendar must be considered as informational and not binding on the Institute. The dates listed here are provided as a guideline for use by students and offices participating in academic and registration related activities. This calendar is not to be used for nonacademic business purposes. Pratt Institute reserves the right to make changes in the information printed in this bulletin without prior notice.
Library (Circulation Desk) (718) 636-3420 Registrar (718) 636-3663
Residential Life (718) 399-4550
Security (718) 636-3540
Student Activities and Orientation (718) 636-3422
OFFICE OF REGISTRAR
Fall 2015 – Summer 2016
ACADEMIC CALENDAR
Calendar Highlights 2015-2016
Date Fall 2015 Spring 2016 Summer 2016
Last Day for 100% tuition refund upon withdrawal (WD)
August 24 January 19 May 16
First Day of Class August 24 January 19 May 16
Last Day to Add Classes or Drop without a WD grade September 7 February 1 May 22
Last day to withdraw (WD) from a course November 13 April 8 May 31
Dates that classes DO NOT MEET
Labor Day September 7
Columbus Day
October 12
Midterm Break October 13
Thanksgiving
November 25 – November 29
Martin Luther King January 18
Spring Break March 14 - March 20
Spring Holiday
March 26 – March 27
Memorial Day May 30 Independence Day July 4
Studio Days December 8
through December 11
May 3 through May 6
n/a
Final Critique and Exams December 12
through December 18
May 7 through May 13
n/a
Last Day of Class December 18 May 13 July 22
academic calender | 49
NOTES
East Hall, Room 205TEL: 718-636-3598
[email protected]/arthistory
200 Willoughby AvenueBrooklyn, NY11205