ART HISTORY
Art & Education artandeducation.net
ArtBabble artbabble.org
Getty Research Institute getty.edu/research
Heilbrunn Timeline of Art History metmuseum.org/toah
Google Art Project googleartproject.com zotero.org
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.
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
COMPUTER/PRINTING LABS DISCOUNTS
THEATER TICKETS, MOVIE TICKETS & CAR SERVICE
For discounted tickets and neighborhood car service, visit the student involvement office, located in the lower level of the Main Building.
ATHLETICS
FREE YOGA, DANCE & EXERCISE CLASSES
In addition to a spacious indoor-track and a weight and exercise room, Pratt’s athletic center in the ARC building offers a number of free classes every day of the week. For more information, pick up a class schedule from the athletics center or check out pratt.edu/ student-life/athletics-and-recreation. You can also visit the Pratt Athletics website at goprattgo.com.
CAMPUS RESOURCES | 7 6 | WEB RESOURCES
THE RUBELLE and NORMAN SCHAFLER GALLERY
Pratt Brooklyn Campus
Chemistry Building, 1st Floor Monday-Friday 9am-4pm 718-636-3517
PRATT MANHATTAN GALLERY
Pratt Manhattan Building
144 West 14th Street, 2nd Floor
Wednesday-Saturday 11am-6pm
Tuesdays 11am-8pm 212-647-7778
Your Pratt ID can get you into a number of museums and attractions for free:*
BROOKLYN BOTANIC GARDEN
900 Washington Avenue, Brooklyn bbg.org
BROOKLYN MUSEUM
200 Eastern Parkway, Brooklyn brooklynmuseum.org
COOPER HEWITT
NATIONAL DESIGN MUSEUM
2 East 91st Street, Manhattan cooperhewitt.org
FRICK COLLECTION
1 East 70th Street, Manhattan frick.org
THE GUGGENHEIM
107 5th Ave, Manhattan guggenheim.org
MUSEUM of ART and DESIGN
2 Columbus Circle, Manhattan madmuseum.org
NEW MUSEUM
435 Bowery, Manhattan newmuseum.org
WHITNEY MUSEUM of AMERICAN ART
99 Gansevoort St, Manhattan
* 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 8 | PRATT GRALLERIES
SOCIETY of ARCHITECTURAL HISTORIANS www.sah.org/
The Society of Architectural Historians (SAH) promotes the study, interpretation and conservation of architecture, design, landscapes and urbanism worldwide.
There are several organization memberships that are beneficial to art history students. Here are a few:
AMERICAN ALLIANCE of MUSEUMS aam-us.org
Most accredited museums throughout the country offer free admission to AAM members. Students can join for a mere $50!
COLLEGE ART ASSOCIATION collegeart.org
The CAA is an organization consisting of students and professionals with the goal of promoting visual arts both nationally and internationally. With a membership, students have access to a number of perks including discounted admission to CAA conferences and a subscription to either The Art Bulletin or Art Journal.
CONSORTIUM of ART and ARCHITECTURAL HISTORIANS Bit.ly/caah-listserv
Keep up-to-date and in the know with this listserv-based community of art and architectural historians.
PUBLIC LIBRARIES
BROOKLYN CENTRAL LIBRARY
10 Grand Army Plaza, Brooklyn 718-230-2100
NEW YORK PUBLIC LIBRARY STEPHAN A. SCHWARZMAN BUILDING 5th Avenue & 42nd Street, Manhattan 917-275-6975
COOPER HEWITT SMITHSONIAN DESIGN MUSEUM
2 East 91st Street, Manhattan 212-849-8330, by appointment only
FRICK ART REFERENCE LIBRARY
10 East 71st Street, Manhattan 212-547-0641
MORGAN LIBRARY & MUSEUM
225 Madison Avenue, Manhattan 212-685-0008, by appointment only
MUSEUM LIBRARIES
MUSEUM of MODERN ART
4 West 54th Street, Manhattan 212-708-9433, by appointment only
METROPOLITAN MUSEUM of ART: THOMAS J. WATSON LIBRARY
1000 Fifth Avenue, Manhattan 212-650-2312, by appointment only
(For a complete list of the Met’s libraries, visit metmuseum.org/education)
* Pratt’s library also offers special access to other academic libraries throughout Brooklyn with the ALB Card. For more information, speak with a librarian or call 718-636-3420
LIBRARIES | 11
10 | MEMBERSHIPS
LUNCH/DINNER
CLINTON HILL/FORT GREENE
BROOKLYN FLEA brooklynflea.com
FORT GREENE PARK GREENMARKET grownyc.org
BROOKLYN NAVY YARD brooklynnavyyard.org
ART/GALLERIES
ART F CITY artfcity.com
ARTCARDS artcards.cc
ARTINFO GALLERY GUIDE artinfo.com/galleryguide
CREATIVE TIME creativetime.org
CITYWIDE
FLAVORPILL flavorpill.com/newyork
GOTHAMIST gothamist.com
HOPSTOP (Subway Directions) hopstop.com
GENERAL GREENE
Classic American tapas for the foodie and locavore. Amazing homemade ice cream. 229 DeKalb Ave 718-222-1510
LOS POLLITOS III
Mexican/Italian food. Great atmosphere. Also great for their unlimited mimosa brunch. 499 Myrtle Ave 718-636-6125
OLEA
A beautiful, relaxing Mediterranean restaurant. 171 Lafayette Ave 718-643-7003
MYRTLE THAI
Tasty and affordable Thai food. (Discount w/ student ID) 438 Myrtle Ave 718-422-1142
WAZA
Sushi & Ramen 485 Myrtle Ave 718-399-WAZA(9292)/718-399-3839
YAMASHIRO
An intimate and inexpensive Sushi restaurant. 466 Myrtle Ave 718-230-3313
ZAYTOONS
The best Middle-Eastern food in the neighborhood. BYOB. 472 Myrtle Ave 718-623-5522
EL COFRE 454 Myrtle Avenue btw. Waverly and Washington 718-935-1153
WRAY’S CARIBBEAN & SEAFOOD 503 Myrtle Avenue 718-789-1111
WHERE TO EAT! | 13 12 | LOCAL INFO
CAFÉS/BAKERIES
CONNECTICUT MUFFIN
423 Myrtle Ave | 718-935-0087
DOUGH
The best donuts in the world.
448 Lafayette Ave | 347-533-7544
CLEMENTINE BAKERY
Cozy spot for vegan/organic goodies with gluten-free options.
299 Greene Ave | 718-483-8788
PRIMROSE CAFÉ*
147 Greene Ave | 718-789-7890
TAKEOUT
CHOICE MARKET
A cute, casual café with amazing coffee, mouth-watering sandwiches and gourmet pastries.
318 Lafayette Ave | 718-230-5234
CASTRO’S
Cheap, fun, and (very) filling Mexican food.
511 Myrtle Ave | 718-399-0084
LUIGI’S PIZZERIA
The most amazing slice of pizza you will ever have in your life. Right next to Pratt.
326 DeKalb Ave | 718-783-2430
NEW GRACE CHINESE KITCHEN
Tasty, cheap, and friendly Chinese food.
484 Myrtle Ave | 718-789-6296
CHEAP BREAKFAST
PILLOW CAFÉ
A warm, cozy, and low-key spot for a light meal and coffee. Try their homemade tea.
505 Myrtle Ave | 718-246-2711
MIKE’S COFFEE SHOP
A charming neighborhood diner frequented on weekend mornings by hungry Pratt students and churchgoers. Directly across the street from Pratt.
328 DeKalb Ave | 718-857-1462
CLINTON PARK CAFÉ*
Classic American diner food.
245 DeKalb Ave | 718-398-8112
BERGEN BAGELS*
The best bagels in the neighborhood (and maybe the world).
536 Myrtle Ave | 718-789-9300
BARS ALIBI
The local seedy (and awesome) dive bar. Complete with pool table and jukebox.
242 DeKalb Ave | 718-783-8519
FIVE SPOT
A funky soul food restaurant that doubles as a bar after hours. Great for live music, cheap beer, and their kitchen that closes at 2 am.
459 Myrtle Ave | 718-852-0202
*Accepts PrattBucks, money you can add to your Pratt ID card at prattcard.com
WHERE TO EAT! | 15 14 | WHERE TO EAT!
Elective Courses
in
HA,
HD,
and
ARCH DISTRIBUTION
AREA COURSE
NUMBER
+
NAME CREDITS YR/SEMESTER
DUAL DEGREE PROGRAM REQUIREMENTS
Elective Courses in
other
areas (up
to
6
credits
in
studio,
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
or
GERMAN
or
OTHER
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
approved
by
the
chairperson) Date
Passed:
French
/
German
/
Other
MUSEUM
YR/SEMESTER
560 Museology 3
I
) 3 HA
I
(at
) 3
Courses (6
CREDITS) COURSE
NUMBER
+
NAME CREDITS YR/SEMESTER G8300 G8350 G8360
(all programs) HA 602 Art Historical Theory & Methodology HA 650 Chemistry of Materials, Techniques, & Conservation HA 605 Thesis
36 credits in History of Art & Design
language,
LIS,
etc.
approved
by
the
chairperson) CERTIFICATE
IN
STUDIES
Core
Courses
(9
CREDITS)
HA
HA
9603
nternship
(at
9603B
nternship
Elective
REQUIRED COURSES
MS DEGREE PROGRAM REQUIREMENTS
MS/MFA or MS/MS requirements + 30 credits in History of Art & Design.
REQUIREMENTS One course, or its equivalent, in each of the following categories: Photo/Film/Design Architecture Non-Western Pre-Renaissance Renaissance/Baroque/18th Century 19th/20th/21st Century For more information about distribution requirements, please see the worksheet available in the History of Art & Design Office, and bring your questions to your next advising appointment. Course offerings are subject to change. DEGREE PROGRAM WORKSHEET | 17 16 | REQUIREMENTS
DISTRIBUTION
STUDIES
ADVANCED CERTIFICATE IN MUSEUM STUDIES —HISTORY OF ART AND DESIGN, LIBRARY AND INFORMATION SCIENCE
The museum studies program is designed to be taken within the MS degree in the Department of History of Art and Design (HAD), or the MS in Museums and Digital Culture in the School of Information. The Certificate is also available to graduate students enrolled in the History of Art and Design’s dual-degree programs with the Department of Fine Arts and the School of Information’s MSLIS, which are awarded upon completion of those Master’s degrees. The Advanced Certificate is approved by NYSED. The elective courses were recently updated to reflect the latest advances in museum conservation and technology.
The 15-credit Advanced Certificate in Museum Studies provides learning opportunities for students who wish to acquire the essential knowledge and skills needed to engage with the museum world as professionals. The curriculum features experiential learning and field research through the 2-semester museum practicum/ internship giving students hands-on experience in current museum practice while working in NYC’s leading cultural institutions. Taught by an expert faculty, coursework brings focus to exhibitions, curation and conservation.
Required Core Courses:
HA-560 Museology (3 credits)
HA-9603 and HA-9603B (3 credits each)
Two internships at two different art institutions chosen from an approved list. Note, students in the dual-degree programs (MS/MSLIS and MS/MFA) or MS Museums and Digital Culture may meet this requirement by taking HA-9603 and LIS-698 Practicum/Seminar.
Plus two 3-credit courses from the following list (no substitutions):
HA-600I Materials and Techniques of Venice, Pratt in Venice program
HA-682 Technical Issues/Art Historian HA-681 Introduction to Painting Conservation HA-635 Creating Exhibitions
ADE-618 Contemporary Museum Education
ADE-628 Avant-Garde Museum Education
LIS-629 Art Collections: Research & Documentation
LIS-632 Conservation and Preservation
LIS-634 Conservation Lab at Brooklyn College
LIS-679 Museum & Digital Culture: Theory and Practice
LIS-697-A Florentine Art & Culture: Research & Documentation LIS-697-B Cultural Heritage Conservation
MUSEUM STUDIES | 19 18 | MUSEUM
REQUIRNMENTS
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.
Proposal Timeline:
1. Two weeks into the semester the student will present a preliminary brief bibliography to the advisor.
2. Six weeks into the semester a first draft of the proposal is due to the advisor. The advisor will return the proposal draft within 10 days and will work with the student on any requested revisions.
3. Eight or nine weeks into the semester the finished proposal is submitted to the advisor with the fully annotated bibliography
4. Five weeks before the semester ends the advisor has approved the proposal. The proposal is given to a 2nd reader together with the department’s form for further feedback and suggestions. The second reader is a faculty member; the selection made in consultation with the advisor or the chair. The student should have approached the 2nd reader earlier in the semester to see whether he or she is available to comment on the proposal. If the faculty member has agreed, then he or she is obligated to work within the required timeline and return the proposal by the due date.
•It is the student’s responsibility to hand the proposal to the 2nd reader and remind the 2nd reader at least one week before the date of the forthcoming submission.
5. At least three weeks before the last day of classes the 2nd reader returns the proposal and form to the student and the advisor with his or her suggestions. The 2nd reader will copy the Advisor on his comments.
•Once the 2nd reader submits recommended changes and comments, the 2nd reader’s responsibility ends. The advisor supervises further editing of the proposal and the writing of the thesis.
•Students should continue research and begin drafting text while the proposal is being reviewed.
6. One to two weeks before the last day of classes the approved proposal signed by the advisor with annotated bibliography is due in the Chair’s office where it will become a record in the student’s file. Student fully embarks on writing the thesis.
MASTER THESIS REQUIRNMENTS | 21 20 | MASTER THESIS
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.
5. The thesis, while approved by the advisor, is still considered a draft until the Chair has approved the copy. After the Chair (or the faculty member designated by the Chair) has approved the final draft, the student will make any required final corrections and then print three copies on archival paper, one for Library deposit, one for the HAD archives, and one a personal copy. The title page must bear the signatures of both the advisor and Chair.
6. Final submission dates: May 15 for Spring,(September 15, or January 15 for Fall). Before depositing the thesis in the library, the student must:
•have a final degree audit at the Registrar’s Office; •settle all outstanding fees at the Bursar’s Office; •have the HAD office do a scan of the title page; •sign an authorization form to make the thesis available on the HAD website; •send the final corrected and approved thesis as a digital copy to the designated departmental Dropbox.
MASTER THESIS REQUIRNMENTS | 23 22 | MASTER THESIS REQUIRNMENTS
Recent HAD Internships
ART21
Artforum International Brooklyn Museum of Art
The Cloisters Library and Archives
Christie’s
Cornell NYC Tech, Jacobs Institute Frick Art Reference Library Gagosian Gallery
International Print Center New York Judd Foundation
Moss Bureau Museum of Arts and Design Museum of Modern Art New Museum New-York Historical Society
The Noguchi Museum
Richard Avedon Foundation
Rubin Museum of Art Solomon R. Guggenheim Museum Visual AIDS Foundation
Whitney Museum of American Art
INTERNSHIP | 25 24 | INTERNSHIP
STAFF LISTING
GAYLE RODDA KURTZ Acting Chairperson – History
of Art and Design
Ph.D., CUNY Graduate Center M.A., Hunter College B.A., Stanford University
Gayle Rodda Kurtz specializes in eighteenth and nineteenth-century Euro pean 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 a Man aging Editor of Zeteo Journal (zeteojournals.com) where she is a contribut ing editor and writer. She has presented papers at the Nineteenth Century Studies Association. She taught at Caldwell College, Hunter College, and New York City College of Technology, CUNY. She received a Graduate Teaching Fellowship from CUNY Graduate Center. gkurtz@pratt.edu
JILL SONG Assistant to the Chair
Jill holds an A.A.S. in Photography; B.F.A. in Graphic Design from the Fashion Institute of Technology; an M.S. in Education from Walden Uni versity, with specialization in Mathematics, and an M.F.A. in Computer Graphics and Interactive Media from Pratt Institute, with a focus on Digital Video. After earning her M.F.A. from Pratt, Jill worked with a multimedia production house to create both packaging and interface designs for CDs and DVDs.
jsong1@pratt.edu
EVAN
NEELY
Acting Assistant Chairperson, Adjunct Assistant Professor
Ph.D., Art History, Columbia University M.Phil., M.A., Art History, Columbia University B.F.A., Fine Arts, Parsons School of Design
Evan Neely studied twentieth century and Northern European Renaissance Art, as well as post-Enlightenment political and aesthetic theory. He has published essays on Henry David Thoreau and postwar American art and the artistic strategies of the Occupy movement. His most recent work focuses on ecological thought and the history of landscape in the United States during the 19th and 20th centuries. He has taught courses at Columbia University, where he was a postdoctoral fellow from 2011-2012, Parsons School of De sign, Sarah Lawrence College, and the Museum of Modern Art, on modern and postmodern art, the history of ethical and political theory, and Enlightenment aesthetics. eneely@pratt.edu
FACULTY LISTING
SONYA ABREGO
Visiting Assistant Professor
Ph.D. candidate, Bard Graduate Center M.Phil, Decorative Arts, Design History & Material Culture Studies, Bard Graduate Center
Sonya Abrego is a Ph.D. candidate specializing in twentieth century fashion, currently completing a dissertation on Western wear in postwar United States. Her work focuses on the interconnections between fashion and popu lar culture, specifically music and film. She has presented papers in New York, Montreal and San Francisco, worked with the costume col-lections at the Museum of the City of New York and the Metropolitan’s Costume Institute. She is the recipient of graduate fellowships from the Metropolitan Museum of Art, the Bonnie Cashin Foundation and the Autry National Center. Sonya is a senior editor at Worn Fashion Journal and works in the vintage clothing market. sabrego@pratt.edu
FACULTY & STAFF | 27 26 | FACULTY & STAFF
KIRA ALBINSKY Visiting Instructor
Ph.D., Rutgers, The State University of New Jersey M.A., Rutgers, The State University of New Jersey B.A., Boston College
Kira Albinsky specializes in early modern art in Italy. She is currently completing a dissertation on the social history, devotional practices, and art patronage of the Archconfraternity of the Holy Crucifix of San Marcello in Rome, which explores the interdependence of art, ritual, and reform during the Catholic Reformation. Portions of her work will appear in “The Performance of Devotion: Patronage and Ritual at the Oratorio del SS. Crocifisso in Rome” in Space, Place, & Motion: Locating Confraternities in the Late Medieval and Early Modern City forthcoming in 2017. kalbinsk@pratt.edu
KAREN BACHMANN
Visiting Assistant Professor
M.A., History of Art, Purchase College, State University of NY B.F.A., Sculpture/Jewelry, Pratt Institute
Karen Bachmann specializes in jewelry, hollowware, and decorative art. She has special interests in medieval, memento mori, Renaissance, Baroque, and 19th century work. She is a practicing studio jeweler with over 25 years of experience creating fine jewelry and is a former master jeweler at Tiffany & Co. Her work, which can be found in international private and public collections, has been exhibited extensively. At Pratt, she teaches in both the Art History and Fine Art departments. She is also an adjunct professor at the Fashion Institute of Technology. Karen is an artist and scholar in residence at the Morbid Anatomy Museum in Brooklyn. Her work has been published in Art Jewelry Today and the Lark 500 series of books. Published works include “Hairy Secrets: Human Relic as Memory Object in Victorian Hairwork Jewelry” and “Queen of the Stone Age: the Venus of Willendorf”. kbachman@pratt.edu
LISA BANNER
Visiting Associate Professor
Ph.D., Institute of Fine Arts, NYU B.A., Princeton University
Lisa A. Banner is an art historian and curator. Her publications include Spanish Drawings in the Princeton University Art Museum (Yale University Press, 2013), and The Religious Patronage of the Duke of Lerma (Ashgate, 2009). She has lectured on old master drawings at the Frick Collection, Metropolitan Museum of Art, Morgan Library, Courtauld Institute, and the Meadows Museum. As a curator she has worked with The Frick Collection (The Spanish Manner: Drawings from Ribera to Goya, 2010-2011), the Museo del Prado (Dibujos del Siglo de Oro en la Coleccion de la Hispanic Society of America, 2006), the Museu Nacional d’Art de Catalunya, and the Institute of Fine Arts, NYU. lbanne34@pratt.edu
ÁGNES BERECZ
Visiting Assistant Professor
Ph.D., Université Paris I (Panthéon-Sorbonne)
Ágnes Berecz teaches modern and contemporary art history. She is Associate Professor at Christie’s Education and lectures at The Museum of Modern Art. Her writings have appeared in Art Journal, Art in America, Artmargins and the Yale University Art Gallery Bulletin as well as in European and US exhibitions catalogues. Her recent work includes the two volume mono graphic study, Simon Hantaï, and the essay, “The Event of Painting,” written for Judit Reigl’s retrospective at the Ludwig Museum in Budapest. Her re view articles for Műértő, the Budapest-based art monthly, include “Thomas Hirschhorn’s Gramsci Monument,” and “American Traumspiel: Mike Kel ley.” She is working on a book titled Paint No More: France, 1948-1982. aberecz@pratt.edu
FACULTY & STAFF | 29 28 | FACULTY & STAFF
SAM BRYAN Adjunct Professor
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 Metropolitan Museum of Art. He is past president of the New York Film Council and continues as executive Director of the International Film Foundation. sbrya995@pratt.edu
KIMBERLY CONNERTON
Visiting Assistant Professor
Ph.D. Art History and Studio Practice, Sydney College of the Arts, University of Sydney
Thesis titled “Exposure: Self-Portraiture, Performativity, Self-Inquiry”
An artist, art historian, and writer, Connerton taught across disciplines of art, architecture, and design at the University of Technology, Sydney College of the Arts, University of Sydney; College of Fine Arts/UNSW; San Francisco Art Institute; and Pratt Institute. Her focus is installation, performance, and spatial art from the 1960s to the 21st century. Currently, she is writing a book on installation and cross-disciplinary practice. She has exhibited her performative installations and public art in New York, Brooklyn, Sydney, New Jersey, Madrid, London, Toronto, and Melbourne. kconnert@pratt.edu
LIAM CONSIDINE
Visiting Assistant Professor
Ph.D., NYU, Institute of Fine Arts
Liam Considine is an art historian specializing in modern and contempo rary art. His essays on postwar art in the United States and in France have appeared in Tate Papers and Art History, and an article on the contemporary French conceptual art collective Claire Fontaine is forthcoming. His exhibi tion and book reviews have appeared in Art Journal, Art Review, artforum. com, and The Brooklyn Rail, and he recently curated the exhibition Stone breakers at Young Art Gallery in Los Angeles. He is currently working on a book manuscript titled New Realisms: American Art in France 1962-72. lconsidi@pratt.edu
ED DECARBO
Adjunct Associate Professor, CCE Ph.D., M.A., Indiana University M.A., University of Chicago
Ed DeCarbo’s concentration is art and aesthetics in Post-Colonial Societies with foci in traditional and contemporary arts; field research in aesthetics in a traditional multicultural society in West Africa and in the Pacific (Moana) in contemporary arts. His courses survey the traditional and contemporary arts of Africa and the Pacific, and consider the theories and methods of analysis that are applied to the post-colonial world. He serves as a consultant to the College Board effort to globalize the Advanced Placement Curriculum in Art History. He was Director of Education at the National Museum of African Art, Smithsonian Institution, and served as a senior university administrator for many years. edecarbo@pratt.edu
FACULTY & STAFF | 31 30 | FACULTY & STAFF
COREY D’AUGUSTINE
Visiting Assistant Professor
M.A., Art History, Institute of Fine Arts, NYU
Advanced Certificate in Art Conservation, Institute of Fine Arts, NYU B.A., Visual Arts and Biochemistry, Oberlin College Corey D’Augustine is a conservator of modern and contemporary art and technical art historian. He works for the Solomon R. Guggenheim Museum and lectures on art history conservation at New York University, Sotheby’s Institute of Art, City College of New York, and Museum of Modern Art. A specialist in American and European Post-war art, his research includes 20th century painting materials and techniques and conservation of monochrome paintings. Selected publications: “Taoism in the Work of Agnes Martin,” Kunst Nu, “Laser Cleaning of a Study Painting by Ad Reinhardt and the Analysis / Assessment of the Surface after Treatment,” Modern Paints Uncovered; Selected Awards: Samuel H. Kress Foundation grant; Dedalus Foundation grant. cdaugust@pratt.edu
PETER DE STAEBLER
Assistant Professor
Ph.D. Institute of Fine Arts, NYU M.A. Institute of Fine Arts, NYU A.B. Bowdoin College
Peter De Staebler is an art and architectural historian and classical archaeolo gist with more than 20 years of field experience in Turkey, Italy, and Greece. His dissertation was on the spolia-filled late-antique fortifications at Aphrodisias in Turkey, where he was also assistant director of the New York Uni versity–University of Michigan Aphrodisias Regional Survey Project. He has published extensively on the the excavations at Aphrodisias and on ancient fortifications. While his primary research area is ancient architecture and urban development, he has a strong interest in the long history of recycled architectural elements—especially monolithic columns—and a diachronic examination of the alternating coordination and disconnect between build ing technology, materials, and style. He also teaches in the PSPD Historic Preservation program. pdestaeb@pratt.edu
EVA DÍAZ
Assistant Professor
Ph.D., M.A., Princeton University
Eva Díaz’s book The Experimenters: Chance and Design at Black Mountain College has been released by the University of Chicago Press. The project examines how an interdisciplinary group of artists at Black Mountain proposed new models of art and focuses on three Black Mountain teachers in the late 1940s and early 1950s: Josef Albers, John Cage, and Buckminster Fuller. Professor Díaz’s writing appears in magazines and journals such as The Art Bulletin, Art Journal, Art in America, Cabinet, The Exhibitionist, Frieze, Grey Room, October, and Tate Etc. and she is a regular contributor to Artforum. She was recently awarded a Creative Capital/Warhol Foundation Art Writers Grant to research for her book about Buckminster Fuller’s work, titled The Fuller Effect: The Critique of Total Design in Postwar Art. ediaz3@pratt.edu
MARY DOUGLAS EDWARDS
Adjunct Professor, CCE
Ph.D., M.L.S., M.A., Columbia University
Publications include: Wind Chant and Night Chant Sand Paintings, articles in Journal of the Society of Architectural Historians, Studies in Iconography, Source: Notes in the History of Art, Il Santo: rivista francescana, Zeitschrift für Kunstgeschichte, and elsewhere. Co-edited and wrote portions of Grav ity 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. Conducts research on pictorial narrative, iconography and other topics primarily in Native American Art, Late Medieval Italian Art and Twentieth-century Art. medw1005@pratt.edu
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CHARLES EPPLEY Visiting Instructor
Ph.D. candidate, Stony Brook University M.A., Art History and Criticism, Stony Brook University B.A., Art History and Music, Hiram College
Charles Eppley focuses on site-specific art, sound, and new media. Eppley is completing a dissertation on Un-Fixed Media: Site-Specificity and Material ity in the Work of Max Neuhaus. He has organized a panel on Soundsites at the Southeastern College Art Conference, and presented papers on sound art and Max Neuhaus at various venues. He also teaches at Stony Brook University. ceppley@pratt.edu
DIANA GISOLFI Professor
Ph.D., University of Chicago M.A., Yale and University of Chicago B.A., Radcliffe/Harvard
Research focus is on Cinquecento art in Venice and the Veneto, including religious and political context and artistic practice. Gisolfi developed and directs the Pratt in Venice program. She lectures and chairs sessions regularly at CAA and RSA and at international conferences, and contributed essays to three international exhibitions on Paolo Veronese: Venice 2011, Sarasota,FL 2012-13, Verona 2014. Publications include: The Rule, The Bible, and the Council: The Library of the Benedictine Abbey at Praglia (CAA Monograph Series); On Clas¬sic Ground, Caudine Country (Illustrations), and articles in: Yale University Art Gallery Bulletin Artibus et Historiae, Arte Veneta, The Art Bulletin, The Dictionary of Art (Oxford Art Online), Renaissance Quarterly, Burlington Magazine, caareviews.org. dgisolfi@pratt.edu
FRIMA FOX HOFRICHTER
Professor
Ph.D. Rutgers University. Certificate in Fine and Decorative Art Appraisal, Pratt Institute--in collaboration with the American Society of Appraisers. M.A. Hunter College B.A. Brooklyn College
Issues of gender and class have informed Hofrichter’s work. She is the author of a monograph on the 17th-C Dutch artist, Judith Leyster; numerous ar ticles within Dutch art and feminist/gender studies; organized several Dutch exhibitions; and is currently working on the theme of old women. Hofrich ter is a co-author of Janson’s History of Art: The Western Tradition (for the Baroque and Rococo sections), was Dutch Book Review Editor (2008-2013) for the Historians of Netherlandish Art (HNA), a member of the College Art Association’s Committee on Women in the Arts and Chair, Jury for the Distinguished Feminist Award (2012). ffhofric@pratt.edu
HEATHER HORTON Visiting Assistant Professor
Ph.D., Institute of Fine Arts, NYU M.A., Institute of Fine Arts, NYU B.A., DePauw University
Heather Horton’s current research focuses on questions of authorship, originality, and imitation, especially in the career of the pivotal writer and architect Leon Battista Alberti. She recently published a new interpreta tion of Alberti’s treatises on painting and is completing a book manuscript titled Leon Battista Alberti and the Renaissance Crisis of the Author. She has taught at New York University, The City University of New York, Purchase College, and The Cloisters Museum, where she remains a frequent guest lecturer. hhorton@pratt.edu
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DARA KIESE Visiting Assistant Professor
Ph.D., Art History, CUNY Graduate Center M.Phil., Art History, CUNY Graduate Center B.A., Modern History, University of Minnesota
Dara Kiese’s research centers around the artistic and architectural avantgardes in Weimar Germany, with focus on the Bauhaus. She has received a number of grants, including a Fulbright fellowship to Berlin and a Getty research travel grant. She worked as a Curatorial Assistant in the Architecture and Design Department at the Museum of Modern Art and has presented papers on architectural and design pedagogies at conferences and symposia including the College Art Association and the Bauhaus Universität Weimar and has published essays on the Bauhaus. dkiese@pratt.edu
VIVIEN KNUSSI Adjunct Assistant Instructor
Ph.D., Columbia University M.A.,Tufts University, Boston B.A., Tufts University, Boston
Vivien Knussi studied American Art and Photography at Columbia Univer sity. She was a Lecturer at the Museum of Modern Art through the Depart ment of Photography. Subsequently she assembled and catalogued two major corporate collections, The Dreyfus Fund and McFrank and William Adver tising Agency. With the insight she gained into emerging photog¬raphers featured in both, she has specialized in teaching Contemporary Photography at Pratt and is currently writing a book on the subject. She has written cata logue essays and most recently translated a German essay on Deconstructed Poetry for Les Figues Press. vknussi@pratt.edu
SUSAN
KARNET Visiting Instructor
M.F.A., Hunter College, CUNY B.F.A., The School of Visual Arts, New York City (cum laude)
Susan Karnet 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 inter ested in Modern and Contemporary Art, sculpture, and Egyptian Art. skarnet@pratt.edu
JOSEPH REID KOPTA Visiting Instructor
Joseph Kopta specializes in the visual culture of the medieval Mediterranean, with intellectual interests informed by materiality, cross-cultural interaction, and networks between Venice and Byzantium. Educated at Pratt Institute, Harvard Divinity School, and Columbia University, he is completing a PhD in Art History at Tyler School of Art, Temple University. Recent papers include “ : Color in Byzantine Gospel Lectionar ies” at the Mary Jaharis Center, and “Hair, Touch, and the Ivory Comb of Leo VI as an Agent of Imperial Order” at the Byzantine Studies Conference. He has held professional roles at The Aldrich Contemporary Art Museum, The Museum of Biblical Art, and The Metropolitan Museum of Art, and is a faculty member of Pratt in Venice. jkopta@pratt.edu
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MARILYN KUSHNER Visiting Professor
Ph.D., Modern Art, Northwestern University M.A., University of Wisconsin Milwaukee B.A., University of Wisconsin Milwaukee
Marilyn Kushner is Curator and Head of the Department of Prints, Pho tographs 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. mkushner@pratt.edu
TIFFANY LAMBERT Visiting Instructor
Tiffany Lambert is a curator and writer specializing in contemporary archi tecture and design, with a concentration on the development and evolving role of the user and how design mediates cultural and social experiences beyond aesthetics alone. She has served as assistant curator at the Cooper Hewitt, Smithsonian Design Museum and as managing editor of PIN–UP Magazine. Her writing is regularly published internationally, and she coauthored the publication “Beautiful Users: Designing for People” (Princeton Architectural Press). Ms. Lambert is a 2015 grant recipient from the Graham Foundation for Advanced Studies in the Fine Arts for her research on the Japanese designer Sori Yanagi. tlamber3@pratt.edu
THOMAS LA PADULA Adjunct Professor
Tom La Padula has illustrated for national and international magazines, advertising agencies and publishing houses for over thirty eight years. As lec turer on the subject of the History of Illustration, he has given talks around the country and is currently a participant in the History of Illustration Project. He has exhibited in numerous group shows throughout the country and his paintings and drawings are included in many private collections. La Padula was graduated from Parsons School of Design with a BFA and earned his MFA from Syracuse University. Tom joined the Communication Design faculty of Pratt Institute in 1986 and is the Illustration Coordinator for the Pratt Communication Design Department. tlapadul@pratt.edu
ANCA LASC Assistant Professor
Ph.D., Art History, University of Southern California M.A., Art History, University of Southern California B.A., History and Theory of Art and Literature, Jacobs University Bremen, Germany.
Professor Lasc studies the invention and commercialization of the modern French interior and the development of the professions of interior designer and window dresser. Her book, Designing the French Interior: The Modern Home and Mass Media, co-edited with Georgina Downey and Mark Taylor, was published by Bloomsbury in 2015 (paperback forthcoming 2017) while Visualizing the Nineteenth-Century Home: Modern Art and the Decorative Impulse was released by Routledge in May 2016. Architectures of Display: Department Stores and Modern Retail, co-edited with Patricia Lara-Betan court and Margaret Maile Petty is forthcoming from Routledge in 2017. alasc@pratt.edu
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MICHELE LICALSI
Visiting Assistant Professor
M.A., Institute of Fine Arts with Certificate in Art Conservation, NYU B.A., NYU
Michele LiCalsi studied art at the New York Academy of Art, the Art Students’ League, and the National Academy of Design. She has been teaching drawing, color and composition at the National Academy of Design from 1994 to the present. She taught fresco painting at the Conservation Center, Institute of Fine Arts, NYU from 1993 to 2005. She has also worked in art conservation at the Brooklyn Museum and The Metropolitan Museum of Art. She has worked as a conservator on sites in Florence, Rome, Parma, and Sardis. mlicalsi@pratt.edu
JUAN MONROY
Visiting Assistant Professor
Ph.D. candidate, Cinema Studies, NYU M.A., Cinema Studies. NYU B.A., Film Studies. University of California, Santa Barbara
Juan Monroy is a scholar of film, television and media studies, specializing in history, technology, and cultural impacts of US film and television. He is a doctoral candidate in the Department of Cinema Studies at New York University, writing a dissertation on television, Latin America, and economic development in the 1960s. He teaches film and media classes at Fordham University, Lincoln Center, CUNY Queens College, and Pratt Institute. Since 2009, Juan has also worked as a video and digital media librarian and database technician at NYU-TV. jmonro22@pratt.edu
Assistant Professor
WILLIAM LORENZO Visiting
B.F.A., Brooklyn College
William Lorenzo is independent artist, researcher, film archivist, and programmer. Publica¬tions include museum notes and articles in Anima tion Magazine, Ani¬maFilm, and others. Author: “Lillian Friedman Astor – Pioneer Woman Animator”. Executive Board Member ASIFA-East, The International Animated Film Association. Curator, “Animation Over Broadway”, Museum of Modern Art, February 1993. Other areas of interest: Film and Illustration. wlorenzo@pratt.edu
ELIZABETH MEGGS
Visiting Assistant Professor
M.F.A., Pratt Institute: Painting B.F.A., Virginia Commonwealth University: Communications Arts and Design, Illustration, summa cum laude
Elizabeth Meggs is an illustrator, writer, designer, including paintings, photography and hand-bound artist books. Meggs is also a graphic designer (Hearst’s Victoria) and writer for the Los Angeles Daily News; she has worked at Pierogi Gallery and taught at BBG, VCU, Pratt and NYCCT. Ex hibitions 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 Publish ing Seminar for Emerging Writers; recipient, Virginia Museum of Fine Arts Fellowship/Drawing. emeggs@pratt.edu
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MARSHA MORTON Professor
Ph.D., Institute of Fine Arts, NYU M.A., University of Chicago.
Marsha Morton’s research focuses on interdisciplinary topics in German and Austrian nineteenth-century visual culture. Her books include Max Klinger and Wilhelmine Culture: On the Threshold of German Modern ism (Ashgate 2014), the co-edited anthology The Arts Entwined: Music and Painting in the Nineteenth-Century (Garland 2000), and Pratt and Its Gallery: The Arts & Crafts Years (1999). She has published numerous essays in exhibition catalogs and anthologies that address issues such as cultural his tory, Darwinism, ethnography, popular illustration, and music with regard to artists and critics that include Alois Riegl, Gustav Klimt, Klinger, Alfred Kubin, Max Beckmann, Max Liebermann, and the German Romantics. Her current research area is Viennese Orientalism. She is serving her second term as President of the Historians of German, Scandinavian, and Central European Art (HGSCEA) and has been the recipient of grants from DAAD and NEH. mmorton@pratt.edu
NICHOLAS PARKINSON Visiting Instructor
Ph.D. candidate, Art History & Criticism, Stony Brook University M.A., Philosophy, Stony Brook University B.A., Philosophy, DePauw University
Nicholas Parkinson is a PhD candidate at Stony Brook University, where is he completing his dissertation on the popular and critical reception of Nordic art in nineteenth-century France. His areas of research interest include imaginary geographies of the nineteenth century, fin-de-siècle art and culture, and the history of art criticism. He is an active member of the Society for the Advancement of Scandinavian Study, and his most recent publication, “De Chirico and the Fin-de-Siècle,” will be printed in Symbol ist Roots of Modern Art, in 2015. nparkins@pratt.edu
CATERINA PIERRE Visiting Associate Professor
Ph.D., The Graduate Center, CUNY, 2005 M.Phil., The Graduate Center, CUNY, 2001 M.A., Hunter College, CUNY, 1996 B.A., Brooklyn College, CUNY, 1994
Dr. Caterina Y. Pierre is a specialist in nineteenth-and early twentieth-century art, with a focus on European and American sculpture, the social impact of art, and women sculptors. She has written and published numerous articles on sculpture of the Second Empire and the Third Republic in France, specifically on the work of Gustave Courbet, Jules Dalou and Marcello. She also writes about American art, especially in the area of sculpture production by women artists. Her first book, titled Genius Has No Sex: The Sculpture of Marcello (1836-1879), was published in 2010 by Éditions de Penthes/Infolio, in Geneva, Switzerland. She teaches courses in Art History at Pratt Institute and the City University of New York at Kingsborough Community College. cpierre@pratt.edu
KATARINA V. POSCH Professor
Ph.D., Tokyo University of Fine Arts and Music, Japan M.A., University of Applied Arts, Vienna, Austria
Katarina V. Posch is a Design Historian specializing in intercultural themes. She teaches and publishes on Japanese, European and American design in a socio-historical context. Her publications cover issues relating to design and material culture, from cross-cultural comparisons (“Changing Worlds, Changing Designs,” MAK, Vienna, 2012) to feminist approaches (“The Seen and the Hidden. [Dis]covering the Veil,” Austrian Cultural Forum New York, 2007). She has written monographs and exhibition catalogues and curated for major museums including the Pompidou Center in Paris (Portrait d’une collection, 1995), the Vitra Design Museum in Germany (“Isamu Noguchi –Sculptural Design”, 2001) and the Noguchi Museum in New York. kposch@pratt.edu
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JOYCE C. POLISTENA Adjunct Professor, CCE
Ph.D., M. Phil., Art History, CUNY Graduate Center M.A., Art History, Hunter College Certificate in 19th-century British History, Oxford University, UK
Joyce Polistena specializes in nineteenth and early twentieth-century Euro pean and American Art, with emphasis on French Romanticism and Eugène Delacroix. Publications: (book) The Religious Paintings of Eugène Delacroix (www.h-france.net/vol9reviews/vol9no83smith.pdf); (essays/book reviews in) Nineteenth-Century Art Worldwide, Bulletin du Société des amis du Musée nationale Eugène Delacroix; Van Gogh Museum Journal, Toward a Sacramental Methodology, Religion and the Arts, Italian Americans Arts and Culture (topic: Frank Stella/Joseph Stella), Material Religion, America Magazine. Appointed Visiting Assistant Professor of Art History at The Col lege of The Holy Cross (2014-2015). jpoliste@pratt.edu
JANICE ROBERTSON Visiting Associate Professor
Ph.D., Columbia University M.A., Columbia University B.A., California State University, Fresno
Specialist in Pre-Columbian Art with research and pedagogical interests that revolve around writing technologies; Publications: “Art><Writing Border Crossings: A Nahua Riddle Sparks an Interactive Reading and Renewed Vision of Aztec Picture-Writing,” CSU, Sacramento Art History Symposium (2009); “Alive with Movement: The Pulse of Aztec Picture-Writing,” Co lumbia University Seminar in the Arts of Africa, Oceania and the Americas (2010); “VoiceThread Class Projects Turn Text-Based Teaching Practices on Their Head,” SouthEastern College Art Conference (2011); “Aztec PictureWriting Meets Hypermedia and a ‘New World’ of Writing Opens Up,” jrober10@pratt.edu
ELENA ROSSI-SNOOK Visiting Assistant Professor
M.A., Film Archiving, University of East Anglia (England) B.A., Cinema, Binghamton University, State University of New York
Elena Rossi-Snook is the moving image archivist for the 16mm circulating film collection of the New York Public Library. She has served as a cur riculum consultant for the NYU Moving Image Archiving and Preservation MA program, on the Board of Directors of the Association of Moving Image Archivists and is the chair of the AMIA Film Advocacy Task Force. Publica tions include “Persistence of Vision: Public Library 16mm Film Collections in America” (The Moving Image), “Continuing Ed: Educational Film Col lections in Libraries and Archives” (Learning with the Lights Off: a Reader in Educational Film) and a chapter in upcoming academic reader on race and non-theatrical film. Her documentary film WE GOT THE PICTURE was made an official selection of the 2005 Tribeca Film Festival. She is in production on a second film. erossisn@pratt.edu
ANN
SCHOENFELD Adjunct Assistant Professor
Ph.D., Art History, CUNY Graduate Center M.A., Art History, University of Chicago B.A., Art History, University of California, Berkeley
Ann Schoenfeld specializes in 20th century art and design. Specifically, she researches intersections between modernist art and design, developing courses on world’s fairs, the Bauhaus, political art & design. She also matriculated 2011in Pratt’s SILS program. She is a regular contributor to Choice: Cur rent Reviews for Academic Libraries. Other publications include essays and reviews in M/E/A/N/I/N/G: An Anthology of Artist’s Writings, Theory, and Criticism; Suspension of the Law: René Santos, A Retrospective; ID; Eye. She has lectured and chaired panels for CAA, Society for the History of Technology, among others, and served on the Education Committee of CAA, Board of Directors of Design Studies Forum, nominator for the Joan Mitchell Foundation for Painting and Sculpture. aschoenf@pratt.edu
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DOROTHY SHEPARD Adjunct Associate Professor
Ph.D., Bryn Mawr College M.A., Southern Methodist University
Dorothy Shepard received an AAUW American Fellowship and a Haakon Traveling Fellowship. Her invited lectures include: CAA, Kalamazoo and Medieval Academy; Symposia on History of the Bible held at Barnard, Rutgers, and Princeton Universities. She has published in Medieval Germany: An Encyclopedia; Rutgers Art Review; The Apocalypse in Word and Image; and Canterbury and the Medieval Bible. dshepard@pratt.edu
ELIZABETH A. ST. GEORGE Visiting Instructor
Ph.D. candidate, Bard Graduate Center M.A., Bard Graduate Center B.A., Kent State University
Elizabeth St. George specializes in late nineteenth- and twentieth-century architecture and design. She has been an invited speaker at the Los Angeles County Mu¬seum of Art and has served as a research assistant for the Bard Gradu¬ate Center’s exhibitions on Knoll textiles (2011), Artek and Alvar Aalto (forthcoming), and the architect and designer, William Kent (forth coming). While her dissertation explores interwar architecture and design and themes of modern living in the former Czechoslovakia, she is broadly interested in how design is used to construct modes of cultural interaction and identity, and how modernism and notions of modernity were used to disseminate social, political, and cultural reform in America and Europe. estgeorg@pratt.edu
JACK TOOLIN Visiting Assistant Professor
M.F.A., San Jose State University: Photography, Performance, and Installation B.F.A., Ohio University, Athens, Ohio: Photography
Jack hToolin is Visiting Assistant Professor of art history at Pratt Institute. He is also an adjunct professor at New York University and Pace University, where he teaches studio classes in digital art and media studies. Key areas of interest are the turbulence of psychological change in the wake of economic globalization; location awareness in light of ubiquitous media and GPS technologies; the potential of social media as social-political awareness. His work has been exhibited internationally at venues including the Whitney Museum of American Art, New York (2002 Whitney Biennial - as a member of C5, a new media collective); San Francisco Camerawork; The Walker Art Center, Minneapolis, MN; the Museo Nacional de Bellas Arte, Buenos Aires, Argentina; The Project Room at the Chelsea Museum of Art, New York City, and more. Most recently his photographs have been exhibited in San Jose, CA, Cincinnati, OH and Budapest, Hungary. jtoolin@pratt.edu
ALICE
WALKIEWICZ
Visiting Instructor
Ph.D. candidate, CUNY Graduate Center M.Phil., CUNY Graduate Center B.A., The University of Kansas
Alice Walkiewicz specializes in nineteenth-century art from Europe and the United States. Her current research focuses on issues of gender and labor, and the way that anxieties about these issues are addressed through visual culture (both in fine art and popular imagery) within a transnational and transatlan tic context. Her dissertation explores these concerns by examining repre sentations of the archetypal figure of the exploited, laboring seamstress in England, France, and the United States in the late nineteenth century within the context of the rising labor movement. She has taught at Parsons The New School for Design as well as Pratt Institute. awalkiew@pratt.edu
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BOR-HUA WANG Adjunct Assistant Professor
Ph.D., Columbia University M.A., University of Kansas
Bor-Hua Wang is a specialist in Chinese painting and calligraphy of the Song dynasty. Her other areas of research include: Contemporary Chinese Art; Buddhist Art of Southeast Asia and Western art theory. She is a curator of Contemporary Korean Art, Abstract Chinese Art, for Taipei Fine Art Museum. She presented “Pan Yuliang’s Life and Art: Alienation to Freedom of Expression,” CAA, 2001. bwan1068@pratt.edu
SARAH WILKINS Visiting Assistant Professor
Ph.D., Rutgers, The State University of New Jersey M.S., Pratt Institute B.A., Vanderbilt University
Sarah Wilkins specializes in Italian late medieval and Renaissance art, with interests in mendicant patronage, Angevin Naples, female patronage and the representation of women, and the cult of the saints. Her publications include “Imaging the Angevin Patron Saint: Mary Magdalen in the Pipino Chapel in Naples” (2012) and “Adopting and Adapting Formulas: The Raising of Lazarus and Noli me tangere in the Arena Chapel in Padua and the Magdalen Chapel in Assisi” (2013). She has received awards including a Fulbright fellowship and a Mellon Finishing Grant. She has presented papers at numerous international conferences, including the Renaissance Society of America (2010 & 2015), and the International Congress on Medieval Stud ies, Kalamazoo (2014 & 2015), and chaired two sessions for RSA in 2014. swilkins@pratt.edu
KARYN ZIEVE Visiting Assistant Professor
Ph.D., Institute of Fine Arts, NYU M.A., University of Pennsylvania B.A., Wellesley College
Karyn Zieve is a specialist in nineteenth- and early twentieth-century art, with a focus on Eugène Delacroix, orientalism, the history of photography and the graphic arts. In addition to teaching at various NYC institutions and museums, she has written about and organized exhibitions of prints, drawings and photographs on various topics. Presently she is working on a manuscript based on her work on Delacroix and images of the East. kzieve@pratt.edu
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