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Where Are They Now? Gallatin Alumni in the World


The Gallatin Arts Festival Turns 25


News & Notes


Exploring Titus


Victor Leonard: Fashioning a Concentration


Collaboration and Connection: Three Takes on Teaching with Technology

14 Alumni Notes


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Welcome to the Summer 2017 issue of Gallatin Today, where we celebrate the 25th anniversary of the Gallatin Arts Festival, follow the path of senior Victor Leonard, learn about what contemporary dance can reveal about a 16thcentury play, see how Gallatin faculty are enhancing their courses with technology—and much more! We also checked in on a few alums—37, to be exact—to get a glimpse of the diverse and rich career paths Gallatin alumni have taken.

Where Are There are more than 12,000 Gallatin alumni working and continuing to study around the world. From a recent NYU Wasserman Center survey, we know that 97.7 percent of the class of 2016 was working or in graduate school within six months of graduation and 42 percent secured employment before graduation. From a comprehensive 2015 Gallatin alumni survey, 91 percent of alumni reported being satisfied or very satisfied with their Gallatin education, and around half of BA graduates enrolled in MA, PhD, and professional degree programs. Companies where Gallatin alumni work include Instagram, Google, Yelp, ACLU, PEN International, Teen Vogue, NPR, Christie’s, HBO, Deloitte, Random House, OneJustice, Morgan Stanley, and Marc Jacobs—to name just a few.


“Above all else, a Gallatin education will teach you how to think differently—and the importance of that in the workplace can’t be understated.” —Gabrielle Korn (BA ’11), Digital Editor-inChief at NYLON Media; Concentration: Queer and Feminist Theories, Activism, and Writing

“Learning to work hard, think creatively, and seek out my own opportunities without waiting for others to offer them to me are skills I learned at Gallatin that are applicable to any career path.” —Michelle Gedney (BA ’07), Director of Merchandising and Planning at Credo Beauty; Concentration: Femininity: Discourses and Representations


“Gallatin trained me to think in an interdisciplinary way, which is a strength in any career you choose. It means you can learn and speak the language of any function, connect the dots across functions to define a clear strategy, and effectively lead cross-functional teams toward a shared goal.” —Nina Yiamsamatha (BA ’10), Product Marketing Manager at Instagram; Concentration: New Media and Re-Imagining Communities

“I came to Gallatin, where the program allowed me to study while still working. I am an actress but wanted to expand my career and become also a writer and director.” —Isabella Rossellini (BA ’12), Actress and Activist, MA Candidate at Hunter College for Animal Behavior and Conservation; Concentration: The Psychology

of Animal Behavior

“My time at Gallatin pursuing a master’s degree allowed me the traction to design a plan of action that has taken me to where I am today.” —Courtney C. Young (MA ’04), Writer and Founder at Think Young Media Group and Cofounder of Heartmob; Concentration: Entertainment Business, Africana, and Performance Studies

“Gallatin allows and encourages students to connect to organizations in the city that interest them—sometimes future employers—very easily.” —Michael Ryan (BA ’14), TEDx Partnerships Associate at TED Conferences; Concentration: The Politics and Design of Public Space

They Now ? “Gallatin liberated me from the expectation that my future should fit a specific mold. The interdisciplinary lens helped relieve the anxiety of having to choose one path. I knew that no matter where I ended up, it wouldn’t necessarily mean giving up on my other passions. I don’t see my options as set in stone; I’m constantly working to redefine them.” —Gabriela Garcia (BA ’15), MFA Candidate in Poetry at Columbia University and Founder of the On Poetry podcast; Concentration: History and Culture of the Atlantic World

“With the knowledge that doctors, hospitals, and larger health systems are influenced by the sociocultural environments in which they are embedded, I often participate in conversations that are overlooked in medicine. The education I received at Gallatin has motivated me to ask hard questions about healthcare: the ones that impact health policy, patient education, and medical training.” —Dipika Gaur (BA ’14), MD Candidate at Rush Medical College; Concentration: Global Health Equity with a minor in Public Health and Policy

“In my job, I am constantly in flux— shifting from digital strategy to print strategy, or from contouring tips to the politics of the refugee crisis. Gallatin opened my mind and prepared me to always see the bigger picture.” —Phillip Picardi (BA ’12), Digital Editorial Director at Teen Vogue and Allure; Concentration: The Philosophy of Beauty

“I’m able to integrate my performance experience, educational theater background, and yoga training into a group teaching space for the healing arts. Without the multidisciplinary and individualized guidance received at Gallatin, none of this would make sense to me.” —Cornelius Jones Jr. (MA ’10), Broadway and TV Actor, Poet, Performer; Creative Arts and Healing Facilitator at MUSE Treatment and Recovery Center; Concentration: Educational Theater, Dramatic Writing, and Performance

“Studying at Gallatin gave me the freedom to explore many different subjects and ideas. I’ve been fortunate to be able to bring that same sense of exploration to my work as a Broadway producer. Current students should use their time at Gallatin as a chance to try new things and challenge themselves.” —Barbara Whitman (BA ’88), Tony Award– winning Theatrical Producer at Barbara Whitman Productions, the company behind Fun Home, War Paint, and The Humans

“My best work comes from an interdisciplinary approach—augmenting my scientific research with an understanding of the history, preconceptions, and assumptions of my field to ask and answer questions no one else has thought of.” —Daniel Seara (BA ’14), Physics PhD Candidate at Yale University, studying mechanisms of force generation in cells using theoretical and computational tools in the Laboratory of Living Matter; Concentration: The Human in Science



“I really appreciated the chance to take both quantitative finance classes and interdisciplinary sociology seminars at Gallatin—these classes equipped me with the skills necessary to manage the analytical rigor of my current role and also to take an interdisciplinary approach to problem solving.” —Emelyn Chew (BA ’14), Senior Analyst in Capital Markets at Funding Circle Finance and Society; Concentration: The Promise and Pitfalls of Debt

“Gallatin prepared me to be pragmatically and intellectually nimble in how I market myself, my skills, and my passions.” —Ella Saunders-Crivello (BA ’12), Senior Program Manager at TED; Concentration: The Politics of the NGO

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“I have no regrets about choosing to pursue a liberal arts BA rather than a BFA in photography, because the literature and theory I was exposed to at Gallatin formed the foundation for my longtime preoccupation as a visual artist.” —Frances Denny (BA ’07), Artist/Photographer, MFA in Photography, Rhode Island School of Design; Concentration: Representation of Women in Art History and Literature

“Gallatin showed me the best way to think and be different. It never told me no, and embraced all my ideas of what an education should be. There’s no better preparation to be a citizen in today’s world.” —David Burstein (BA ’12), Founder and CEO at Run for America, Author of Fast Future: How the Millennial Generation Is Changing Our World; Concentration: Intersection of Film, Technology, and Politics with an Emphasis on Youth and Social Change

“At Gallatin, I found a place to study that honored my individuality, and this has affected me to this day.” —Jennifer Clement (BA ’82), Award-Winning Author, Guggenheim Fellow, President at PEN International; MFA in Literature, University of Southern Maine; Concentration: English Literature and Anthropology

“Gallatin gave me the freedom to explore my interests in nationalism, visual culture, and the fine arts without constraints. This proved to be invaluable as I found my niche early on and could hone in on the real-world opportunities quickly.” —Mike Tan (BA ’12), Owner and Director at the Contemporary Art Gallery Rubber Factory; Concentration: The Intersection of Fact and Fiction in Photography

“Gallatin taught me the quality of my education was my responsibility, not my teacher’s. I took that into the workforce as an understanding that I was owed only what I earned and that it was up to me to go find opportunities and make them happen.” —Chris Nee (BA ’93), Creator and Executive Producer of Doc McStuffins, Executive Producer of Vampirina at Disney Junior; Concentration: Theater Management


“Gallatin prepares the future leaders and changemakers of the world by exposing them to interdisciplinary learning. Interdisciplinary is the way the world thinks, works, creates, and innovates today. It’s no longer about just being a deep expert in one area—it’s about how you combine different fields together creatively to solve problems.” —Neetu Sidhu (MA ’12), Senior Manager at ATB Financial; Concentration: Social Entrepreneurship

“By taking of advantage of Gallatin’s many resources and its study abroad program, all of which encouraged growth in an interdisciplinary manner, I learned how to approach complex problems in my workplace in a creative and hands-on manner.” —Maya Adamczyk (BA ’14), Compliance Research Associate at Dealogic and Freelance Illustrator; Concentration: The Role of Translation in the Evolution of Language and the Formation of the “Self”

“My time at Gallatin taught me that I didn’t need to compromise my interests in order to fit into one job or career and that the things I loved could be combined— first, into a unique concentration, and now into an interdisciplinary career that combines literature, performance, teaching, activism, and editing.” —Safia Elhillo (BA ’13), Poet, Author of The January Children, Teaching Artist at Split This Rock, and Tutorial Instructor at Gallatin; MFA in Poetry, The New School; Concentration: Poetry as a Tool for Therapy with a minor in Middle Eastern Studies

“Gallatin’s interdisciplinary approach makes sense in a world where the boundaries of identity are dissolving into fluid networks of relation. It taught me how to navigate a multifaceted conversation, how to think and speak critically.” —Sarah Chow (BA ’10), MFA Candidate in Photography at Milton Avery Graduate School of the Arts of Bard College; Concentration: Digital New Media and Imagery

“Gallatin gave me the tools to understand better the workings of the world in a way that allowed me the self-confidence to express my individuality and to use my skills for the benefit of others.” —Mona Kreaden (BA ’90; MA GSAS ’93), Strategic Adviser and Former Board Member of The Transition Network; Concentration: The Great Books—Focusing on Comparative Religions, Early Christianity, and Politics

“Arriving at Gallatin was tremendously invigorating. It’s hard to overstate the incredibly positive difference it made for me: suddenly I was allowed to pilot my own ship, so to speak, and with brilliant professors—whom I now had an opportunity to know personally—serving as guides.” —Will Creeley (BA ’03; JD, NYU LAW ’06), Vice President of Legal and Public Advocacy at the Foundation for Individual Rights in Education; Concentration: Political Memory and the Burden of History



“Mirrors reflect. Prisms refract. Practice both. But serve light always.” —Justin Kazmark (BA ’02), Vice President of Communications at Kickstarter; MS in Early Childhood Education and Teaching, Hunter College; Concentration: Semiotics and Craft of Meaning

“My advice to an undergraduate student is to surround yourself with people you respect who have different political, religious, and ideological beliefs or worldviews, and allow them to challenge you. That is the only way you will grow and become more certain about who you are, what you believe, and who you want to become.” —Andrea Mufarreh (BA ’14), Supervisor of the Counterterrorism Unit at the New York County District Attorney’s Office; PhD Candidate at CUNY Graduate Center at John Jay College of Criminal Justice, Master of Science in Criminology at the University of Pennsylvania; Concentration: Justice, Religion, and Counterterrorism

Advice from Alumni

“New York City is a resource as much as the university is; take advantage of that.”

—Adam Mosseri (BA ’05), Vice President of News Feed at Facebook; Concentration: Information Design and Media Studies

“If you leave Gallatin a specialist of any kind, it should be as one who sees the linkages between all things.” —Marc Dones (BA ’11), Associate in Equity Initiatives and Diversity at Center for Social Innovation; Concentration: Psychiatric Anthropology “Use every class you take as an opportunity to rethink your understanding of your concentration, interests, and how you want to spend your time at Gallatin. And consult with your teachers and advisers often!” —Nadege Giraudet (BA ’16), MA Candidate in Architecture at the Graduate School of Design at Harvard University; Concentration: Neuroscience, Aesthetics, and the Experience of Space

“The world is changing fast. Gallatin uniquely prepares you to take in and assess tons of information, draw unexpected connections, and act on them critically. Exercise those muscles!” —Kristoffer Diaz (BA ’99; TSOA MFA ’02), Award-Winning Playwright, Guggenheim Fellow, Clinical Associate Professor at Gallatin, Associate Arts Professor at NYU’s Rita and Burton Goldberg Department of Dramatic Writing; Concentration: Dramatic and Cultural Studies

“What you wanted to do when you started your college journey won’t be the same as what you want to do at the end. Embrace ‘I’ve failed’ or ‘I’ve changed,’ because you will not be you otherwise.” —Rachel Wang (BA ’16), Development and Production Assistant in Accessories at Alexander Wang; Concentration: How Goes the Boogeyman? Monster Studies through Art, History, and Literature

“Take full advantage of each unique opportunity and the amazingly talented faculty and students of Gallatin. I rely on the lessons I learned and the broader perspective I gained through my experiences at Gallatin to be successful in my career.” —Nakeena Covington Taylor (BA ’03, Steinhardt MA ’07), Corporate Counsel at Pandora; JD, Northwestern University School of Law; Concentration: Resisting Through Performance

“Don’t be afraid to take risks!” —Maryrose Wood (BA ’96), Writer, Author of the Incorrigible Children of Ashton Place series, published by HarperCollins Children’s Books, Part-time Faculty at NYU Gallatin; Concentration: Dramatic Writing

“Use internships to figure out what you don’t want to do as much as what you do want to do.” —Eliot Glazer (BA ’05), Writer/Actor in Broad City at Comedy Central; Concentration: Representation in the Media

“As you continue learning and eventually move beyond Gallatin, don’t forget that barriers and walls are always in motion. There is no ‘one way’ to accomplish your goal.” —David Beiner (BA ’12), Digital and User Experience Strategist at Vaudeville Ventures; Concentration: Social Entrepreneurship and Economic History

“Life isn’t so focused and obvious in its path, and Gallatin allows you to become a well-rounded individual in whatever it is you are passionate about while giving you the highest education possible.” —Alex Pall (BA ’08), half of the Grammy Award– Winning Duo The Chainsmokers; Concentration: The Commoditization of Art throughout History


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Gallatin Arts Festival Turns


Photo by: Nahal Mottaghian

The Gallatin Arts Festival (GAF) is a week-long, community-wide celebration of the unique artistry and interdisciplinary scholarship of students at Gallatin. The Festival features student work in the visual and performing arts and serves as a galvanizing force and springboard for action and discussion through the creation and presentation of artistic work. Gallatin marked the 25th Anniversary of the Festival in 2017. GAF began in 1992 as a collaborative effort between Professor Laurin Raiken and graduate student Barry Spanier, who developed the Festival as part of his master’s thesis. Since then, GAF has expanded into the largest public event at Gallatin. In 2017, over 50 student artists, producers, and curators exhibited work and brought the greater community together.

Photo by: David Andrako

Photo by: Em Watson


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Images from GAF 2017, including, on the bottom right, GAF Visual Arts Adviser Keith Miller offering a tribute to GAF Artistic Director Kristin Horton on the occasion of her 10th year as Artistic Director of the Festival.

Photo by: Nahal Mottaghian

Photo by: David Andrako

CAPTION / Credit n The Apology of Socrates by Plato and Between the Worl

Photo by: Jalen Jackson

Photo by: Em Watson

Photo by: David Andrako



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GALLATIN GLOBAL FACULTY-IN-RESIDENCE ABDOUMALIQ SIMONE On April 19, 2017, urbanist AbdouMaliq Simone gave a lecture to Gallatin students, faculty, and the greater public: “Detachment Down South: On Salvage Operations and City-Making.” Simone also worked with students directly during his seven-week course, “Urban Matters: The Cultural Politics of Contemporary Urban Culture,” at Gallatin and participated on panels during African Cities Week in April. Simone’s research interests include emerging forms of collective life across cities of the so-called Global South. He has worked across many different academic, administrative, research, policy-making, advocacy, and organizational contexts. Simone is presently Research Professor at the Max Planck Institute for the Study of Religious and Ethnic Diversity; Visiting Professor of Sociology, Goldsmiths College, University of London; and Visiting Professor of Urban Studies at the African Centre for Cities, University of Cape Town.

Photos by: Tristan Oliviera

emPOWERed, THE SEVENTH ANNUAL GALLATIN FASHION SHOW Gallatin designers, including current students and alumni, explored power—from the political to the cultural to the might of natural forces—at the seventh annual Gallatin Fashion Show on March 3, 2017. The Fashion Show has grown into one of Gallatin’s most anticipated signature events each spring and involves designers in fashion, hair and makeup, digital design, and more, as well as models, photographers, and social media coordinators. The results this year were an incredible array of fashions that featured the environment, superheroes, and body confidence. (Read more about fashion at Gallatin with designer Victor Leonard on page 11.) Photo by: Kiki Murphy

FULBRIGHT WINNER TRAVELS TO TRINIDAD AND TOBAGO Artist, educator, and recent Gallatin grad Tammy Kremer (BA UC Berkeley, ’10, Gender and Dance; GAL MA ’16, Arts and Peacebuilding) has been awarded a Fulbright to travel to Trinidad and Tobago to work with local feminist group Womantra and with area midwives and doulas to film stories of childbirth. “We have a lot of the facts we need to develop effective programs and interventions that could save the lives of birthing parents and could improve outcomes for many children,” says Kremer. While in Port of Spain, the filmmaker plans to create short documentaries that will help advocate for better birthing conditions. The first Gallatin Global Fellow in Human Rights to win a Fulbright, Kremer is no stranger to living abroad. With that fellowship, she traveled in 2015 to Tel Aviv to help organize film festivals with Zochrot, an Israeli nonprofit organization that promotes awareness of the Palestinian Nakba and the right of return to Israel for those exiled. “Tammy’s project extends her interest in collecting stories that can then be used to educate and build dialogue around very personal subjects, but at the same time, her project in Trinidad grounds itself in a place and in subject matter that isn’t first-person familiar for her,” says artist and Gallatin faculty member Nina Katchadourian. “I think it will be a fantastic project that will open up her work to a lot of new possibilities at the same time as it works in alignment with her deeply held beliefs and methods as artist and activist.” Photo by: Jesse Dittmar



POETS AT GRADUATION INSPIRE GRADUATING SENIOR MICHAEL FRAZIER AND ALUMNA JENNIFER CLEMENT ON THE POWER OF WORDS Along with inspiring speeches from NYU President Andy Hamilton, Dean Susanne L. Wofford, and faculty speaker Greg Erickson, families and graduating students at the Gallatin Graduation Exercises on Thursday, May 18, 2017, were treated to speeches from the perspective of two poets, one a successful writer and activist and one just beginning his journey. Jennifer Clement (BA ’82), author and president of PEN International—and the first woman to be elected to head the literary arts organization since it was founded in 1921— said, “To live the poetic life is a profound way to approach your own being. This, to me, means a resistance to the ordinary and searching always for a higher order and the possibility of turning all that is little or insignificant into something of wonderful meaning. The poetic life is accepting what is mysterious and even, or above all, perhaps, creating mystery.” Student speaker and slam poet Michael Frazier brought the crowd to its feet with his poem “On the Morning of Graduation, Each of Us Woke Up With a Crown.”

On the Morning of Graduation, Each of Us Woke Up With a Crown By Michael Frazier And the first thing I said was I woke up like this but for real, the mirror reflected chiseled violet jewels inlaid in glittering gold Psalms describes Wisdom as one who confers beautiful crowns and as I look at the shimmering metal perched on each of our heads I think, ain’t today a coronation Isn’t today a recognition of what we have done and will do? A crown is mischievous technology part praise and part drafting bright as the light catching a tassel heavy as pre-med textbooks or debt but we’re here today, because we’ve assembled, concentrated, and alchemized our passions into iridescent things with wings. Defended the creature we nurtured exhausting all our daylight and moonshine to bring to fruition. We the type of sovereigns to be a botanist in the morning a poet during the day and an accountant at night. These crowns get doors to open like hungry mouths assembles networks in our courts will grant us consistent Sunday brunch dates and bubble tea on the regular, if we’re lucky. Earlier today I gazed upon the torch in the sky and I stared and stared until my vision was speckled with question-mark-shaped eye floaters until my retina was overwhelmed with sunlight until all I could see was darkness it is this moment between expectation and desire that is haunting me I know someone, out there in here, back home —people who look like me or don’t dream of their words flying into newspapers and the lips of books, and the big screen dream of cheat codes to dip out of schools to prison pipelines


PRIZE-WINNING PAINTER MELEKO MOKGOSI Artist and Gallatin faculty member Meleko Mokgosi is one of three outstanding immigrant artists selected as a recipient of a 2017 Vilcek Prize for Creative Promise in Fine Arts. The prizes are awarded to immigrants who have demonstrated outstanding achievement during the early stages of their careers. The Vilcek Foundation offers an unrestricted cash award of $50,000 to honor the respective careers of founders Jan and Marcia Vilcek in biomedical science and art history, as well as their personal experiences and appreciation for the opportunities offered them as newcomers to the United States. The foundation’s mission is to raise awareness of immigrant contributions in America and to foster appreciation of the arts and sciences.

dream of new hoods where bullets won’t make riddles of their kin’s bodies dream of classrooms as pit stops not graveyards for their aspirations. How can I forget? This crown be first generation Be held up by mama’s prayers and tithe? Be all-nighter certified?


I can’t forget that once I was so small the crown couldn’t find a seat on my head. Still, I dreamed as though I was promised an inheritance and for some, the dream itself is a privilege. Toni Morrison says “When you get these jobs that you have been so brilliantly trained for just remember that your real job is that if you are free, you need to free somebody else. If you have some power then your job is to empower somebody else. This is not just a grab-bag candy game.” What good is royalty that picks their teeth with responsibility that plants its treasure in its own backyard when it could grow interest in the interest of others I’d rather be a beheaded king then wake up alone in a room crowded with my own shine. I’d rather use my crown as a doorstop if it meant those on the other side could get a seat at the table. Responsibility, to me, means being quirky and loud and sharing the good news and nurturing excitement in classrooms letting youth know we are complex, we are multifaceted we don’t need to succumb to a mold. Today we graduate and we all have a gift to give to the world. This is not an end but is a declaration of the responsibility we have to make our crowns worthy of the beautiful worlds we’re creating. Full transcripts of speeches by Frazier, Clement, and Erickson can be found on the Gallatin website; search “Graduation Speeches” at

Rhonda Garelick with Designer Narciso Rodriguez

Guess Visiting Professor in Fashion and Fashion Business Rhonda Garelick’s course “Fashion: The Art, the Politics, the Performance” examined the modern legacy of fashion, how the 19th and 20th centuries shaped fashion, and how fashion shapes us today in the 21st. In the spring semester, students traced modern fashion from its origins in Renaissance Europe to this past season’s runway shows. Texts included fields ranging from political philosophy through psychoanalysis, global politics, and feminism. Fashion’s role in daily life, on stage and screen, in presidential campaigns, and on the university campus were discussed and classes included visits from internationally renowned speakers, including Nigerian-born sartorial artist, photographer, and magazine publisher Iké Udé; fashion legend Narciso Rodriguez, and seven-time Tony Award-winning costume designer Catherine Zuber—whose credits include War Paint, Oslo, Fiddler on the Roof, South Pacific, and The King and I. At the end of the term, the class attended a performance of War Paint to see Zuber’s costumes on stage.



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Throughout the spring semester, students enrolled in Leslie Satin’s Gallatin arts workshop “Excavating Titus Andronicus: Exploration and Embodiment” used movement, choreography, and theater games to better understand one of Shakespeare’s most difficult and bloody works. These somatic responses were undertaken along with close readings of the 16th-century play and the classical texts that informed the writing of it. Titus Andronicus, Shakespeare’s first tragedy, includes scenes of the rape and dismemberment of the titular character’s daughter, Lavinia, whose rapists mutilate her, in an effort to keep her from indicting them, by cutting off her hands and cutting out her tongue. With such a brutal violation and silencing of a female character, Titus presents a challenge to actors, directors, and theatergoers even as it offers the possibility of engaging with contemporary feminist conversations around rape and rape culture. During three weeks in April 2017, two theatermakers and scholars, Christian Billing and Campbell Edinborough, who teach in the Drama Division of the School of Arts at the UK’s University of Hull, added to these investigations when they joined Satin’s class as artists-in-residence and practice-based researchers. “I’ve been looking at the performance history of Titus,” says Billing, a theater director and Shakespeare scholar. “In many modern productions, Lavinia is completely destroyed by her moment of violation and then, afterward, hangs around in the margins of the story. Because she doesn’t speak, there’s no agency—which is a response to be expected from a method of performance based on psychological realism that privileges speech.”


For modern stagings of Titus, many of which have their roots in Stanislavskian psychological realism, Lavinia’s forced silence makes her seem irrelevant. Further complicating matters are attempts to depict—in graphic terms—the multiple instances of violence described in the play. In the first round of this exploratory performance-based research project, participants uncovered a number of surprising aspects of the play. Recovering and embodying in movement and gesture the Ovidian myth of Philomela, which underlies the story of Lavinia, students discovered the power and potential aggression of the victimized figure while also experiencing the constraints the play places on her. Shakespeare’s rendering of violence and suffering in words became clearer and more immediate when understood through movement, dance, and enactment. “If we’re worrying about making Lavinia’s trauma believable,” says Edinborough, a trained Feldenkrais teacher whose scholarship is focused on the study of performance as an embodied art form, “we’re misconceiving the ways in which Shakespeare brings together certain intertextual elements. His expectation is not that a character is believable as a real person but that it is to be understood as a symbolic figure. The Ovidian intertexts suggest that actually there is a potential for Lavinia to have some form of agency—or, at least, that she can act on the other characters in the play in such a way as to pose questions about what’s going on within Rome and within the play.” In order to come to a better understanding of Lavinia and the character’s function in Titus, students sought entry into the work by replaying scenes without using language, employing movements from the Japanese martial art of

Photos by: Alex Mawe

Aikido, and even responding to iconographic imagery of Renaissance emblems. “The best criticism of the play in the 20th and 21st century,” says Billing, “has been that it is a complex web of references to classical intertexts and references to atrocity drama of the period. This criticism allows all of that to be unpacked so that we can see how these things intermesh with each other. We’re interested in trying to find a theatrical and performative equivalent to that kind of scholarship.” The workshop’s experiments included the enactment of scenes and sketches from Titus, all of which were informed by the semesterlong, performance-based research into the play led by Satin. The course also offered an opportunity for graduates of the program to come back and work with undergraduates around the play. “As a drama therapist, I am interested in the larger question about how trauma performs in culture, society, and interpersonal relationships,” notes Gallatin and Steinhardt faculty member Maria Hodermarska (MA ’89), who also participated in the course. “Titus has been a play that I’ve always been intrigued by, because it is not only the performance of trauma—it’s about the impossibility of performing trauma.” The arts workshop participants also included Hodermarska, and two recent alumnae, Kelsey Burns and Maya Ward. “People came into the workshop with such a mix of backgrounds and attributes to offer in terms of thinking about dance, theater, and human experience,” says Satin. “That’s what made the class so rich.”



Photo by: Kaila Krauser

Victor Leonard: Fashioning a Concentration “When I first visited Gallatin and heard that there was an annual fashion show,” says rising senior Victor Leonard, “I knew I wanted to get involved, so I taught myself how to sew.” Fast-forward three years, and the DC native has completed a semester in London through Gallatin’s Program in Global Fashion; exhibited two of his collections at Gallatin; acted as the student chair of the 2017 fashion show, emPOWERed; and visited a Ghanaian batik center as a fashion intern. “Victor came to Gallatin with multipronged, cross-disciplinary interests in fashion and environmental science,” says Leonard’s adviser Lise Friedman. “He’s unique among my advisees in that he has focused on the sciences as well as the arts and has maintained these interests throughout his time here.” The conservation-minded Leonard uses recycled and secondhand fabrics and scraps in his designs, a reflection of his environmental studies background. “Fashion is one of the most polluting industries in the world,” says Leonard, “and the majority of the waste in fashion is from scraps left on the cutting-room floor.” Leonard’s first collection, for the 2015 Gallatin fashion show, Odyssey in Fashion, made reference to Homer’s epic poem, focusing on specific characters—from Athena to Penelope—and testing out his early inspired designs on the catwalk. His time in London gave him a grounding in fashion theory and the history of fashion. The London course “Fashion, Culture, and the Body,” taught by Royce Mahawatte, explored the relationship between ideas and the body

Photo by: Kaila Krauser

Photo by: Em Watson

and how fashion can mediate between them. The course marked a turning point for Leonard and enlarged his thinking about fashion to include concerns about society, race, and gender. Umoja, his 2017 collection, takes its name from the Swahili word for unity. The pieces he created for it reflected his thoughts on black womanhood and sought to subvert norms of gender and control. Rather than finding models who could wear his designs, Leonard instead designed his pieces for specific women friends and sought to reflect their personalities in the designs. In lieu of imposing his vision on the models, he instead drew inspiration from them as women and as individuals. By working with Gallatin’s events team as the student chair of the 2017 Gallatin fashion show, Leonard was directly involved with developing the show and with the marketing, PR, and behind-the-scenes logistics of making the show a reality. Directly on the heels of that show, Leonard traveled to Ghana. In the spring of 2017, through an embedded internship with NYU Stern, he joined the business school’s social entrepreneurship and business development seminar “Stern International Volunteers: Ghana.” While in the town of Woadze Tsatoe, he learned the basics of the art of batik printing from local women and worked with them to identify batik products that they could sell on the open market—all while developing his concentration, Designing the Impact: Fashion Design as a Considered Process. To his experience in Ghana, Leonard brought together all that he had learned about fashion and conservation during his years at Gallatin. Says the young designer, “I came back from Ghana with a ton of fabric—and inspiration.”



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“Gallatin is ideally situated to incorporate new educational technology into its academic mission,” says Gallatin faculty member Ali Mirsepassi, “because we are open to connecting across multiple disciplines to create communities of faculty and students who seem to be working on very different kinds of projects and ideas.” When he recently served as Gallatin’s interim dean, Mirsepassi was a driving force behind finding ways to bring technology into Gallatin’s classrooms and how students and faculty alike could use technology as a space for intellectual exploration and reflection. With these goals in mind, Gallatin hired Educational Technologist Jenny Kijowski in 2015 to work with faculty to identify the tools that can help them develop pedagogically driven,


Course: “Photography through the Lens of Magnum and VII” Faculty: Lauren Walsh Site: TimeMapper For Lauren Walsh’s spring 2016 course “Photography through the Lens of Magnum and VII,” which explores the history of 20th- and 21st-century photography through location and time, Kijowski suggested that Walsh’s students use the site TimeMapper. Finished geo-timelines on the site can include photographs, videos, text, and audio. When a completed TimeMap is accessed, a viewer selects where to move around in the display, both in terms of location and historical period. In contrast with a traditional printed map, TimeMapper not only incorporates a variety of media, it is also able to be updated to reflect new information. The site offered Walsh’s students an interactive framework for the texts and images being investigated in the course—and a means of working together to create a dynamic timeline of historically significant photographs. Using data collected on Google spreadsheets, students created a site for the course and a resource to which they could return throughout the semester.

technology-enhanced teaching practices. At Gallatin, faculty actively seek to use technology in the classroom to engage not only with the technology-saturated world in which we all find ourselves but also with the enormous creative and interdisciplinary possibilities that technology offers. Says Kijowski, “Our faculty sometimes have grand ideas and can feel they’re impossible to realize. I show them ways to make those ideas come to life.” Kijowski offers her tech expertise to bring faculty and students into a dialogue about the kinds of technology that offer dynamic spaces for learning. By folding technology into the curriculum, faculty empower students to bring their ideas and experiences into a collaborative forum in which they work alongside each other and their professors. For recent courses, faculty members Lauren Walsh, Gregory Erickson, and Hallie Franks all turned to Kijowski—and to technology— for ideas and advice about how to expand ongoing classroom conversations.


“While this is billed as a course about photography,” says Walsh, “in the end, it’s also an intensive look at the social, political, and economic conditions of specific times and places covered through the lenses of various photographers.” For example, when considering Gilles Peress’s seminal photo book Telex Iran: In the Name of Revolution, which documents life under the Iranian regime during the late 1970s, including the American Embassy hostage crisis, students learned about the historical and social underpinnings of the Iranian Revolution and how Peress’s photographs reflected these. Using TimeMapper, students could click on the Iranian capital of Tehran and bring up extensive information about both Peress’s book—from the history of its publication and reception to the style of imagery, Peress’s biography and his own photographic influences, and the history of the Iranian Revolution. It is a 360-degree view of the time and place in which the work was created. Walsh plans to build on the TimeMapper site begun by this group of students to create a visual and geo-located history of global photography.



Course: “James Joyce and Interdisciplinary Modernism” Faculty: Gregory Erickson Site: HistoryPin Gregory Erickson plans to use the digital, user-generated archiving site HistoryPin that he and his students created for his “James Joyce and Interdisciplinary Modernism” travel course to Ireland as a growing online document of historical photos, videos, and audio recordings of Dublin then and now. “Each student had to choose one location from one of Joyce’s novels that they were responsible for,” says Erickson, “so they chose storefronts, bookstores, and addresses related to the text. They then had to trace the history of the location from 1904 to 2016.” This assignment got students talking to shopkeepers and other Dublin residents as well as searching archives, all while using the location as the anchor for their textual explorations of Dubliners, A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake. The individual project became collaborative as the students aggregated the information and images they found onto the site. In the process, they created a mapped network of literary touchstones that would be sure to please any Modernist. Along the way, students in this travel course did something that even seasoned travelers struggle with: they stopped and considered one spot carefully. “I don’t think I’ve ever had a tool that helped the students connect to literature, history, and place as well as this,” says Erickson. “What was most surprising to me was how much the project pushed students to interact. At least half of them ended up having an interesting conversation with a local to explain why they were at a particular location and why they were taking notes and pictures.”

Through their research, students were able to supplement many of the published guidebooks to reading Ulysses, and, in at least one case, a student was able to show why the guidebooks were wrong about a particular location. In constructing a Joycean map of Dublin, students were better able to understand the role of the city in Joyce’s work and to see why it is often considered as much of a character as is Leopold Bloom. The technology inspired students to think more about practices of collaborative reading that are central to works like Ulysses.



Course: “Reading the Faces of Ancient Cultures” Faculty: Hallie Franks Site: ThingLink

In the fall of 2016, Hallie Franks taught “Reading the Faces of Ancient Cultures,” a course that draws on her work as a scholar of art and archaeology. Rather than simply presenting an image and discussing it in her course, Franks took Kijowski’s

suggestion and asked her students to use the site ThingLink to consider images from ancient Egypt, the Near East, Greece, and Rome, inviting them to interact with them dynamically by annotating the images with comments, as well as Web links, video, and audio. These online explorations informed the students’s understanding of the works under consideration and allowed them to look at the works on their own as well as part of the class and to share their research in a shared forum. Through the use of this technology, students engaged with the fundamental question of what makes a portrait a portrait and were asked to consider and confront the variety of problems of how the individual is represented in art. “In the past,” says Franks, “I have found that, while we spend a great deal of time looking at images in the classroom, students often do not look carefully at images while they read about them. The ThingLink tool asked them to respond to a reading or to another student’s comments or questions, but in direct reference to the image itself.” For instance, when students read Giorgio Vasari’s description of Da Vinci’s Mona Lisa with just a vague image of the painting in mind, the description may have seemed apt. However, when they were asked to apply Vasari’s description to the painting directly, students felt as if a different image were being described. Says Franks, “This is not just a strange (if famous) anomaly: it leads to serious questions—questions that go to the core of this class—about the weight that we give literary sources and historical authorities in our understanding of images from previous cultures.”




Janet Rose (BA ’75) has been named to the senior leadership team of Save the Chimps, the world’s largest sanctuary for chimpanzees, and will serve as director of development and communications. With over two decades in wildlife conservation and broadcast communications, Janet is an Emmy award–winning former news correspondent and was, prior to joining Save the Chimps, senior director of development and conservation initiatives for the Pittsburgh Zoo and PPG Aquarium and the International Conservation Center. She is also the founder of the nonprofit Horse Haven Montana, an equine rescue and adoption organization, and the EQUUS International Film Festival, one of the first all-equine film festivals in the world. Daniel Hughes (BA ’78) has been promoted to associate professor of environmental medicine and public health at the Icahn School of Medicine at Mount Sinai. After a 25-year career as a family law attorney in Los Angeles County, Margalo Ashley-Bennett (BA ’78) retired to Oregon to manage Saraswati Publications LLC. On the passing of her husband, author Thomas Ashley-Farrand, she took over the business and succeeded him as president of Sanatana Dharma Satsang, the religious organization they founded in 2001. She plans to move to Albuquerque, NM, and to announce the grand opening of the Gayatri Temple there on July 23, 2017.


Yale Strom (BA ’84)’s new documentary film, American Socialist: The Life and Times of Eugene Victor Debs, had its world premiere at the Socially Relevant Film Festival New York on March 14, 2017, at Cinépolis Chelsea. Tom Smedes (BA ’85) is a producer for Natasha, Pierre, and the Great Comet of 1812, which was nominated for 12 Tony Awards and won two: Best Scenic Design of a Musical and Best Lighting Design of a Musical.


Sotheby’s announced the appointment of David Schrader (BA ’97) as head of private sales for contemporary art, New York. In his new role, David will work with Sotheby’s global contemporary art team and bring his perspective and acumen as a sophisticated collector. To mark the 25th anniversary of the LA riots, ABC aired John Ridley (BA ’87)’s Let It Fall: Los Angeles 1982–1992. An NYU Gallatin advance screening of Let It Fall and discussion with Ridley took place at Gallatin on April 27, 2017. Amy Lehman (BA ’99) is the new director of legal services for Volunteer Lawyers for the Arts, a


S U M M E R 2 017

nonprofit organization that assists artists of all kinds, who meet the financial qualifications, in need of legal services.


Journalist Manuela Goren (BA ’00) joined the board of Los Angeles– based Center Theatre Group. Gallatin alumna and 2015 Mac Arthur Fellow Michelle Dorrance (BA ’01) was named a 2016 USA Doris Duke Fellow, an award that recognizes America’s “most accomplished and innovative artists.” Dorrance was profiled in the December 5, 2016, issue of The New Yorker in “A Tap Dancer Like No Other.” Vanessa Manko (MA ’01)’s piece “What Happens to the Deported” appeared in the February 4, 2017, issue of The New Yorker. She was an Edith Wharton Writer in Residence at The Mount, as well as a Yaddo Fellow, in the spring of 2017. Content Marketing Manager for Turner Sports Leigh Anne Rehkopf (BA ’02) won the Cynopsis Model D Award for Best Category-Specific YouTube Channel, NBA on TNT. Guido Campello (BA ’03) was inducted to the Council of Fashion Designers of America Inc. Chief Creative Officer of Paper Magazine Drew Elliott (BA ’03) was profiled in The New York Times in the January 3, 2017, article “Drew Elliott of Paper Magazine Knows Exactly What He’s Doing.” Award-winning chef Vicky Wan-Ki Lau (BA ’04) reopened her finedining restaurant, Tate, in a prominent new space on historic Hollywood Road in Sheung Wan, Hong Kong. Greg Bonsignore (BA ’05)’s WAKE is one of five semifinalists of Showtime’s Tony Cox Episodic Screenplay (30 Min) Competition.

annual Black Artistry Month programming in Brooklyn, New York. Eiko Otake (MA ’07 and Gallatin part-time faculty) is artist in residence at St. John the Divine. Christina Hodel (MA ’08) graduated with a PhD in Film and Media Studies from the University of Kansas in May 2017. She will begin her tenure-track assistant professor position at Bridgewater State University, where she will teach video production, in September 2017. Alex Pall (BA ’08), one half of DJ duo The Chainsmokers, was nominated in three categories and won a 2017 Grammy Award for Best Dance Recording for the hit single “Don’t Let Me Down,” featuring Daya. Renee Schomp (BA ’08), an immigrant rights lawyer in the San Francisco Bay Area, helped set up the emergency legal response at the San Francisco International Airport in early February in response to the January 27, 2017, executive order on immigration. Nora Benavidez (BA ’08), an attorney with the American Civil Liberties Union, was among the organizers of the legal aid team on site to assist at Atlanta’s HartsfieldJackson International Airport. Kate Berlant (BA ’09) and John Early appeared on the February 10, 2017, episode of Late Night with Jimmy Fallon to promote their new Vimeo series, 555. Gallatin Writing Program Assistant Director Allyson Paty (GAL BA ’09, GSAS MFA ’14) was interviewed for the On Poetry podcast, which was founded by recent Gallatin alum Gaby Garcia (BA ’15).


Pier Dominguez (BA ’05) was named one of BuzzFeed’s 2017 Emerging Writer Fellows.

Equestrian and philanthropist Georgina Bloomberg (BA ’10) received the Compassion in Action Award from the Humane Society of the United States at the 2016 to the Rescue! New York gala at Cipriani 42nd Street in November 2016.

Eliot Glazer (BA ’05) was featured in the March 30, 2017, Advocate article “In Between New Girl and Broad City, Eliot Glazer Turns Pop Music on Its Head.”

Martha Diaz (GAL MA ’10, TSOA MA ’16) was selected for a Nasir Jones Fellowship at Harvard’s Hip-Hop Archive and Research Institute.

Joi Cardwell (BA ’06) was named by Billboard magazine one of the top 100 greatest dance club artists of all time.

Rooney Mara (BA ’10) appears in the role of Faye in the new feature film Song to Song.

Ariel Kaye (BA ’06) was the subject of the November 30, 2016, Forbes article “With Millions in Funding, Ariel Kaye Is Aiming to Shake Up the Home Essentials Market with Parachute.” On February 16, 2017, Taja Lindley (BA ’07) had the world premiere of her short film, which first appeared in the 2015 Gallatin Arts Festival, “This Ain’t a Eulogy: A Ritual for Re-Membering,” as part of the fifth

The View UpStairs, Max Vernon (BA ’10, Tisch MFA ’13)’s play about a fire at a gay nightclub in 1970s New Orleans, was reviewed in the March 7, 2017, issue of The New York Times, which called it “unexpected and marvelous.” The New Yorker says it’s “thoughtful, with sad, beautiful love songs performed by a soulful ensemble cast.” Rebecca Yale (BA ’10) was awarded 2016 Photo of the Year by Belle Lumiere magazine.

Barrett Doss (BA ’11) is currently starring alongside Andy Karl in Broadway’s Tony Award–nominated musical Groundhog Day. Doss plays Rita Hanson, the practical, intelligent, resilient associate producer of the weather segments of local TV personality Phil Connors (Karl). In his November 29, 2016, New York Times column, “The Future of the American Center,” David Brooks cited David Burstein (BA ’12)’s organization Run for America as “recruiting a new generation of political candidates.” Amy Cohen (MA ’12)’s Circus Culture school was featured in the February 27, 2017, New York Times article “Circus School Gets Children to Step (and Flip and Juggle) Right Up.” Phillip Picardi (BA ’12)’s responsibilities as digital editorial director for both Allure and Teen Vogue are featured in the March 3, 2017, Business of Fashion article “Teen Vogue Digital Editorial Director Phillip Picardi to Also Oversee Allure Digital.” Caesar Beware, a new production of Shakespeare’s Julius Caesar set in an all-girls high school and directed by Katie Young (BA ’12) and produced by Alyssa May Gold (BA ’12), will run from June 21–July 8, 2017, at Access Theater Gallery Space in New York. Ryan Casey (BA ’13)’s “Tap & Text: Using Poetry to Develop Rhythmic Proficiency in Percussive Dance Students” was published in an early 2017 issue of the Journal of Dance Education. The January Children, Safia Elhillo (BA ’13)’s first full-length poetry collection, appeared on Bustle’s list of “15 of the Most Anticipated Poetry Collections of 2017.” Mike Schneider (BA ’13), director of marketing at Nestio, was profiled in Forbes as one of “7 Millennial Start-up Marketers to Watch in 2017.” Eric Fuchs-Stengel (BA ’14) was awarded a 2016 Outstanding Environmental Educator Award by the Alliance for New Jersey Environmental Education. Tony and SAG Award–nominated actor Delroy Lindo (MA ’14) plays the role of Adrian Boseman in CBS’s The Good Fight. Annabelle Attanasio (BA ’15) is a series regular on the CBS drama BULL. Lexi St. John and Liza St. John (BA ’15)’s short films Bound and Submerged will be distributed by Hewes Pictures. Archaeology-minded Gallatin grad Cole Sprouse (BA ’15) is the subject of intellectual speculation in Bustle. Teen Vogue covered his Reddit AMA about his role in Riverdale.



Pablo Toledo (MA ’15)’s agency, Camino Public Relations, was awarded Best in Crisis by PRWeek.

For Truthout, Krakow wrote “Children Starve as US-Backed Coalition Violates Human Rights in Yemen.”

Jamila Humphrie (BA ’16) spoke about her White House internship with the Obama administration in NYU Alumni Connect’s “What’s It Like to Work for the Obamas?”

Carson Meyer (BA ’16) is featured in Vanity Fair’s “Introducing Carson Meyer, Our March 2017 Vanities Girl.”

Gallatin alumna and Cambridge University MA student Carly Krakow (BA ’16) is the author of the article “As the World Turns Towards the Right: What Future for the ‘Refugee Crisis’?” which appeared in openDemocracy.

Emma Spett (BA ’16) co-wrote, with Jerry Tinianow, the February 7, 2017, Denver Post op-ed “Scott Pruitt Would Be a Disaster for Colorado’s Air, Water, and Our Families’ Health.”

Gallatin at . . . TRIBECA

As in past years, alumni from Gallatin were well represented at this year’s Tribeca Film Festival, which ran from Wednesday, April 19, until Sunday, April 30, 2017. We are proud to note this year’s nominees from Gallatin. SPOTLIGHT NARRATIVE COMPETITION NOMINEES

Jane Rosenthal (BA ’77), executive producer, Dabka; Hal Willner (BA ’77), music producer, The Dinner; Julia Pasternack (BA ’08)—two nominations: first assistant camera, The Boy Downstairs, and first assistant camera, Literally, Right Before Adam; Meredith Lippincott (BA ’10), production design, The Boy Downstairs.


Brooklynification, a new comedy series written, directed, and produced by Gallatin part-time faculty member and curator of The Gallatin Galleries Keith Miller, premiered in December on BRIC TV. Adam Uhl (BA ’10) shot an episode, Priya Patel performed in an episode, Tammy Kremer (MA ’16) is an assistant producer, and Joyce Mishaan (MA ’16) is a producer. Ruben Zaccaroni (BA ’16) has a few roles (DIT, PA, assistant editor).



Andrew Levitas (BA ’03), executive producer, Flower; John Hanle (BA ’09), key production assistant, Aardvark. WORLD DOCUMENTARY COMPETITION NOMINEES

Adam Uhl (BA ’10), cinematographer, The Death and Life of Marsha P. Johnson.


Gallatin alumnus Antonio Santini (BA ’10) and Tisch alumnus Dan Sickles (BFA ’10), the directing team behind 2014’s Mala Mala, were awarded the 2017 Sundance Film Festival’s US Grand Jury Prize for Documentary for their film Dina. The film was brought to the screen by cinematographer and Gallatin alumnus Adam Uhl (BA ’10) and was sold to The Orchard. Also at the Festival was Liz Holm (BA ’09), screenwriter and producer of 2014’s Obvious Child, who sold her most recent comedy, Landline, to Amazon. Landline brings together the trio behind Obvious Child—actress Jenny Slate, writer-director Gillian Robespierre, and writer-producer Holm—for a comedy set in ’90s New York about two sisters who discover their father’s affair. Alysa Nahmias (BA ’01) co-produced Unrest, a feature documentary that premiered at this year’s festival.

GA L L AT I N A L U M N I : B E I N T H E K N OW We would love to hear from you and keep you informed. If you’re not receiving emails from Gallatin, please use the alumni update form on our site, which can be found at There, you can send us your email and mailing address information and let us know about your accomplishments.

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Joining the ranks of pop superstars Adele and Beyoncé on the list of the 59th Annual Grammy Award nominees were two Gallatin alums: Christopher Gallant (BA ’12), whose debut album, Ology, was nominated for Best Urban Contemporary Album, and Alex Pall (BA ’08), one half of the DJ duo The Chainsmokers, who was nominated in three categories and took home the gramophone trophy for Best Dance Recording for “Don’t Let Me Down.”

GALLATIN TODAY Susanne L. Wofford Dean

Fabio Cutró Designer

Aaron Cedolia Director of Communications

David Andranko Cover Photographer Image: Rogue Fong’s GAF 2017 installation Dollhouse

KC Trommer Writer/Editor


Tom Smedes (BA ’85) is a producer for Natasha, Pierre, and the Great Comet of 1812, which was nominated for 12 Tony Awards and won two: Best Scenic Design of a Musical and Best Lighting Design of a Musical.

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