SVA Visual Arts Journal Fall/Winter 2023 by SVA Publications

VISUAL ARTS

SCHOOL OF VISUAL ARTS MAGAZINE FALL/WINTER 2023

Cinematographer Jarin Blaschke (BFA 2000 Film and Video) was nominated for an Academy Award for his work on Robert Eggers’s The Lighthouse (2019).

SVA x Film

For this issue’s special film section, SVA faculty member Marcos Chin created an illustration full of references to alumni achievements in movies, as well as the industry’s history and trends. Check out some of the details in our key here, and turn to page 36 to see the final work.

A labrynthine basement figures prominently in Barbarian (2022), written and directed by Zach Cregger (BFA 2004 Computer Art). (See page 38.)

The poster for Guillermo del Toro’s Pinocchio (2022), by James Jean (BFA 2001 Illustration), is now in MoMA’s collection. (See page 50.)

The horror film Pearl (2022) is the latest collaboration between writer-director Ti West and producer Peter Phok (both BFA 2003 Film and Video). (See page 38.)

The advent of AI poses a looming threat to many film professionals’ livelihoods, and is one of several reasons the industry’s writers and actors recently went on strike.

FALL/WINTER 2023

FROM THE PRESIDENT | 2

An alumnus reimagines the SVA logo

SVA CLOSE UP | 4

News and events from around the College

WHAT’S IN STORE | 14

Products and services by SVA artists and entrepreneurs

CREATIVE LIFE | 22

Troubleshooting—and taking advantage of—remote job interviews

PORTFOLIO: MINSEOP YOON | 24

The artist and SVA alumnus collapses the distance between drawing and sculpture

THE MOVIE ISSUE | 36

SCARE TACTICS | 38

Frightening fare from SVA alumni

THE ANIMATION ARCHIVIST | 46

SVA faculty member Tommy José Stathes’s collection of early cartoons

WANTED POSTERS | 50

Frame-worthy movie posters by SVA alumni and faculty

Q+A: MARK ULANO | 58

The Academy Award–winning sound pro and SVA alumnus on the role of audio in ﬁlm

ALUMNI AFFAIRS | 64

For Your Beneﬁt

A Message From the Director SVA Alumni Society Awards Donors Alumni Notes and Exhibitions In Memoriam Corporate Partners for the Arts

FROM THE ARCHIVES | 80

Artist Elaine Lustig Cohen’s paradigm-shifting book covers

SCARE TACTICS

kept asking myself,

‘What would be the craziest thing to see next?’”

WANTED POSTERS

“It gave me a higher appreciation for the work that goes into it all.”

58

Q+A: MARK ULANO “That was a great lesson—to be an island of serenity in a sea of chaos if you can.”

VISUAL ARTS JOURNAL

Fall/Winter 2023

Volume 31, Number 2

EDITORIAL STAFF

Angie Wojak, executive director

Joyce Rutter Kaye, editorial director

Greg Herbowy, editor

Tricia Tisak, copy editor

VISUAL ARTS PRESS, LTD

Anthony P. Rhodes, executive creative director

Gail Anderson, creative director

Brian E. Smith, design director

Mark Maltais, art director

Jennifer Liang, assistant director

COVER FRONT Minseop Yoon, Dance for the Night (detail), 2022, plastic rods, aluminum wire, steel wire, ﬁshing line. Image courtesy of the artist. (See page 24.)

BACK James Jean, The Shape of Water, 2017, charcoal on paper and digital. Ofﬁcial one sheet for The Shape of Water, directed by Guillermo Del Toro. Image courtesy of James Jean. (See page 50.)

ADVERTISING SALES

212.592.2207

CONTRIBUTORS

McKenzie Annis

John Canemaker

Marcos Chin

Maeri Ferguson

Lawrence Gifﬁn

Michelle Gigante

Mo Hinojosa

Beth Kleber

Diana McClure

Jane Nuzzo

Sal Petrosino

Miranda Pierce

Patricia Romeu

Laura Valenza

School of Visual Arts 209 East 23rd Street New York, NY 10010-3994

David Rhodes PRESIDENT

Anthony P. Rhodes

EXECUTIVE VICE PRESIDENT

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IFROM THE PRESIDENT

n this issue of the Visual Arts Journal, we commemorate the retirement of two longtime School of Visual Arts employees. Andrew Chang (MFA 1987 Illustration as Visual Essay) retired from his position as director of International Programs this past spring, and Francis Di Tommaso retired from his post as director of SVA Galleries earlier this fall. Over a combined ﬁve-plus decades of service, both strove to grow and strengthen SVA’s reputation as one of the world’s leading art and design colleges, and we are grateful for their e orts.

One of the highlights of my tenure has been witnessing SVA become an increasingly global institution. In our current academic year, we have 2,195 international students from 57 places of origin. Our International Outreach team will be meeting in-person with prospective students in at least 14 countries across Asia, Europe, Latin America and the Middle East. At last count, our graduates hail from 128 di erent countries, with more than 2,800 from South Korea alone, which is home to one of our largest and most active alumni communities anywhere, in the U.S. or abroad.

Wherever they come from, SVA students are able to enjoy the invaluable cultural and educational beneﬁts of being part of a diverse peer group. And wherever their lives may take them after graduation, there is a good chance they will ﬁnd a fellow graduate—and potential friend and collaborator—along the way.

president school of visual arts

PHOTO BY NIR ARIELI

I MY SVA

Mo Hinojosa

BFA 2021 Design mohinojosa.work

probably made like 40 di erent sketches of things I could’ve tried,” multidisciplinary designer Mo Hinojosa says of her illustration for this issue’s MySVA. “I immediately go to the most di cult things in the world.”

In her day job, Hinojosa is a branding and packaging designer for Jones Knowles Ritchie, where she has worked with such clients as Bud Light, Twix and Wahl Clippers. She has also freelanced for startups, nonprofits and the Theatre for a New Audience, in Brooklyn, and art-directs and designs motion graphics, logos and collateral for short films. Among her favorite projects is a booth she created for the 2022 SXSW festival to promote Bars, an app for recording and sharing short hip-hop tracks. She grew up in Salt Lake City and now lives in Brooklyn; while at SVA she interned at the Visual Arts Press, SVA’s in-house design studio.

Hinojosa’s MySVA art—a variation on the College’s “flower” logo created by former faculty member and designer George Tscherny in 1997—looks as though it were drawn with fluorescent-lit blobs of mercury and was inspired by a similarly loopy, metallic graphic she saw on Instagram. “It was a new experiment for me,” she says, and one that involved a mix of technical savvy as well as some hand-drawn doodles, for an “analog” touch.

“My designs and my personality are the exact same thing,” she says. “I try to make everything as colorful and exciting as I can.”

CLOSE UP

The School of Visual Arts opened its exhibition program for 2023 – 2024 earlier this fall with “Underground Images: A History,” a display of the 200-plus promotional posters produced throughout the institution’s history, which have covered the walls of New York City transit stations for almost 75 years. The exhibition was on view at the SVA Chelsea Gallery from late August through mid-October and produced by SVA Galleries

in partnership with the SVA Archives. In addition to the full run of posters to date, it included multimedia installations, progress sketches and paintings and a re-created subway platform.

Not long after its inception in 1947 as the Cartoonists & Illustrators School, SVA began commissioning advertising posters from some of its most esteemed faculty members. In time, the posters became a well-known ﬁxture in subway stations, encouraging generations of

Underground Art

Installation views of “Underground Images: A History,” an exhibition of the 200-plus promotional posters SVA artists and designers have produced for the College throughout its history, including those from its earliest days, as the Cartoonists & Illustrators School (opposite, below).

young talents to enroll at the College and championing the importance of creativity and expression for individuals and society at large. Since 2006, a traveling “Underground Images” exhibition, curated by SVA Executive Vice President Anthony P. Rhodes, has brought selections from this ongoing series of posters to countries such as Argentina, Czech Republic, India, Jamaica, Serbia,

Turkey and Uruguay, as well as a number of U.S. cities.

For the ﬁrst time, “Underground Images: A History” compiled the complete series to date, featuring work by a total of 93 celebrated artists and designers, including Pablo Delcan (BFA 2012 Graphic Design), Louise Fili, James McMullan, Barbara Nessim, Yuko Shimizu (MFA 2003 Illustration as Visual Essay; see page 50) and the late Marshall Arisman and

Milton Glaser. The wall texts and accompanying displays covered the posters’ evolution from idea to ﬁnished work, as well as the series’ history and cultural impact.

“Since the earliest days of the College, the subway posters have done more than just generate interest in SVA,” says SVA President David Rhodes. “They’ve stirred the imaginations of New Yorkers

and the countless aspiring and practicing artists who visit the city each year. Exhibiting them all over the world has been an adventure, but it was a thrill to present this collection and its fascinating history in the place where it all began.”

For more on SVA’s two most recent subway posters, which were also on view at “Underground Images: A History,” see page 8. [Maeri Ferguson]

Hip-Hop’s Half Century

This year marks what is widely recognized as the 50th anniversary of the birth of hip-hop: a 1973 party in the South Bronx, where musician DJ Kool Herc introduced the turntabling techniques that served as News and events from around the College

We Have a Winner

Cooper Hewitt, Smithsonian National Design Museum announced its 2023 National Design Award honorees in August, and Atlason, the New York City–based design ﬁrm of MFA Products of Design faculty member Hlynur Atlason, won in the Product Design category. Atlason’s studio has designed furniture, packaging and products for clients such as Johnson & Johnson; L.Ercolani; the Museum of Modern Art, New York; and Stella Artois, with a focus on sustainability, beauty and utility.

Among this year’s other honorees was designer

Seymour Chwast, husband to Pentagram partner and SVA faculty member Paula Scher and recipient of the 1997 SVA Masters Series Award.

A large selection of Chwast’s original art, published work and other documentation is maintained at SVA’s Milton Glaser Design Study Center and Archives. [GH]

an early blueprint for the genre, which has gone on to become the most signiﬁcant cultural force of its time. Accordingly, the occasion has been marked by events and extensive media coverage worldwide.

The National Hip-Hop Museum, in Washington, DC, held a ceremony in Brooklyn in June honoring Wild Style (1983), the influential hip-hop and gra ti-art movie that was co-produced by artist, filmmaker and star Fab Five Freddy and directed by SVA faculty member and filmmaker Charlie Ahearn.

In July, SVA Diversity, Equity and Inclusion hosted Grammy-winning DJ and producer DJ Scratch (EPMD,

Busta Rhymes, Jay Z, Beyoncé) on campus for a turntabling workshop and freestyle MC competition, both of which were open to the public.

The New York Times published a feature in August on notable pendants and other jewelry worn by rappers past and present, all of it photographed by Jessica Pettway (BFA 2016 Photography and Video). And earlier that month, an illustration by Julian Adon Alexander (BFA 2020 Illustration) appeared in The New Yorker for an item on “Hip Hop 50 Live” concert at Yankee Stadium, with performances by such artists as Lil’ Wayne, Snoop Dogg, Slick Rick, Lauryn Hill, Roxanne Shanté and Run–DMC, as well as an appearance by DJ Kool Herc. [Greg Herbowy]

Julian Adon Alexander, “Hip Hop 50 Live” illustration for The New Yorker 2023. Image courtesy of the artist.

Designer, SVA faculty member and 2023 National Design Award winner Hlynur Atlason and work by his eponymous ﬁrm. Images courtesy of Atlason Studio.

A Great Showman

After more than 30 years with the School of Visual Arts, SVA Galleries Director Francis Di Tommaso retired in October. Di Tommaso managed all exhibitions at the SVA Chelsea, SVA Flatiron and SVA Gramercy galleries, and the auxiliary SVA Flatiron Windows space, as well o -site shows like “Underground Images,” a traveling exhibition of SVA posters (see page 4), and an annual alumni exhibition at SaintPaul de Mausole, a historic monastery in Provence, France, in collaboration with the local Valetudo Association. Di Tommaso will be succeeded by Tyson

Skross, SVA Galleries’ former exhibitions manager.

“Francis led an incredible 40 exhibitions for the College each year, from our department shows to our celebrated Masters Series to exhibitions appearing around the world,” says Anthony P. Rhodes, executive vice president of SVA and curator of “Underground Images.” “His professionalism, curatorial eye and attention to detail have elevated our shows and visibility for decades. My dear friend Francis, grazie and merci for your good humor and knowledge of the Italian wine regions, and best of luck in your well-earned retirement.”

Di Tommaso joined SVA in 1991 to manage the College’s o -campus Visual Arts Gallery, then at 137 Wooster Street in Manhattan’s SoHo neighborhood—at the time, the center of New York City’s avant-garde art scene. His background was in ﬁne art, having studied and worked for several years as a painter in Italy. In 1994, he became director for all of SVA’s exhibitions.

Over the course of his tenure, Di Tommaso expanded SVA’s exhibitions schedule to span the calendar year, and oversaw the move of the Visual Arts Gallery and the SVA Galleries o ces to their current, purpose-built location at the Starrett-Lehigh Building, in Chelsea. In addition to departmental and juried student exhibitions, he and his sta executed ambitious alumni and guest-artist shows, and occasionally worked with renowned independent curators. Through the College’s annual “Masters Series” exhibition, he oversaw career retrospectives of such inﬂuential talents as Lynsey Addario, Saul Bass, Roz Chast, Seymour Chwast, Jules Fei er, Mary Ellen Mark, Duane Michals and Paula Scher.

“One of the most rewarding aspects of working at SVA is the institution’s openness to new ideas and experimentation,” Di Tommaso says. “Tony, [SVA President] David and [the late SVA founder] Silas Rhodes gave the Galleries operation the freedom and resources to try new initiatives and aim as high as we could. I did my best to make the most of it.” [GH]

THIS PAGE, CLOCKWISE FROM FAR LEFT Francis Di Tommaso at the Visual Arts Gallery in SoHo, 1992; with Hillary Clinton, 2022 Masters Series honoree Lynsey Addario (second from right) and SVA colleagues, 2022; with the late SVA faculty and Masters Series honorees Tony Palladino (left) and Ivan Chermayeff, 1998. 1992 photo by Katherine Dimma (BFA 1990 Photography).

News and events from around the College

Post Ops

New York City straphangers have been treated to two new School of Visual Arts posters in subway stations over the past six months, one celebrating the magic of creativity and another honoring the 50th anniversary of hip-hop in 2023. (See page 6.)

The summer SVA poster was installed in June. Artist and faculty member Carol Fabricatore (MFA 1992 Illustration as Visual Essay) contributed the image, a painting of a woman standing on an open sketchbook,

surrounded by plants and exhaling a bird-shaped ﬂame. Writer Dee Ito, the creator of many past SVA slogans and widow of the late MFA Illustration as Visual Essay Chair Marshall Arisman, contributed its tagline, “Think about

art . . . as a new beginning for a creative life.”

Keeping a sketchbook is intrinsic to Fabricatore’s own artistic practice, she says, and a habit she encourages with her students. “The sketchbook is a doorway to possibility. You can take those drawings, those ideas, and have them germinate. Anything’s possible.”

This fall’s poster began appearing on platforms at the end of August and features a 1986 photograph of Jalil Hutchins, frontman of the early hip-hop group Whodini, by artist Angel R. Ibañez (1974 Illustration), assistant studio manager of the College’s Digital Imaging Center and an SVA employee for nearly 30 years. Ibañez, an Air Force veteran and lifelong New Yorker, was working as an addiction counselor at the time, but kept a small darkroom in his East Village

apartment. When a friend told him Whodini was being ﬁlmed just a few blocks away, Ibañez made sure to be there with his camera every day.

“It was a ﬁve-day, lowbudget shoot for two videos,” he says. “There were a lot of people around, like [late ﬁlmmaker] Mario Van Peebles, Sr., who more or less conceptualized the whole thing. [The late] Louis Johnson, who choreographed The Wiz [1978], was the choreographer. Full Force, Grandmaster Flash and the Furious Five, [Last Dragon (1985) star] Taimak, and Run–D.M.C. were all there.”

Ibañez is currently editing his images from those ﬁve days for exhibition and book proposals. For more information about his work, visit angelribanez.com. For more information about Carol Fabricatore’s work, visit carolfabricatore.com. [GH]

FROM TOP Summer 2023 SVA poster by alumnus and faculty member Carol Fabricatore and writer Dee Ito; fall 2023 SVA poster, celebrating 50 years of hip-hop, by alumnus and staffer Angel R. Ibañez.

NOTABLE QUOTES FROM COLLEGE EVENTS

HEARD AT SVA

A New Chapter

“When you think about Veterans Day and Memorial Day and other [federal holidays] . . . they all have pretty signiﬁcant causes associated with them, but we have tended to celebrate them by going out and spending money. I think we should do our best to avoid that with Juneteenth.”

—Jelani Cobb, writer and dean of the Columbia Journalism School. From “Reclaiming Juneteenth,” a talk hosted by SVA Diversity, Equity and Inclusion.

“There are lots of different ways to command a room, if that’s what you need to do, and it does not always mean taking up the most space.”

—Soﬁa Warren, cartoonist and writer. From a talk with New York State Senator Julia Salazar, hosted by BFA Visual & Critical Studies and the SVA Honors Program.

This past summer, the College’s MFA Illustration as Visual Essay program welcomed its new chair, artist and 1996 program alumnus Riccardo Vecchio. Vecchio has been an SVA faculty member since 1997. In 2003, he became an MFA illustration thesis advisor, and he has taught second-year painting for the department since 2021.

Though MFA Illustration as Visual Essay is SVA’s second-oldest graduate program, after MFA Fine Arts, Vecchio is only its second full-time chair. After the death last year of founding chair Marshall Arisman, longtime faculty member David Sandlin had served as interim chair while a search was conducted for the position.

“I have every conﬁdence Riccardo will preserve Marshall’s legacy while also leading the MFA program into a new era,” SVA President David Rhodes says. “We had a large pool of well-qualiﬁed candidates, and Riccardo stood out from the pack for his professional accomplishments, success as an educator and the vision he articulated for the program’s future.”

Born and raised in Milan and Germany, Vecchio came to the U.S. to attend SVA on a Fulbright Scholarship. He stayed in the country after graduating, building a wide-ranging creative practice. His illustrations have been featured in such publications as Die Zeit (Germany), National Geographic and The New Yorker; on book and DVD

covers; and in materials for such corporate clients as Adobe, American Express and FedEx. His ﬁne art has been shown in group and solo exhibitions at galleries, museums and other cultural institutions in Italy and the U.S. In 2021, he received a New York City Artist Corps grant to produce a work that would help foster community in a pandemic-ravaged city. Vecchio’s project, a mapping and mural installation called “31 Degrees,” highlighted the ecological inequalities among New York City

neighborhoods, and went on view at the Brooklyn Public Library’s Central Library location last year.

“Marshall Arisman left big shoes to fill, and I am honored to take the helm of the incredible program he created and from which I graduated,” Vecchio says. “My goal is to equip our students with the pictorial and intellectual skills necessary to enter an increasingly complex and di cult-to-define art and illustration environment, and to withstand the challenges that technology will throw at them soon. It is essential we foster a diverse, supportive and inclusive community of fellow artists to help hone and define their personal visual language.” [MF]

FROM TOP National Geographic cover, Edwidge Danticat portrait, The Portable Shakespeare cover, Bob Dylan and John Lewis portraits by SVA alumnus and new MFA Illustration as Visual Essay Chair Riccardo Vecchio. Vecchio portrait by Nir Arieli.

News and events from around the College

Born to Be Wilde

In 2019, after a ﬁvedecade tenure at the School of Visual Arts— during which he taught more than 10,000 students— Richard Wilde, inaugural chair of the College’s BFA Advertising and BFA Design programs, retired. This fall, after a pandemic-induced delay, “Wilde Mind,” an exhibition celebrating his life, singular SVA career and legacy will be on view at the SVA Chelsea Gallery.

Designed by 3D Design Chair Kevin O’Callaghan (BFA 1980 Media Arts), Wilde’s former student and colleague, “Wilde Mind” will occupy all four of the gallery’s rooms. The ﬁrst room will be biographical, covering Wilde’s early inﬂuences, childhood drawings and upbringing in Brooklyn’s private Sea Gate community, on Coney Island. The second room will house selections from his more than 300 personal collections of items like brass doorknobs, antique cast-iron soldiers, curiosity cabinets and pharmacists’ mortars and pestles.

The third room will be dedicated to Wilde’s Visual Literacy course, which he created and taught to all BFA Advertising and BFA Design students throughout his time as chair. The course focused on creative

problem-solving— challenging students to visually express emotions, sounds and abstract concepts, often within strict compositional parameters— and inspired three textbooks, co-written by Wilde with his wife and fellow SVA faculty member Judith Wilde (MFA 1994 Illustration as Visual Essay; BFA 1979 Fine Arts). The fourth space will present exceptional work by former students and notable projects Wilde executed throughout his SVA tenure—including his departments’ regular compendiums of seniors’ work, Senior Library; SVA yearbooks; videos; and the Public Advertising System, for which students collaborated to create public-service messaging campaigns.

“Wilde Mind” will be on view from Thursday, November 2, through

Saturday, December 9, with an opening reception from 6:00 to 8:00pm on Thursday, November 2, at the SVA Chelsea Gallery, 601 West 26th Street, 15th ﬂoor. For more information, visit sva.edu/ events. [GH]

FROM TOP SVA student work from former BFA Advertising and BFA Design Chair Richard Wilde’s Visual Literacy course; items from Wilde’s more than 300 personal collections; a collage from Sea Gate Beach Pass (2006), an art book by Judith and Richard Wilde. Images courtesy of Richard Wilde.

The Ambassador

This past spring, longtime School of Visual Arts employee, faculty member and alumnus Andrew Chang (MFA 1987 Illustration as Visual Essay) retired as director of International Programs, after 33 years with the College. Chang also managed the SVA Korea O ce, in Seoul; his colleague Hee Won Seo (MFA 2012 Fine Arts) now leads that operation, as regional manager.

Chang grew up in Korea and studied in Germany before moving to Canada for his undergraduate degree; he applied to SVA on the recommendation of a teacher there. At that time, he says, the international cohort at the College was small: “I was, as far as I know, the ﬁrst Korean student.” He started his illustration career while he was in the MFA program; some of his earliest assignments came from faculty member and MFA Design Co-Chair Steven Heller, then the art director for The New York Times Book Review.

In 1988, Chang curated an exhibition in Seoul of work by 20 top American illustrators. The show, and his own professional success, generated local interest in SVA, which gave him the idea for an introductory program for Korean students at the College, combining studio coursework with Englishlanguage classes. Within a few years, Chang’s initiative had grown to include students from many places of origin. Today it is known as the English and the Visual Arts program, and chaired by Helene Rubinstein.

In the following decades, Chang recruited SVA students from Asia, while also teaching and leading the

international programs at the College. He traveled to Korea each year, visiting schools and meeting with media outlets, and in the process made SVA one of the top art schools for Koreans looking to study abroad. In 2014, to better support recruitment there—and to strengthen connections with the more than 2,800 SVA alumni living in Korea—he opened an SVA o ce and gallery in Seoul.

“Andrew welcomed thousands of new students to SVA,” says Anthony P. Rhodes, executive vice president of the College. “We would not have as vital an international community of alumni if it weren’t for his e orts. More importantly, he is a true friend. His retirement is well-deserved, and I look forward to many more Korean BBQ dinners with him.”

Chang, who now splits his time between Seoul and Jersey City, New Jersey, will continue to teach undergraduate online SVA courses in watercolor painting. (He also has a YouTube channel, Andrew Chang’s Watercolor, with over 2,400 subscribers.) His retirement plans include more on-location painting in places around the world.

“I’ve been quite lucky the past 40 years,” he says, “and the world’s become a much smaller place. But time goes by quickly. Don’t wait until you feel sorry— pursue your passion every day.”

In recognition of Chang’s contributions, the SVA Seocheo Gallery will be renamed the Andrew Chang Gallery this fall. For more information on the gallery and the SVA Seoul O ce, visit korea.sva.edu. [GH]

CLOCKWISE FROM TOP LEFT Andrew Chang portrait by Nir Arieli (BFA 2012 Photography); Andrew Chang, Sunrise , 2019, watercolor; Chang at Gilsanga Temple and with SVA colleagues in Seoul, 2022.

News and events from around the College

Young Justice

What would it look like if the boundless imagination and vision of schoolchildren drove solutions-based action on social issues?

That was the question nearly 600 students in a Southern California school district took on this past spring in a pilot program, Animating for Social Justice, created by David Heredia (BFA 2002 Animation) and o ered through Heroes of Color, his education-based business. The program paired fifth graders from National City, a community near San Diego, with specially trained artist-educators. Over five weeks, the students studied storytelling through animation and created their own 15- to 45-second shorts on a social-justice topic of their choosing. Bullying, racism, hunger, climate, immigration and homelessness proved to be top of mind for many of the young filmmakers. Donations, kindness and focusing on our shared humanity, rather than our differences, were a few of their solutions to these issues. It all culminated in a screening of their work for their families and peers at a local

theater in April, an event covered on CNN and local news and in The San Diego Union-Tribune

“We want to go into the classroom to teach, when what we should be doing is going into a classroom to inspire,” Heredia says. “That has a longer e ect on an individual. It’s contagious.” Heroes of Color’s books, videos and other media are dedicated to the education, promotion and preservation of culture through the arts, a mission rooted in Heredia’s experience being Black and Latino, and the experience of his own children. One of the company’s goals, he says, is to “make uncomfortable conversations comfortable” by giving young people the space and creative tools to explore, learn and work through their feelings about racism, inequality, diversity and human dignity.

Animating for Social Justice will be o ered again in National City’s 2023 – 2024 school year, this time for both ﬁfth and sixth graders. Heroes of Color is also looking to run the program in other California schools—as well as schools in Heredia’s hometown of New York City—in the near future.

Meanwhile, Heredia has been supporting equity and inclusion in BFA Animation at SVA with his Heroes of Color Grant Award. In 2024, ﬁve recent graduates of the program will receive grants.

“I’m trying to change the world,” he says. “I think art is one of the most amazing resources we have available to us. Anybody on the planet can appreciate it.”

[Diana McClure]

In April, Heroes of Color, founded by SVA alumnus David Heredia (below, center), hosted a San Diego–area screening of animated shorts created by kids in its Animating for Social Justice program. Photos by Elena U. Photography, courtesy David Heredia.

COMING ATTRACTIONS

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

i3: Images, Ideas, Inspiration Lectures

MPS Digital Photography presents talks by photographers and other industry professionals. Tuesdays, 7:00pm, online.

BFA Interior Design Exhibition

A selection of work by students in the SVA undergraduate program.

December 6 – January 13, 2024. SVA Flatiron Gallery, 133/141 West 21st Street.

SVA @ Untitled, Art Miami Featuring work by six 2023 alumni of SVA undergraduate and graduate programs.

December 6 – 10. Ocean Drive and 12th Street, Miami Beach, Florida.

Marshall Arisman Memorial Exhibition

MFA Illustration as Visual Essay Chair and alumnus Riccardo Vecchio curates a show of work by the program’s late founding chair.

January 25 – February 12, 2024. Reception TBA. SVA Gramercy Gallery, 209 East 23rd Street.

BFA Visual & Critical Studies Exhibition

An exhibition of work by students in the SVA undergraduate program. January 25 – February 12, 2024. SVA Flatiron Gallery, 133/141 West 21st Street.

HEARD AT SVA

“For me, surfers are primal.”

—Joni Sternbach (BFA 1977 Photography), artist and photographer. From a talk hosted by MPS Digital Photography.

“Many of our interests lie in precarity, in how to sustain certain artistic practices when there’s almost no support for it. That’s why we collaborate or learn from others throughout the years. How do they sustain? What kind of strategies can they put in place, in order for them to keep on going?”

—Farid Rakun, member of the ruangrupa artists’ collective. From a talk hosted by MA Curatorial Practice.

“No one makes movies [about the working class] anymore, like Norma Rae or Blue Collar There is no drama in everyday life in the American cinematic consciousness.”

—Rodrigo Valenzuela, conceptual artist.

From a talk hosted by MFA Fine Arts.

Title Release

This fall, the MPS Directing program at the School of Visual Arts changed its name to MPS Film Directing, a distinction intended to clarify its focus on ﬁlmmaking as opposed to other forms of artistic direction, such as theater or music.

“To ‘direct’ is a verb meaning, among other things, to regulate the course of control,” says department chair Bob Giraldi, a prolific and award-winning film and commercial director, who founded the program in 2010 as MPS Live Action Short Film. “To be a film director is only about one thing—the ability to tell an emotional and riveting story.”

MPS Film Directing’s one-year course of study o ers emerging filmmakers the opportunity, technology and personnel support to make their own short films under the guidance of film-industry professionals. It also addresses the historical and critical contexts of film as an art form, its political and sociocultural dimensions, and comparative study of theories for understanding film and video. In the spring, the department presents its Apple Box Short Film Festival, featuring thesis screenings, director Q&As and an awards presentation. Recent and upcoming projects by program alumni include Hajjan, a Saudi film associate-produced by 2023 graduate Mansour Albadran, which had its world premiere at the Toronto International Film Festival, and Under the Burning Sun, a dystopian drama directed by 2016 graduate Yun Xie, currently in post-production. [MF + GH]

CLOCKWISE FROM TOP LEFT Posters of thesis ﬁlms by Yixin Zeng, Mansour Albadran, Historia Wang and Soo Oh Bang (all MPS 2023 Directing).

WHAT’S IN STORE

Puppets and Puppets

CLOTHING AND ACCESSORIES

From $145

puppetsandpuppets.com

“Construct, deconstruct, reconstruct,” says Carly Mark (BFA 2011 Fine Arts), recalling a phrase often used by one of her instructors at SVA, the late artist Jack Whitten. “That’s always echoed in my head as I’m working.”

In many ways, it feels like tailormade advice for Mark, who went from a burgeoning career as a sculptor to becoming a fashion designer in 2018 when she launched her brand, Puppets and Puppets. Disenchanted with the art industry, Mark channeled all the things she loved about sculpture and ﬁne art into

clothing and accessories, creating a kind of distillation of myriad interests. “Fashion is an all-encompassing practice. It includes every medium rolled into one,” she says. “In that way it’s very satiating.”

Since launching its ﬁrst collection in fall 2019, Puppets and Puppets has received numerous accolades and plenty of media buzz, including a 2022 nomination for American Emerging Designer of the Year by the Council of Fashion Designers of America. Vogue has described Mark’s clothes as walking “the line between art and commerce” and embracing “touches of performative circus-like razzle dazzle”; Highsnobiety has called the line—which has included bags adorned with lifelike replicas of chocolate-chip cookies, bananas and fried eggs—“tongue-in-cheek” and “highly whimsical and covetable.”

A Puppets and Puppets look might feature sharp corsets, novelty graphics, playful tweaks on classic silhouettes, ample sequins or faux fur. Mark’s resort 2024 collection even employed AI to generate a New York City–inspired print. When asked what has been inspiring her of late, particularly for this collection, Mark doesn’t get too in the weeds trying to explain herself. “Living the most synchronized life possible,” she says. “I just want to be able to keep doing what I’m doing. As long as I can sustain the business, walk into my o ce and continue to work with my team, I’m happy.”

Though the brand continues to grow in popularity, Mark still has a hand in nearly every aspect of producing a new line, from content creation and social media to creative direction and designing. Undoubtedly,

part of Puppets and Puppets’s appeal lies in that DIY spirit that makes its garments feel like true works of an artist.

“It takes a village. I wouldn’t be able to do it without help from talented people around me,” Mark says, but adds, “Whenever anyone tries to polish what I do too much, I usually kick them out of the inner circle. I think holding on to what makes a thing feel human is the only way to bridge yourself with another person, which is the point of all of this for me.”

In addition to the Puppets and Puppets website, where customers can purchase pieces directly from the brand, Mark’s line is also stocked at Bergdorf Goodman and Nordstrom in New York, at Browns and Selfridges in London and at a number of independent retailers in most major cities. [Maeri Ferguson]

Looks from the Pre Spring 2024 and Fall/Winter 2023 collections of Puppets and Puppets, the fashion label of SVA alumnus Carly Mark (below, right).

WHAT’S IN STORE

AWilky Wilk

APPAREL, HOME GOODS AND ART TOYS

$4 – $150 awilkywilk.com

In 2015, artist and designer Arielle Wilkins (BFA 2011 Graphic Design) founded Brothas N’ Sistas, her line of prints and accessories inspired by her love of hiphop. This past March, she relaunched and rebranded as AWilky Wilk, with a new focus, she says, on Afro-surrealism. AWilky Wilk products—which range from jewelry to beanies to prints—feature her colorful, hallucinatory art: eyeless, noseless people with geodes for hair; lush ﬂoral arrangements with faces peeking through; green- and purple-haired mermaids wearing crowns of shells; and more.

Wilkins lives in Portland, Oregon, where she freelances and works as a senior designer at the Wieden+Kennedy agency. Her past projects include artdirecting for Noggin Knows,

a children’s educational show on the Nick Jr./Noggin streaming service; packaging design for the University of Hip-Hop party game, sold online and at Target stores; and Black History Month–and Juneteenth–themed

illustrations for Scholastic Book Fairs. Earlier this year, she designed a series of billboards that Wieden+Kennedy had rented throughout Portland to promote local Black woman–owned businesses. She’s currently working on expanding her line of collectible toys with support from a recently received arts grant and creating illustrations and branding for this November’s Portland Book Festival, the Northwest region’s largest annual literary event.

“I enjoy working with nonproﬁts or organizations that are working for the greater good,” she says, “so I’m thrilled that I have the opportunity to work on this.”

[Greg Herbowy]

$0.50 – $55 lizzyitzkowitz.com

MFA Illustration as Visual Essay student Lizzy Itzkowitz (BFA 2018 Cartooning) primarily makes her living as a freelance cartoonist, GIFmaker, illustrator and pattern designer for clients such as Anorak magazine, the Earth Day Initiative, Hudson Yards and NYCxDesign. She has also published comics in the Daily Cartoon section of The New Yorker ’s website. Additionally, she maintains an online store, selling stickers, patches and handmade acrylic and glazed polymer clay keychains, all featuring cartoon puppies, bears and other characters, as well as a zine, At Least I’m Safe Inside My Mind (The A.D.D. Chronicles), ﬁlled with what she calls “dumb comics (some based on true stories).” [GH]

The Great Bork Team

ROLEPLAYING GAME

$15

haiduc.itch.io

MFA 2017 Visual Narrative classmates Liz Enright, Mary Georgescu and Ella Romero collaborated with writers Daniel Hansen and Fritz Keahna Warrior to create The Great Bork Team, a role-playing game about a team of sled dogs navigating their maiden voyage through a cold and perilous landscape. The game requires

three players plus one moderator (or musher), with the players communicating entirely through barks.

Georgescu, a senior game designer with the mass-market games publisher Relatable and owner of the independent game company Haiduc LLC, conceived and created the game design for The Great Bork Team and led its development and funding. Enright, a freelance illustrator working on her debut graphic novel with Little, Brown Books for Young Readers, drew the game’s art. Romero, a writer, artist and calligrapher, edited and worked on the layouts. And Hansen and Warrior wrote the adventures.

After a successful fundraising campaign on Kickstarter, The Great Bork Team became available last year through Haiduc, and is currently for sale in both physical and digital versions. [GH]

Star Wars

The Vintage Collection

COLLECTIBLE TOYS

From $13 hasbropulse.com

Since 2018, comics, illustration and storyboard artist Scott Cohn (BFA 1996 Cartooning) has been creating packaging art for Hasbro’s Star Wars The Vintage Collection—a line of premium collectible ﬁgurines and toy vehicles based on the ever-growing galaxy of heroes, villains and rogues ﬁrst brought to the screen by George Lucas in 1977.

Cohn’s detailed drawings—either in blackand-white or incorporating a single detail in color—of various stormtrooper

armors, alien musicians and elaborate vehicles conjure the lived-in, dusty aesthetic of the enduringly popular space opera. And whenever he can, he works in secret portraits of his friends. His illustration on the packaging for Rebel Fleet Trooper ﬁgurines, included here, features the likenesses of SVA classmates in the back row: from left, Adriano Garcia, Thomas Casper, and the late Renzo Ventrella (all BFA 1996 Illustration), and Gabriel Perez and Joe Reiter (both BFA 1996 Cartooning).

Cohn’s other toy work includes illustrating for the Marvel: Crisis Protocol tabletop game—a job he singles out as a particular favorite—and coloring books for Crayola. [GH]

WHAT’S IN STORE

Pura Vita

PLANT-BASED ITALIAN RESTAURANTS

8274 Santa Monica Blvd., West Hollywood, and 320 S. Catalina Ave., Redondo Beach, California puravitalosangeles.com

Tara Punzone (BFA 1999 Photography), chef and owner of the Pura Vita vegan Italian restaurants in Los Angeles, grew up on Long Island in an Italian family where everyone cooked. Her childhood “idol,” she says, was her grandfather Charlie, who owned a beloved sandwich shop, Punzone’s, in Crown Heights, Brooklyn. (The store is still around, with the same recipes but new owners and a new name: Mama Louisa’s.) And beginning in ﬁfth grade, when she

decided to give up meat, she played an increasingly active role in her parents’ kitchen, making plant-based dishes that they could all enjoy.

“I always wanted to have a restaurant,” she says, but her father, who knew how hard Charlie had worked, warned her against it. She pursued another love, photography, and freelanced for a few years after graduating until, inevitably, fate took over.

After a revelatory meal at Manhattan’s early raw-food mecca Pure Food and Wine, Punzone asked to meet the chef, who hired her as a line cook on the spot. Within a few years, she was the executive chef, and she has made her living in vegan kitchens ever since, though largely on the West Coast (she moved to Los Angeles in 2012).

Punzone ﬁnally decided to open a place of her own after a trip to Italy to visit family.

“I realized how many vegan restaurants had opened in Rome since the last time I was there and that really lit a ﬁre in me,” she says. “I was determined to have the ﬁrst vegan Italian restaurant in the U.S.”

Pura Vita’s ﬁrst location, in West Hollywood, opened in 2018, o ering biodynamic wines and classic dishes like

arancini, spaghetti carbonara and eggplant parmesan. Less than two years later, Punzone opened a Pura Vita pizzeria next door. (The locations have since been combined.) In 2021, she opened her third restaurant, in Redondo Beach. Regardless of location, everything on the Pura Vita menu is made from scratch, with organic ingredients, many gluten-free options and no processed fake meats.

“I like to eat clean and I’m eating at my restaurants six days a week,” she says. “I would never serve anything I wouldn’t eat myself.”

In addition to creating the menus, Punzone designed the Pura Vita spaces herself, from the interiors and signage to the plate and silverware selection, all with an eye toward a welcoming, warm diner experience.

“A lot of our success has to do with the environment,” she says. “My restaurants are fun— there’s a lot of music, you’ll see strangers talking and sharing food. It’s ‘very New York-y’—or at least the New York that I remember.” [GH]

Screen time with SVA alumni and faculty

Watch List

Barbie

Director Greta Gerwig’s record-breaking hit—based on the iconic Mattel toy and streaming online now—features CG, digital effects and stereoscopic work by BFA Computer Art alumni Kyle Anderson (2005), SVA faculty member Josephine Noh (2006) and Tara Marie Jacobson (2007).

Kuttey

Three gangs race to rob a van full of cash in this thriller, the debut Bollywood feature of writer-director Aasmaan Bhardwaj (BFA 2019 Film). Kuttey, which had its theatrical premiere in January, stars Tabu, Naseeruddin Shah, Konkona Sen Sharma and Arjun Kapoor, and is now on Netﬂix.

Pay or Die

This spring, MTV Documentary Films acquired the distribution rights to this documentary about diabetic Americans’ life-or-death struggle to afford insulin, directed by Scott Ruderman (MFA 2016 Social Documentary Film). Look for it in theaters and streaming online starting this fall.

Dumb Money

The latest from director Craig Gillespie (BFA 1989 Media Arts) is a comedy about the 2021 grassroots movement that brieﬂy made stock in GameStop, a video-game retail chain, soar in value. Dumb Money debuted in theaters in September and will be available to stream soon.

MerPeople

This four-part Netﬂix docuseries covers the competitive, daredevil world of “professional mermaiding,” in which underwater performers work to embody the mystical half-human, halfﬁsh creatures. Andréanna Seymore (BFA 1997 Photography) served as co-creator and executive producer.

Solar Opposites

Kim Arndt (BFA 1998 Animation) directed nine episodes of the fourth season of this animated series, which premiered this summer. Solar Opposites follows the misadventures an extraterrestrial family living in an American suburb and is available to watch on Hulu.

WHAT’S IN STORE Shelf Liners

Books by SVA alumni and faculty

ART/PHOTOGRAPHY

All the Past We Leave Behind:

America’s New Nomads

Timothy Eastman (MFA 2011 Photography, Video and Related Media)

Kehrer Verlag Hardcover, €39.90

Betweenness

Lili Almog (BFA 1992 Photography)

Kehrer Verlag Hardcover, $56

Boy Crazy

Elizabeth Clark Libert (MFA 2010 Photography, Video and Related Media) Workshop Arts Softcover, $45

Dancer Glory

Cara Leslie Berton (BFA 1981 Media Arts)

Rose Press Paperback, $21.95

Downtown Cairo: The Stories and the Stories Within Yehia El Alaily, Karim El Hayawan and Bilo Hussein (MPS 2014 Digital Photography)

Al Ismaelia/Dar El Shorouk Hardcover, E£800

Ink Stories

Reka Nyari

(BFA 2002 Fine Arts) Hemeria

Signed hardcover, $495

Nachume Miller: Behind the Painting

Nachume Miller (BFA 1975 Fine Arts)

High Tide Hardcover, $55

Quicker Than Coal Ash

Will Warasila

(BFA 2015 Photography) Gnomic Books

Limited-edition hardcover, $52

A Quieter Person With More Boxes

Andrea McGinty (MFA 2014 Fine Arts) Soft City

Limited-edition paperback, $15

Simen Johan

Simen Johan (BFA 1996 Photography) powerHouse Books Hardcover, $75

CHILDREN’S/PICTURE/ YOUNG ADULT

100 Might Dragons

All Named Broccoli

David LaRochelle; illustrated by Lian Cho (BFA 2019 Illustration) Dial Books

Hardcover, $19.99

All the Mammals in the World

David Opie (MFA 2002 Illustration as Visual Essay)

Peter Pauper Press Hardcover, $16.99

The Can Caravan

Richard O’Neill; illustrated by Cindy Kang

(BFA 2018 Illustration) Child’s Play Paperback, £7.99

Ella KVELLephant and the Search for Bubbe’s

Yiddish Treasure

Jen Kostman

(BFA 2015 Illustration) Kalaniot Books Hardcover, $19.99

A Family Like Ours

Frank Murphy and Alice Lee; illustrated by Kayla Harren

(BFA 2011 Illustration)

Sleeping Bear Press Hardcover, $18.99

The Forest Keeper: The True Story of Jayav Padeng

Rina Singh; illustrated by Ishita Jain (faculty, BFA Illustration; MFA 2020 Illustration as Visual Essay)

NorthSouth Books Hardcover, $18.95

Knee Deep: Book One

Joe Flood (BFA 2002 Illustration) Oni Press Paperback, $21.99

Laolao’s Dumplings

Dane Liu; illustrated by ShinYeon Moon (faculty, BFA Animation and BFA Comics; MFA 2017 Illustration as Visual Essay)

Godwin Books Hardcover, $18.99

Like Lava in My Veins

Derrick Barnes; illustrated by Shawn Martinbrough (BFA 1993 Illustration)

Nancy Paulsen Books Hardcover, $18.99

Love Makes a Garden Grow

Taeeun Yoo (MFA 2005 Illustration as Visual Essay)

Simon & Schuster Hardcover, $18.99

Miss Quinces (English)

Srta. Quinces (Spanish)

Kat Fajardo (BFA 2013 Cartooning)

Graphix/Scholastic Paperback, $12.99

My Indigo World: A True Story of the Color Blue

Rosa Chang (MFA 2017 Visual Narrative)

Astra Publishing House Hardcover, $17.99

Oh, Olive!

HarperCollins Hardcover, $19.99

Place Hand Here

Criticism)

Lian Cho (BFA 2019 Illustration)

Katie Yamasaki (MFA 2003 Illustration as Visual Essay)

Norton Young Readers Hardcover, $18.95

Ruby and Lonely

Patrice Karst; illustrated by Kayla Harren (BFA 2011 Illustration) Two Lions Hardcover, $17.99

Shapes, Lines, and Light: My Grandfather’s American Journey

Katie Yamasaki (MFA 2003 Illustration as Visual Essay)

Norton Young Readers Hardcover, $21.95

COMICS/GRAPHIC NOVELS

Worm: A Cuban American Odyssey

Edel Rodriguez (faculty, BFA Illustration; see page 50) Metropolitan Books Hardcover, $29.99

FICTION

Interpreter of Maladies

Jhumpa Lahiri, illustrated by Shreya Gupta (MFA 2017 Illustration as Visual Essay) Folio Society Hardcover with slipcase, $75

NONFICTION

Everyday Modernism: Architecture & Society in Singapore

Jiat-Hwee Chang and Justin Zhuang (MFA 2015 Design

NUS Press Paperback, $65 SGD

A Hard Day’s Work: Storyboards and Stories of 15 Select Films and Television Shows

Warren Drummond (BFA 1984 Media Arts)

DreamTitle Publishing Hardcover, $40

Heart to Heart: A Conversation on Love and Hope for Our Precious Planet Dalai Lama; illustrated by Patrick McDonnell (BFA 1978 Media Arts)

HarperOne/HarperCollins Hardcover, $24.99

I Am Still With You: A Reckoning With Silence, Inheritance, and History

Emmanuel Iduma (faculty; MFA 2015 Art Criticism and Writing) Algonquin Books Hardcover, $27

The Five Elements Cookbook: A Guide to Traditional Chinese Medicine With Recipes for Everyday Healing

Zoey Xinyi Gong; photos by Cassie Zhang (BFA 2016 Fine Arts)

Harvest/HarperCollins Hardcover, $35

Searching for Sunshine: Finding Connections With Plants, Parks, and the People Who Love Them

Ishita Jain (faculty, BFA Illustration; MFA 2020 Illustration as Visual Essay)

Princeton Architectural Press Hardcover, $25.95

CREATIVE LIFE

Screen Adaptation Making the most of remote-interview opportunities

Widely adopted for the pandemic, videoconferencing has now become intrinsic to workplaces of all sorts. Employers in particular are increasingly reliant on Zoom and other apps like it to conduct job interviews, regardless of whether the position is remote, especially in the early rounds of the candidate selection process.

There are clear benefits of remote interviewing for an employer. Calls tend to be easier to schedule than visits and are less subject to potential delays than a commute. If the position requires certain computer skills, a video call also o ers a natural venue for the candidate to showcase their abilities.

For the applicant, however, remote interviews are more demanding than they might seem. Although we are three years into the widespread adoption of services like Zoom, many people still treat video calls with little forethought, says Patricia Romeu, director of SVA Career Development.

“An interview on Zoom may seem like a more casual option,” she says, “but in reality it requires just as much preparation as an in-person meeting. It’s important to

consider how you come across on the screen, and just a little advance planning can make a world of di erence.”

In order to help current students and recent graduates navigate the challenges—and opportunities—of remote interviews and meetings, Career Development created a virtual workshop video on the topic, which it hosts for current students on Kaltura Media Space and is available at kaltura.com/tiny/ z4s5i. The following pointers have been adapted from that presentation.

experience in one another’s physical presence. All we see are the head and shoulders of our counterparts, often in a less-than-ideal resolution, and eye contact is a fiction. Your potential employer’s first impressions of you on a remote interview will depend in large part on your onscreen appearance. Few interviewers will expect studio-quality lighting and set dressing on a Zoom call—though those of you looking for jobs in entertainment or photography may be held to a higher standard. Fortunately, there are simple, e ective ways for anyone to make themselves and their surroundings look as good as possible:

Appearance Counts

When someone meets you in person, they make snap judgments about you based on how you dress, how you carry yourself, how you interact with others and so on.

On a video call, however, these visual and audio cues are of a quality and quantity far diminished from what we

Location, location, location. The best spot for video calls is a calm, low-tra c area of your home that is well kept and relatively free of visual distraction. Remember that clutter can show up even in a blurred background, and shiny objects can reflect unwanted light or other parts of the room that you don’t want to be in view. If you’re not sure what the best spot might be, use your phone to take selfies or make test video calls in di erent areas to see how they might

look on camera. And don’t hesitate to “art direct” your setting, adding or removing key objects to make it more presentable.

If you can’t find a suitable location, you can use a digital backdrop but make sure that it is not overly busy or inappropriate for the circumstances—no fake beach backgrounds, for example.

Follow the light. Try to set yourself up directly facing a window or lamp that provides good, reliable light. Light sources from elsewhere can create glare, cast distracting shadows or, if they are behind you, turn you into a silhouette on camera. Ideally the light will be warm and soft—anything overly bright can wash out your face or look clinical.

This may take some experimenting with floor or desk lamps to get it right, or you may want to invest in a light specifically designed for this purpose, such as a ring light. There are a number of articles online that can help you arrive at the right configuration.

Work the angles. If you have a laptop, make sure you set it up so that your camera lens is aimed slightly above your eyes and not tilted up or down, and that only your head and shoulders are in the frame.

This straight-on view is typically the most flattering option and encourages you to keep good posture during the call. If you are using your computer’s camera, try placing the laptop on a stand or a stack of books to adjust the height of the lens. If that’s the case, consider using an external keyboard

and mouse that can be kept at normal height so that you can continue to use your computer comfortably while on the call.

Dress the part. Like it or not, your personal style sends a message to others about who you are, so dress as smartly as you would for an in-person interview. Depending on the opportunity you’re interviewing for, business attire may not be required, but your appearance should communicate some degree of formality and professionalism—no overly casual, worn-out, ill-fitting or stained clothes.

Be mindful, however, that certain patterns or colors may not translate as well on camera. Again, a test selfie or Zoom with a friend can help you decide on your best look. And even though only your head and shoulders will be in the frame, make sure you are wearing a suitable bottom as part of your outfit, as you never know when you might need to stand up during a call.

Sound Decisions

A big part of ensuring your video interview will flow smoothly is making sure that the audio quality is as good as it can be. Once again, high-end, professional-level sound (and gear) isn’t necessary—unless it’s required in your field. But making a test call with a friend or family member is highly recom-

“AN INTERVIEW ON ZOOM MAY SEEM LIKE A MORE CONVENIENT OR CASUAL OPTION,” SHE SAYS, “BUT IN REALITY IT REQUIRES AS MUCH PREPARATION AS AN IN-PERSON MEETING. IT’S IMPORTANT TO CONSIDER HOW YOU COME ACROSS ON THE SCREEN.”

mended to make sure that your location has acceptable acoustics. Your voice should come across clearly when you are speaking at a comfortable, conversational volume, and there should be minimal echo.

If you live with family or roommates, let them know when and where you will be on a call to reduce background noise and interruptions. Consider hanging a sign outside your door or near your chosen call location on the day of, as a reminder. Before the call starts, close any nearby windows or doors and turn o or lower any noisy fans, air conditioners or other appliances. Check that your phone, computer and any other electronic devices in the room have their notifications and alarms silenced.

so in advance of a call, make sure that your computer is up to date and compatible with whichever platform the call will be on. If the platform is new to you, make sure you have tested that, too, and are comfortable and familiar with its interface.

Fifteen or 20 minutes in advance of the interview, check that your Internet connection is strong. If your service seems to slow down or hiccup when multiple devices are online at once, make sure any activities that hog bandwidth, such as streaming video or games or transmitting large files, are put on hold for the duration of your call.

If you do run into any technical problems that you won’t be able to solve in time, call or email your point of contact to notify them and reschedule if needed.

or propped up just o to the side during the call, for easy reference. If you will be taking notes during the call, consider typing rather than writing them, so you don’t need to look down as much. Make enough space in your schedule for any ritual you might have to get into the right mindframe— whether it’s a cup of co ee, a breathing exercise or just having a few quiet minutes to yourself. Place any unobtrusive objects that give you comfort or put you in a good mood—like a favorite plant or a memento—nearby but out of view of your camera. Have water on hand in case you need a quick sip during the call, but choose your vessel carefully—water bottles and other containers can look comically big on camera, so a simple mug or drinking glass is best.

Ready, Set, Go

In addition to checking your connection, there are a few other advance steps you should take on the day of your interview to help it go well.

Testing, Testing

Basic technical troubleshooting is a must before any remote interview. A day or

As you would with an in-person interview, give yourself some time beforehand to review any mental or written notes you’ve made in preparation for the call. Consider making a crib sheet, whether in digital format or written down, that you can keep on the screen

When the time for the call arrives, be punctual. Just as you would not arrive late for an in-person interview, you don’t want to keep an interviewer waiting for you to log on. It’s best to join the call a few minutes before it is scheduled to begin.

Finally, when the interview begins, give it your full attention—no multitasking or checking your phone. Have confidence that all of your prep work and research will pay o , and that your conversation will be as interesting and engaging as you are.

For more SVA Career Development resources and events, visit sva.edu/career.

Minseop Yoon Portfolio

By Joyce Rutter Kaye

Visitors entering the first gallery of the group exhibition “apmap 2022 seoul—apmap review” last fall at the Amorepacific Museum of Art (APMA) in Seoul, South Korea, immediately encountered Dance for the Night, an installation by artist Minseop Yoon (MFA 2013 Fine Arts). Depicting seven ballet dancers caught in a series of graceful mid-performance poses, the piece conveys their kinetic movements and balletic expressions with sculptures composed of intricately interconnected lightweight black wires. Dancers and props are suspended from the ceiling by filaments and set at various intervals, seemingly floating above their shadows throughout an invisible stage. The work is startling not only for its large scale and sense of motion, but also for appearing, improbably, as though it is drawn on thin air.

Such is the magic conjured by Yoon using a technique she calls “drawing in space,” which produces the illusion of a liminal plane existing between the 2D and 3D. As you might expect, the e ect sparks reactions of surprise and delight that come from experiencing this sort of visual sleight of hand. But even more important for Yoon, creating this in-between realm provides greater room for physical interactivity and interpretation with the piece—and therefore, a deeper, more personal experience for the viewer.

In the case of Dance, for example, people can easily walk among the dancers, observing their expressions and their spatial relationships. As APMA’s wall text at the exhibition noted, by moving through the piece, visitors are, in a way, bringing the depicted performance to life.

Over cups of tea at the museum following an exhibition walkthrough, Yoon reﬂected on the genesis of the piece—the size of the gallery space had reminded her of a concert hall, inspiring images of ballets like Beauty and the Beast and Swan Lake. Developed during what she calls the more “depressing” months of the pandemic, the ballet scene was a deliberate departure from other series and one intended to bring joy through speciﬁc expressions. “I wanted to make something that was very di erent from my ordinary life,” she says.

By contrast, earlier works—such as her “People” series, begun in 2014 after a 40-day trip through Thailand, Cambodia, Vietnam and China—are more neutral or even melancholy, depicting faceless ﬁgures of various ages walking with their backs to the viewer. She was initially apprehensive about traveling to these new places, but the journey was revelatory, she says, for the commonality she encountered—everyone going about their daily business, just as she and her family members do.

People 1, Yoon’s 2014 installation at Gyeonggi Museum of Art, shows a succession of adults and children heading toward an unknown destination. Working from photos taken during those travels, she left their faces deliberately blank to create an

PREVIOUS Minseop Yoon, Temptation, 2020, plastic rods, aluminum wire, steel wire, ﬁshing line, dimensions variable.

OPPOSITE Minseop Yoon, Dance for the Night (detail), 2022, plastic rods, aluminum wire, steel wire, ﬁshing line, dimensions variable. Images courtesy of the artist.

ambiguity that leads to a broader level of relatability and self-reflection. “This is because the people in the work can be not one specific person, but everyone around me,” she says. “They can be my parents, friends and myself. This is the same for the audience.” She is most satisfied when her pieces evoke a memory. “One visitor said that he recalled his daughter’s childhood while looking at my artworks,” she says.

After earning her BFA in sculpture at Chung-Ang University in Seoul in 2005, Yoon gravitated toward drawing for the practical reason that she simply didn’t have the studio space to create large works. But she soon also discovered that drawing—a practice she hadn’t focused on before—provided a sense of emotional security. “I didn’t have any space to make my artwork, so I drew. . . . I felt I could get into my drawings on small paper. After that, I wanted to make them in real space. . . . It was escaping from my normal life—by escaping into my drawings.”

Minseop Yoon

While enrolled in the MFA program at SVA, Yoon experimented sculpting with various materials, finding the best results with thin plastic rods, which she warms over a candle flame, then twists into her desired shapes. The process is meditative. “It’s like a vacation,” she says. “It’s calming to me.” At times, however, she has turned to metal for large-scale outdoor installations, such as The Girl (2017, 2018), built on Jeju Island as part of an earlier project with APMA, and a 2021 public art project in Osan, which required the more durable stainless steel to withstand the forces of nature. Some pieces mix the two media: in Dance for the Night, the figures’ shadows on the floor are made of scattered black steel rods.

The themes of comfort and self-reﬂection found within quiet empty spaces run consistently through Yoon’s work. A self-described introvert, she recalls being shy and quiet in school as a child, and didn’t study well, “but I was praised by my teacher in art class. So I think I liked art [because I] could express myself even without voice.”

of the world and can forget about things and other people outside. It just feels like swimming underwater.”

A statement accompanying Yoon’s The Room 3 (2014) quotes from Tao Te Ching, Laozi’s ancient guide to living a life of peace:

We put 30 spokes together and call it a wheel;

But it is in the space where there is nothing that the usefulness of the wheel depends.

We turn clay to make a vessel;

But it is in the space where there is nothing that the usefulness of the vessel depends.

We pierce doors and windows to make a house;

And it is in these spaces where there is nothing that the usefulness of the house depends.

Therefore just as we take advantage of what is, we should recognize the usefulness of what is not.

“The Room,” an ongoing series she started in 2012 at SVA, depicts elements from her own living spaces—a clothes closet, a doorway, a workspace with a computer, lamp, bookshelves and discarded boots and clothing. Early lines were hashed and scratched and over time became more reﬁned. Throughout making the series and moving the domestic objects within them, she intended to discover something about herself and reveal how spaces and things are both deeply personal yet blankly utilitarian. “By rearranging these personal objects in the gallery space I try to observe myself and re-recognize my existence,” she says.

“The place I like best in the world is my room. No matter what happens outside I feel safe in my room. . . . I even love the messy and chaotic room’s distractions. . . . Being inside my room, I feel completely separated from the rest

When asked about her next artistic challenge, her response seems directly inspired from those teachings. “I am thinking about silence as an expression,” she says. “So far, I’ve been making works that constantly make stories by adding realistic images. However, sometimes it is overwhelming to talk nonstop and be surrounded by so many images. So I’m thinking about silence in visual arts these days.”

Minseop Yoon’s work was on view this fall at “The Room of Curiosity,” a two-person exhibition at Hwasun Choi Sangjun Museum of Art, and in the window of Maison Hermès Dosan Park in Seoul as part of an ongoing series featuring original artwork with elements that playfully interact with Hermès objects. Follow her on Instagram @minseop_yoon.

PREVIOUS Minseop Yoon, Dance for the Night (detail), 2022, plastic rods, aluminum wire, steel wire, ﬁshing line, dimensions variable.

BELOW LEFT Minseop Yoon, People 2 (detail), 2018, plastic rods, ﬁshing line, dimensions variable.

OPPOSITE Minseop Yoon, The Room 4 , 2019, plastic rods, aluminum wire, ﬁshing line, dimensions variable. Images courtesy of the artist.

I’m thinking about silence in visual arts these days.

PREVIOUS, CLOCKWISE FROM LEFT

Minseop Yoon, The Girl, 2018, steel; The Girl, 2017, steel; details of a public art project in Osan, 2021, stainless steel, granite. OPPOSITE

Minseop Yoon, People 1 , 2014, plastic rods, ﬁshing line, dimensions variable.

Images courtesy of the artist except The Girl (2017), courtesy of the Amorepaciﬁc Museum of Art.

Movie Issue The

For this issue of the Visual Arts Journal, we have put together several articles about School of Visual Arts alumni and faculty who are doing interesting—and, in some cases, under-the-radar—work in film. On the following pages, you can read about inventive movie poster design, new voices in horror, a one-of-a-kind animation collection and the role of sound in cinema.

Of course, this hardly begins to catalog the SVA community’s noteworthy achievements in movies. Since the introduction of a dedicated film program in the 1964 – 1965 academic year, chaired by Everett Aison (1959 Graphic Design), thousands have graduated with one of the College’s undergraduate and graduate film, animation or visual e ects–related degrees, and countless alumni in other disciplines have gone on to distinguished careers in the field. There are many more of these stories to tell, in other words, and we look forward to covering as many of them as we can in the Journal for years to come.

At the time of this writing, U.S. studios were e ectively at a standstill, after the

unions for both writers and actors went on strike for fairer pay and job security. Streaming and emerging AI technologies have threatened to upend long-standing industry practices and exacerbate existing inequalities within the business. It is as good a time as any, then, to honor the world of movies.

Motion pictures—whether animated or live action, viewed alone on a tablet or in a packed theater on a big screen—o er a uniquely transporting cultural experience. They and the people who make them immeasurably enrich our lives.

Illustration by MARCOS CHIN FACULTY, BFA ILLUSTRATION

SCARE T SVA Alumni

CLOCKWISE FROM TOP LEFT Scenes from X , Barbarian, Bodies

Bodies Bodies and Pearl Bodies Bodies

ACTICS novators

in Horror

By Laura Valenza

Producing Final Girl Power

ave you heard about the SVA alumnus–helmed horror trilogy making a (bloody) splash in the ﬁlm industry? Its fans include none other than Martin Scorsese, who wrote in a review that, after watching its second installment, “I had trouble sleeping.” If not, the opening scene of the ﬁrst movie in the series, 2022’s X, leaves no doubt that you’re in for a nightmarish ride. Cops circle a body in a farmhouse’s front yard, with a red carpet of blood stretching up the porch steps.

To make X, its prequel Pearl (2022) and the forthcoming MaXXXine, writer–director Ti West teamed up with his frequent producing partner Peter Phok. The two began working together while still at SVA—both are BFA 2003 Film and Video alumni—but hadn’t collaborated in the past few years. In that time, Phok continued to produce horror ﬁlms, as well as video games, while West directed episodic TV. “What attracted me to X is I just have such implicit trust in Ti, and he hadn’t written a horror movie in quite some time,” Phok says. But he’s also just a fan of the genre: “I feel like I can’t escape horror because I still enjoy it so much.”

West’s trilogy is one of the more ambitious multi-ﬁlm

projects in recent memory, let alone within the horror genre. Each chapter takes its stylistic cues from a di erent era of film. In X, six would-be stars— including our heroine, Maxine (Mia Goth)—set out to make a pornographic film (but an “artistic one,” one of them insists) on the cheap in rural Texas, 1979, only to be terrorized by an elderly farm wife, Pearl (also played by Goth), and her husband, Howard. It’s a plot reminiscent of pulpy ’70s features like The Texas Chainsaw Massacre (1974), and X’s film-within-the-film adopts a similarly low-budget look. Pearl, released six months later, covers the title character’s early 20th-century origins in the fashion of a melodrama from Hollywood’s Golden Age, with references to the earliest days of filmmaking. MaXXXine, for which filming began this past spring, will pick up Maxine’s story in 1980s Los Angeles.

Written by Goth and West, Pearl was shot at the same time as X, which presented a unique situation not just for director and star, but for Phok as well. Simultaneously making two movies with opposite aesthetics during a pandemic wasn’t easy, but all that is just part of the producer gig, Phok says. “I think that we [producers] kind of don’t see a

problem that’s too big. . . . That's the job, right? It’s problem-solving.”

It’s not the gore that makes these movies fascinating, or even what really makes them truly frightening. West excels at quick character sketches and manipulating expectations, a skill Phok says West honed through his TV work. In X, an aerial shot traces an alligator cutting through the water after the serenely drifting Maxine. In another scene, the camera peers through the shadowy spindles of a banister at Goth’s two characters, Maxine and Pearl, young and old, who stand side by side reﬂected in a mirror. And Pearl culminates in a 15-minute monologue as riveting as any scenes of ghosts, monsters or murdery mayhem.

Ultimately, while the series follows certain slasher-ﬁlm traditions, “it's so much more than that,” Phok says. “It had something to say.”

Posters (below) and scenes from X (below and opposite) and Pearl (bottom left), written and directed by Ti West and produced by Peter Phok. Photos by Christopher Moss, courtesy of A24.

Laughing So Hard We’re Crying

irector Halina Reijn’s Bodies Bodies Bodies (2022) is another recent horror ﬁlm that is fuller bodied than its formulaic counterparts. Not only does it have something to say about the moral rot among ultra-rich and Internet-savvy youth, its snarky characters have plenty to say themselves—more than even the script provided.

When editor Taylor Levy (BFA 2012 Film and Video) started working with the

footage, he was struck by how it challenged genre boundaries. “Wow, this is a lot funnier,” he recalls thinking, comparing the results to the already-humorous script. “Everyone’s improv-ing. Rachel [Sennott]’s improv-ing. Pete [Davidson]’s improv-ing.” Levy decided to lean into the humor with his edit, including as much improvisation as he could so that he and Reijn had plenty of directions available for where to take the ﬁlm.

Joining West’s X series as another of distributor A24’s quirky titles, Bodies

follows a group of twenty-somethings who are partying at one of their parents’ mansions on the night of a big storm. They decide to play a game, also called “Bodies Bodies Bodies,” that has caused drama among some of them in the past. Of course, the power cuts out. Of course, a corpse is found. Of course, all the dirty secrets and barely repressed rivalries emerge to challenge their relationships. As the body count increases, the truth about what everyone thinks of everyone else oozes out. In a ﬁlm where the most scathing insult is “Your parents are upper middle class,” satire is as much a key element as the jump scare.

Levy came to SVA as a transfer student. “I felt like proximity [to the industry] would have a lot of e ect on the potential of my path.” An internship at Post Factory New York launched his career, but he also tapped into his passion for the power of editing on campus, where fellow students were shocked that he was willing—eager, even—to face the terror and long hours of cutting together their movies with them.

Editing horror is di erent from editing other genres, Levy says, in that everything needs to feel a bit “jagged.”

Perhaps because of the primacy of fear, simple, even unsurprising choices can have near-magical e ects: “You put one little bloody sound on, and the whole thing comes to life. In dramas, you don’t really run into that so much.”

Bodies Bodies Bodies images courtesy of A24; bottom photo by Gwen Capistran.

OPPOSITE Barbarian images

This Is the “Craziest Thing to See Next”

t might be as much of a surprise to writer–director Zach Cregger (BFA 2004 Computer Art) as it is to fans of his 2022 horror hit, Barbarian , that he started his career in comedy. As an undergraduate, Cregger co-founded a student club that put on sketch shows on campus and in local venues. In Cregger’s telling, it started as something of a lark, more of an excuse to get together with friends than anything else. “I love comedies like I love all kinds of ﬁlms,” he says, “but I never really saw myself as a comedian.”

Regardless, after college he, Sam Brown (BFA 2004 Film and Video), the

late Trevor Moore (BFA 2003 Film and Video) and non-SVA members Darren Trumeter and Timmy Williams, continued with the group, billed as The Whitest Kids U’ Know, ultimately producing, writing and starring in an eponymous series for the Fuse and IFC channels. In 2009, he and Moore wrote, directed and starred in a feature-length comedy, Miss March Unlike their series, it was poorly received. “I thought nobody ever wanted to hear from me again as a ﬁlmmaker,” Cregger says, “so I stuck to just acting for the next ﬁve to seven years.”

Eventually, he began writing scripts, exploring a variety of genres that reﬂected his own wide-ranging taste. One was Barbarian, which tells the story of a young woman whose Airbnb rental goes increasingly, horrifyingly wrong. Its narrative unpredictability—with sudden shifts in tone, setting and viewer sympathies—mirrors Cregger’s intuitive approach to writing it.

“I kept asking myself, ‘What would be the craziest thing to see next?’” he says. “I didn’t know the ‘Mother’ [character] existed until she appeared. I thought [the Keith character] was going to be the bad guy, and then I realized I had nothing for him to do.

“I don’t know if I would recommend that approach to other writers,” he adds, but in this case, it paid o . Though it took Cregger two years to find a studio for the project and he was limited to a $4.5 million budget, when it was finally released last October—starring Georgina Campbell, Justin Long and Bill Skarsgard—Barbarian was a critical and commercial success, making him one of the most in-demand young filmmakers in Hollywood. This fall, he starts filming his next project, a horror film called Weapons, and he’s also producing two films (one horror, one science fiction) and is in the early stages of developing a fourth.

Pick Your Pattern: Polka Dots or Blood Splatter?

ew things elicit a visceral reaction better than blood, something that Meaghan Cleary (BFA 2015 Film) knows well. Cleary—whose dark-comedy script Latchkey Kids is in pre-production—worked as the costume designer for the upcoming horror ﬁlm Consumed , directed by Mitchell Altieri. Behind the scenes, “one day’s outﬁt” for the story’s hero, a hiker in the woods played by Courtney Halverson, was actually “nine costumes,” Cleary says. “All the same look, but with di erent stages of bloodiness.”

Since graduating, Cleary has worked in costume design for television and ﬁlm. Before a single garment is stitched, she reviews the script to make an inventory of what will be needed and

then gets to know the director’s vision. Genre plays a big role in determining the materials and color schemes, elements that matter on both symbolic and practical levels, she says. For example, when designing the costume for a “wild man” character, played by Devon Sawa, Cleary also had to consider the actor’s ability to do all of his stunts.

“I took a note from Game of Thrones and used some faux-fur carpets that I had cut and sewn together to make it look like it was from multiple animals,” she says. Halverson’s character, meanwhile, was dressed in yellow, “to make her a bit more of a target in her environment—she was the prey of the monster.”

nd that may be the only true “monster” present in these ﬁlms. In forging new directions for horror, neither the X ﬁlms, Bodies Bodies Bodies nor Barbarian rely on the creatures or demons often associated with the genre. They are fueled by the terrors we make for ourselves.

The success of pictures like Robert Eggers’s The Witch (2015), Bong Joonho’s Parasite (2019) and Jordan Peele’s Get Out (2017) and Nope (2022) have shown the genre’s still-untapped potential to subvert stereotype and engage with social issues. “Fortunately, writers and directors have been creating ﬁlms with strong female and/or

POC leads that don’t die within the ﬁrst 10 minutes, like in every ’80s or ’90s thriller,” says Kelly Quinn (BFA 2023 Film), whose thesis project, a horror short titled Skunk Bite, screened at this year’s SVA Premieres showcase in Los Angeles. For Skunk Bite, “I wanted to create a female-centric story,” she says. “My main character, Campbell, is a strong character with a hunger for revenge.”

Looking at films like last year’s Everything Everywhere All at Once (see page 50), Phok has hope for the future of diversity in filmmaking. “If you support stories from other cultures and stories that basically haven’t had the opportunity to be widely told,” he says, “you’ll find that there’s an audience for it.”

—Laura Valenza is the sta editor at the Visual Arts Press, SVA’s in-house design studio, and co-ﬁlm editor at the Brooklyn Rail.

Who Are the Real Monsters?

Stills and behind-thescenes photos from Skunk Bite , a horror short by and starring recent SVA graduate Kelly Quinn (red hair).

An SVA

faculty member’s collection of cartoons from the industry’s earliest years

BY JOHN CANEMAKER

Tommy José Stathes is one of those lucky people who turned a childhood avocation into a career. Growing up in 1990s New York City, Stathes was fascinated by Golden Age animated cartoons on television and home video, especially black-and-white subjects, such as early Mickey Mouse. This led to discovering silent-era series and characters produced from the early 1900s to the 1930s, including Felix the Cat, Colonel Heeza Liar, Mutt and Je , and Koko the Clown, among others.

THE ANIMATION ARCHIVIST

His family encouraged his interest, and he began collecting film prints of early animation in 8-, 16- and 28-millimeter, as well as VHS videos—a pursuit that has since become his life’s work. At the latest estimate, his archive comprises somewhere between 3,000 to 4,000 cartoons in film-print form alone.

Today, at age 34, Stathes is recognized as one of America’s foremost collectors of early animated cinema and a passionate advocate for preserving this obscure entertainment artform. Stathes shares his important historical material and knowledge through his “Cartoon Carnival” public screenings at various New York City venues, producing documentaries and DVDs, and teaching the history of animation at SVA. In

2012, Turner Classic Movies, or TCM, began airing selections from Stathes’s archive, as part of silent-movie or early-animation showcases. In 2014, Stathes himself appeared on air alongside the late film historian and TCM host Robert Osborne to present his newly restored cartoons from Bray Studios, one of the first American studios dedicated to animation.

“We are temporary stewards of this material,” Stathes says. “It will, and it should, outlive each and everyone of us.”

What first attracted him to the earliest cartoons? “The black-and-white aesthetic really spoke to me,” he recalls. “Something very esoteric, the high-contrast look. I was drawn to that. It was almost

otherworldly compared to everything else.” The international language of pantomime communicating gags and narrative also appealed to him. “Little or no emphasis on dialogue, and the graphic quality of the character, designs and visual humor.”

Stathes’s mother gave him a textbook on film history, whetting his appetite further. “Reading about these early films opened an incredible world for me,” he says. He

Animation archivist and SVA faculty member Tommy José Stathes at screenings of shorts from his collection of more than 3,000 early animated films.

began “going out on the beat, so to speak,” to auction sites and flea markets, in search of obscure films, and discovered many valuable finds in New York, the city where American animation began.

“Of course, there were animation experiments happening around the world,” he notes. But New York “was the confluence of the newspaper publishing industry and print cartoonists living here, vaudeville circuits and theatrical entertainment, business and finance, and all these di erent elements came together to promote the growth of film studios and production companies. The cartoon found opportunities to enter this new film world and be seen.”

Stathes’s persistent searching was often rewarded when he found ancient films in unexpected places. An example is his acquisition of a cache of 28-millimeter prints, an obscure, almost forgotten format.

In the early decades of the 20th century, Stathes explains, “highly flammable nitrate film was slowly replaced with cellulose acetate film base, which became known as ‘safety’ film. Twenty-eight millimeter took hold before 16-millimeter was introduced in 1923. So that goes back 100 years now. In that early world of safety film, a few companies catered to non-theatrical screenings and distribution. Showmen traveled to rural areas that had no movie theaters or to schools and churches that wanted to rent movies and show them without the risk of a nitrate-film fire.”

One such company was United Projector and Film, which had o ces in upstate New York. “They licensed a great deal of J.R. Bray Studios’ animated subjects for this non-theatrical field,”

he says. About 10 years ago, Stathes started seeing eBay auctions for United Projector films printed around 1920. “They were subjects I never thought I would see. Suddenly, here they are for sale, a cache of maybe 200 or 300 film prints that somebody had come across in a barn in the Midwest—radio repairmen sni ng around for equipment came across this collection and started auctioning it o . I managed to acquire whatever of it was animation, something like 50 reels.”

Stathes’s association with the School of Visual Arts began through the encouragement of a longtime mentor: veteran animator and SVA animation

friendship. “A lot of it is on film, and there’s just something about seeing it on film that you can’t get on a video or DVD. If it weren’t for collectors like him, a lot of this stu would be forgotten.”

“Tommy’s collection is

vast, and a lot of it is on film,” says veteran animator and retired SVA animation history instructor Howard Beckerman. “If it weren’t for collectors like him, a lot of this stu would be forgotten.”

history instructor Howard Beckerman. They were neighbors in Queens and for years Beckerman allowed the teenaged Stathes to sit in on his SVA lectures. “In my early 20s, he let me do guest lectures on silent animation,” Stathes recalls. As of 2017, Beckerman “was doing a soft retirement in stages, after an incredible legacy of nearly 48 years teaching,” Stathes says. Eventually, Beckerman passed the pedagogical torch.

“Tommy’s collection is vast,” says Beckerman, with whom Stathes still retains a close

Because the courses Stathes teaches are o ered through the College’s Humanities and Sciences Department, they draw students from various undergraduate majors, not just animation or film. Many of them have a fascination with so-called “lost media” like silent-era animations, and the level of creativity and technical innovation in some early cartoons is remarkable even now. Rotoscoping—a stillused animation method in which the drawings are traced over live-action footage, producing uncannily lifelike movement in the cartoons— was invented by silent-era animator Max Fleischer. Early animators like Earl Hurd and Paul Terry were among the first to draw on transparent sheets of celluloid, breaking up elements of the composition into several layers to streamline the production process and increase the complexity of the images and action—”similar to how we use Photoshop today,” Stathes says.

But screening old films can be a moral minefield. Many reflect stereotypes and prejudices pervasive during the times they were made, including hurtful images and attitudes of racism, sexism, homophobia and transphobia that unfortunately remain prevalent today. It is well known that Disney and other entertainment companies no longer air or release on home media certain old productions due to their bigoted content, and even characters that are not explicitly racist can have origins in o ensive stereotypes. For example, the late Felix the Cat co-creator Otto Messmer said that the character was inspired in part by minstrelsy.

Consequently, Stathes is careful about what he screens at his events or classes and how the material is presented, balancing study of the still-remarkable artistry and invention of the films with frank conversation about their shameful aspects. “It’s something I find challenging,” he says. “I try to have an open dialogue about that in class. It’s di cult and painful. We still have a lot of work to do to move past those ways of thinking, and no serious consideration of entertainment history can avoid reckoning with them.”

As his reputation in the field has grown, Stathes has become a sought-after contributor for books on early animation, compilations and documentaries. He is also the producer of a Blu-Ray/DVD series, “Cartoon Roots,” which compiles restored works from his collection; the latest installment, “Back to the Inkwell,” includes some of Max Fleischer’s earliest surviving films and is slated for release in the coming months. Looking ahead, he is also contemplating a book about recovering and salvaging film. Asked if he seeks a Holy Grail of early animation, Stathes quickly replies, “I would love to find the first animated cartoon photographed in color: The Debut of Thomas Cat, a 1920 Brewster Color film made by Bray Studios. [Studio founder] John Randolph Bray boasted about it for years but nobody knows where a print of it is.”

If the film exists, chances are it will be found and shared by Tommy José Stathes.

For more information on Stathes’s archive and Cartoon Carnival screenings, visit tommyjose.com.

John Canemaker is an educator, Academy Award–winning animator and author of 12 books on animation history.

Tommy José Stathes’s rare cartoon archive includes works by such early animation studios as Associated Animation (above), Fleischer Studios (right), Raoul Barré Studios (bottom right) and The Van Beuren Corporation (top right, below).

Wanted Posters

Eyecatching

theatrical

ads by

four SVA artists

BY DIANA MCCLURE

Whether they come from Hollywood, Bollywood or Nollywood, whether they are independent, experimental or blockbuster, the enduring allure of the movies is undeniable.

However, successfully building anticipation, activating the imagination and capturing a ﬁckle public’s attention prior to a ﬁlm’s release is another story.

Enter the movie-poster illustrator—one part visual artist, one part conceptual thinker, one part conjurer of desire—who is tasked with

tapping into the psychoemotional space of the public at large. Despite rapid shifts in how we consume the moving image, as the entertainment world continues to adapt to streaming, on-demand platforms, the movie poster’s capacity to spark our interest in advance—and to act as a visual container for our memories in retrospect— is undiminished, whether we experience it in print or on a screen.

To ﬁnd out more about the backstories and creative processes of movie-poster magic, we connected with four School of Visual Arts faculty and alumni responsible for particularly noteworthy examples of the craft.

James Jean

Everything Everywhere All at Once (2022), directed by Daniel Kwan and Daniel Scheinert

Daniel Kwan and Daniel Scheinert’s Everything

Everywhere All at Once is a mind-bending excursion that follows a Chinese American immigrant who, in the midst of an IRS tax audit, embodies parallel universe versions of

herself to prevent a sinister force from destroying the multiverse. Likewise, the research and development phase for the movie’s poster, created by artist James Jean (BFA 2001 Illustration), involved a heroic distillation of multiple characters, plot points and themes.

and Guillermo del Toro’s The Shape of Water (2017) and Pinocchio (2022). (His poster for the last of these was recently acquired by the Museum of Modern Art in New York.) As preparation for his Everything Everywhere poster, Jean watched an early cut; reviewed photography from the set; consulted with AV Squad, the ﬁlm’s marketing agency; and had a handful of Zoom meetings with the ﬁlm’s creative team.

Ultimately, he decided on a visual that evoked a ceiling fresco, with a composition spilling out in all directions, a nod to both the ﬁlm’s complicated, antic story and its cosmic philosophy. It’s as if the viewer were simultaneously staring at the heavens and into the center, Jean says, of a black hole or an everything bagel—an important symbol in the movie.

Well-known as both an illustrator and ﬁne artist— over the past year, his work has been the subject of solo exhibitions at the Modern Art Museum in Shanghai and the A4 Art Museum in Chengdu, China—Jean’s ﬁlm-related work includes the posters for Darren Aronofsky’s Mother! (2017) and The Whale (2022)

Posters for 2022’s Pinocchio (left) and 2017’s Mother! (top) and sketch for Everything Everywhere All at Once (2022) poster by James Jean. THIS PAGE Posters for 2022’s Everything Everywhere All at Once (left) and The Shape of Water (2017) by James Jean.

LEFT

To capture all the intricate detail, Jean made drawings using his iPad’s Procreate app, and then pieced them all together and painted it in with Photoshop. Absent a suitable photo of star Michelle Yeoh for one of the images he had in mind, he asked his wife to pose in her stead. When Jean submitted the work to Kwan and Scheinert, he received only one request: to rework his rendering of the Pomeranian that plays a small but special role so that it had more “proper small dog energy,” he says.

In January, Everything Everywhere made history by winning seven Academy Awards, including Best Picture. Yeoh became the first Asian woman to win Best Actress, and co-star Ke Huy Quan, who was born in Vietnam to a family of Chinese descent, won Best Supporting Actor. “I feel very fortunate to have been able to contribute to such an amazing film,” Jean says. “It’s been amazing to see the swelling of love for the film grow over the past year, and incredibly gratifying to see my poster used to represent this special moment for the Asian American community.”

Edel Rodriguez

The Tragedy of Macbeth (2021), directed by Joel Coen

When creative agency BLT Communications was tasked with designing the poster for director Joel Coen’s Macbeth adaptation, starring Denzel Washington and Frances McDormand, it was ﬁtting that they turned to artist, author and BFA Illustration faculty member Edel Rodriguez. This fall, Henry Holt Publishing released Rodriguez’s graphic-novel memoir Worm, which recounts his and his family’s ordeals living under—and escaping from—the oppressive rule of Fidel Castro (see page 20). In recent years, Rodriguez has gained considerable attention for his eye-catching illustrations

of former president Donald Trump, which have appeared on the covers of Der Spiegel and Time and invariably depict him as a power-hungry, erratic tyrant—not unlike the title character in Shakespeare’s famous play.

Though he was provided with a screener and some stills to use as source material, Rodriguez was encouraged to make something that felt less like a straightforward ad and more like a work of art. Choosing to work in a bold, graphic style, he created dozens of sketches—each working with the visual language of a head, a crown and a sword—to try to tease out the most potent embodiment of Macbeth’s spiraling paranoia and the violence it unleashes. Coen, Rodriguez says, responded

positively to a number of the options, so they decided to go ahead with two posters for the ﬁlm instead of just one. A line-work sketch, featuring a crowned head resting on a bloodied blade’s edge, was used as an online teaser, while a painting of the same motif appeared on the theatrical poster.

Rodriquez’s minimalist yet impactful illustration and the poster’s tight color palette set the stage for the theatrical, poignant ﬁlm. “I was thrilled that Joel Coen, a director I’ve admired for decades, understood my working process and wanted to make my art the centerpiece of the ﬁlm’s ad campaign,” he says.

✽ BACK STORY JOEL COEN’S THE TRAGEDY OF MACBETH IS JUST ONE OF A FEW HIGH-PROFILE PROJECTS THAT ARTIST EDEL RODRIGUEZ HAS WORKED ON IN THE PAST TWO YEARS. HIS GRAPHIC-NOVEL MEMOIR, WORM , WILL BE PUBLISHED THIS FALL, AND HE ALSO CREATED THE ART FOR ALL OF THE PACKAGING, MERCHANDISE, SINGLES AND PROMOTIONAL MATERIALS FOR ROCK BAND SPOON’S LATEST ALBUM, LUCIFER ON THE SOFA (2022).

Stills from The Tragedy of Macbeth (2021), now streaming on Apple TV+. Teaser poster (left) and final poster for The Tragedy of Macbeth by Edel Rodriguez. Stills courtesy of Apple TV+.

Yuko Shimizu

John Wick: Chapter 4 (2023), directed by Chad Stahelski

As part of the marketing campaign for this year’s John Wick: Chapter 4, a dozen artists from around the world were asked to create their own poster for the latest installment in the popular action franchise. One of the 12 was BFA Illustration faculty member Yuko Shimizu (MFA 2003 Illustration as Visual Essay), whose previous ﬁlm work includes collectible variant posters for Jean-Luc Godard’s Breathless (1960), Contempt (1963) and Pierrot Le Fou (1965) and art for The Criterion Collection’s boxed set of Godzilla ﬁlms (the last of which was featured in the spring/summer 2020 Visual Arts Journal).

Shimizu lives in New York but grew up in Tokyo, the

setting for a nighttime cherry blossom scene that inspired her for its dramatic potential and its evocation of place. While most of the variant posters were rendered realistically and based on still photos, she chose a more graphic approach, communicating the ﬁlm’s constant movement and decorative aesthetic with slanted lines, ﬂoating cherry blossoms, and

the partly obscured ﬁgure of Wick, his weapon pointed to a target outside of the frame, apparently in retreat from a deadly pursuer.

In keeping with the clandestine world of John Wick, an elite assassin played by Keanu Reeves, Shimizu received a high-security link to the ﬁlm well before its release date that only she could use. At that time, much of the

CGI was still in progress and the footage included scenes shot in cities like Manhattan and Paris interspersed with unadorned shots of the actors in empty spaces, with boxes as stand-ins for buildings, or outdoors on a specially built studio that would later be transformed into Paris street grids. Seeing the movie in this unﬁnished state, she says, gave her “a higher appreciation for the work that goes into it all by the CGI artist team, the editors and the actors, who have to act in a blank space.”

✽ BACK STORY ARTIST YUKO SHIMIZU HADN’T SEEN ANY FILMS IN THE JOHN WICK SERIES BEFORE SHE WAS ASKED TO CREATE A POSTER FOR ITS FOURTH INSTALLMENT, BUT SHE WAS WELL AWARE OF THE FRANCHISE’S STAR, KEANU REEVES: HER CHILDHOOD BEST FRIEND WAS—AND REMAINS—A BIG FAN OF THE ACTOR. WHEN SHIMIZU TOLD HER ABOUT THE POSTER ASSIGNMENT, “IT MADE HER SO HAPPY,” SHIMIZU SAYS, “SO I MADE THIS WITH HER IN MIND.”

Sketches and final variant poster for John Wick: Chapter 4 by Yuko Shimizu. John Wick: Chapter 4

variant poster image courtesy of Lionsgate.

writer Dee Ito’s tagline, “To be good is not enough, when you dream of being great.” (A reproduction of the original is still sold at the SVA Campus Store.)

Marvin Mattelson

After Hours (1985), directed by

Martin Scorsese

By the time artist, BFA Fine Arts and BFA Illustration faculty member Marvin Mattelson was asked to create a movie poster for Martin Scorsese’s 1985 comedy A er Hours, the director was already an icon, with ﬁlms like Taxi Driver (1976) and Raging Bull (1980) having established him as one of his generation’s preeminent ﬁlmmakers.

Mattelson himself was a decade into a successful illustration career, working with top advertising agencies and major publications. At one point in this period, his work was simultaneously featured on the covers of Newsweek and Time. He was also already on the SVA faculty and had created the art for the ﬁrst of his two “subway” posters for the College to date, a 1982 ad featuring a multicolored zebra and

THIS PAGE Stills from After Hours (1985), courtesy of The Criterion Collection.

OPPOSITE Theatrical poster for After Hours, with art by Marvin Mattelson.

For the A er Hours project, Mattelson worked with a frequent collaborator, the late designer Tal Stubis, who over his career conceived the posters for everything from Funny Girl (1968) to The Shining (1980). Stubis gave Mattelson a general concept for the assignment and charged the artist with making it come to life. The image would involve the head and neck of star Gri n Dunne serving as the crown of a wind-up watch face and being twisted by meticulously manicured ﬁngers—a surreal scenario that gestures toward the movie’s bizarre plot, which follows Dunne’s character through an increasingly nightmarish evening in downtown Manhattan after a date goes awry.

All of the images Mattelson received of Dunne were generic headshots, essentially

unusable for his purposes, so he rented a studio and photographed the actor himself to capture the nonplussed expression he wanted. Mattelson also photographed his other reference material: a hand model holding a small plastic doll’s head; a twisted piece of modeling clay, which he would use as the basis for Dunne’s neck; and a watch. All of these elements were brought together in the ﬁnal work, rendered in oil paint in Mattelson’s signature realistic style.

A few years later, Mattelson would illustrate the posters for another beloved 1980s comedy, Joel and Ethan Coen’s Raising Arizona (1985), as well as the forgotten Je Daniels vehicle Checking Out (1988), but his work for A er Hours, and one piece of feedback he got on the project, in particular, stand out as especially memorable.

Since Mattelson had not gotten an advance screening of the ﬁlm, he went to see it on its opening day in Manhattan. Unbeknownst to him, the ﬁlm had premiered earlier that day. As he and his wife stood in line outside the theater, Mattelson says, they noticed Dunne and Scorsese, “walking up the street. So I wave to Gri n. And he says to Scorsese, ‘This is the artist who did the poster, Martin.’ Then he introduces me to Scorsese, who says, ‘I love your poster.’

“That was the best!”

Diana McClure is a writer and photographer based in New York City. Her essays, reviews and proﬁles have appeared in Art Basel magazine, Art21 , Cultured , catalogs, monographs and other publications.

Q+A:

Mark Ulano

By Sal Petrosino and Angie Wojak

Few movie professionals working today have a résumé as long or as storied as that of sound professional Mark Ulano (1975 Film and Video). Ulano grew up in New Jersey as the son of jazz drummer, educator and author Sam Ulano, and began his career while he was still a student, picking up local jobs in production, camera work and audio. He has since contributed to more than 150 ﬁlms, ranging from blockbusters like Iron Man (2008) to indie fare to everything in between.

In 1998, Ulano won the Academy Award for Best Sound for his work on Titanic. He has been nominated for the honor three more times—twice in 2020, for Ad Astra and Once Upon a Time in Hollywood. He has served in several industry organizations, including two terms as president of the Cinema Audio Society, and he and his wife, author and fellow sound professional Patrushka Mierzwa, have lectured and led workshops on sound at institutions around the world.

Starting with Jackie Brown (1997), Ulano has been one of director Quentin Tarantino’s most reliable collaborators, working on all of his subsequent productions. The two met on the sets of Robert Rodriguez’s Desperado (1995) and From Dusk Till Dawn (1996), the latter of which was written by and co-starred Tarantino. Soon they will reunite for what Tarantino says will be his last ﬁlm, tentatively called The Movie Critic. In the meantime, Ulano’s work can be heard in Martin Scorsese’s Killers of the Flower Moon, in theaters this fall.

The long-anticipated ﬁlm tells the true story of an early-20th-century conspiracy to murder members of the Osage Native American tribe and steal their oil-rich land. It stars Robert De Niro, Leonardo DiCaprio and Lily Gladstone.

Recently Ulano joined a video call with Sal Petrosino (BFA 1983 Film and Video), director of special projects and events in SVA Admissions, and Angie Wojak (BFA 1990 Media Arts), executive director of SVA External Relations, to talk about his career in sound.

CLOCKWISE FROM TOP LEFT Director Quentin Tarantino and sound engineer and mixer Mark Ulano on the set of Django Unchained (2012), for which Ulano also played a bit part, as Gabby the Banker; Ulano on the sets of The Tourist (2010), Django Unchained and Titanic (1997); Ulano with director Steven Spielberg and actor Bradley Cooper at the 2019 Cinema Audio Society Awards, where Spielberg received the Filmmaker of the Year Award. All images courtesy of Mark Ulano.

PETROSINO: You’ve used the word “musicality” when talking about your work. When I hear that, my first thought is of a film’s score. But you’re going beyond that, right? Right. When I think of the sound of a film, I don’t think of the subdivisions of music, dialogue, e ects. I think of it as a way those all come together to create a unified whole that crosses the divide and invites audiences to connect with and invest in the characters and the story.

When you hear a ﬁlm soundscape, it’s not necessarily something overt. In fact, it’s almost always not. It’s under the radar and seductive. It’s a way to tell the story that gets beyond the intellect. And so it’s always fascinated me that way.

WOJAK: Can we talk about that idea as it applies to a speciﬁc scene? I’m thinking of the ﬁght in the garden between Lucy Liu’s and Uma Thurman’s characters in Kill Bill: Volume 1 [2003], where the only sound, apart from their movement and dialogue, is coming from a bamboo water fountain. I probably get asked about that scene more than any other from Kill Bill. That was one of those magical moments that you never know is going to happen beforehand.

At the time that they were assembling the set, the production designer, Yôhei Taneda, came to me and said, “Listen, I’m putting in this fountain. It makes a noise, but we can turn it o when we’re not looking at it.”

I said, “Let me see.” We walked down and listened to it, and I said, “That is so musical. I love that sound. So let me dissuade you from being anxious about it. We’ll ﬁnd a way to give it a function.”

And when we started blocking the scene, weeks later, Quentin noticed the fountain. We exchanged a look, and I could tell that he was excited by it, too.

When you see the scene, it’s a rhythmic sound. The water ﬁlls the bucket until it tips over to empty, and then the bucket tips back up to ﬁll again, over and over. It’s really a score for that scene, but it’s a score that was discovered through unorthodox ways.

SP: You’ve worked on so many ﬁlms with Tarantino. What’s your relationship with him like?

It’s like how musicians who’ve played together a lot have an underlying, nonverbal level of communication. It’s precious and rare, because it evolved from trust.

Movies are only an idea until you’re ﬁlming, and Quentin is somebody who’s always open to discovery and something a bit more collaborative. And that spirit extends to everyone on his productions. We’re all there to serve the idea.

Quentin comes very prepared about what a scene is going to be. But at the same time, he brings trusted people around him and delegates responsibility to them. And by doing so, he saves 20 to 30 percent of his shooting day.

He told me a long time ago that early in his career another director advised him not to dissipate his resources to try and be “in charge.” You ﬁnd great musicians for your orchestra, delegate to them your ideas as the conductor, and then focus your energies where they’re most needed: with you and the actors.

AW: I know you’ve stayed close with one of your former SVA teachers, [three-time Academy Award–winning sound professional] Chris Newman. He once told me that the key to his success was just showing up every day. The night we won an Academy Award for Titanic, [late director] Stanley Donen received his honorary award, and when talking about his success he used that same phrase: showing up.

Mark Ulano on location in the Utah desert for The Master (2012), Paul Thomas Anderson’s film about a charismatic New Age religious leader and his unstable acolyte. Image courtesy of Mark Ulano.

But I would broaden it beyond work because there’s great risk in not showing up for the rest of your life. Life on movies is brutal. And if you subjugate your relationships, your children, your health and all of that to your work, sooner or later it erodes the thing that you’re there to be passionate about. That’s the hardest thing for people to get early in their career, because they’re so hungry.

AW: What sort of inﬂuence has Newman had on you?

Chris is passionate about his work and teaching, and the idea that you never achieve mastery. You’re always a student. You want to stay relevant, keep learning new aspects. We have tools in sound now that, 10 years ago, would have seemed like science ﬁction.

My sophomore year in high school was when I went bananas for ﬁlm. My high school years were when things were exploding in New York. Marty Scorsese and the West Coast guys like [Francis Ford] Coppola were coming up. It was an amazing time.

My best friend in high school was the late Bruce Hidemi Sakow. He became a screenwriter and ultimately taught at SVA. His parents had met in the Japanese internment camps during World War II and his father, Toshihiko, was a famous industrial designer. Bruce and I would work on each other’s projects when we were teenagers.

When it came time to choose a college, Bruce and I had a conundrum: NYU or SVA. We ﬂipped a coin, and he ended up going to NYU and I went to

“It’s okay. Sometimes a profoundly simple approach can achieve a complex and successful outcome.”

I had Ed Gleason as my main instructor at SVA, but Chris was my advisor, and he was accessible. And I was in school but also working, and I would sometimes get a call on a Friday night: “We’re going to be shooting in this church tomorrow morning down on 28th Street, and there’ll be a choir and an orchestra,” and all of that.

And I’m freaking out, and I would call Chris and he’d talk me down o the ledge and say, “It’s okay. Sometimes a profoundly simple approach can achieve a complex and successful outcome.”

And that was a great lesson—to be an island of serenity in a sea of chaos if you can. Stay curious and unﬂappable about the unexpected because most of the time we have to make shit up.

SP: What else do you remember from your student days?

SVA. We both won. [Laughs.] And we had a conspiracy because when you’re starting out as a ﬁlm student, access to resources—equipment, personnel—is scarce. So we combined resources, whatever was necessary for either of our projects at that point in time.

The unique aspect of SVA was that the faculty teaching production courses were working practitioners. It was a place where, one, you were already building a network, and two, there wasn’t an academic attitude about your discipline. I knew what a C-stand was. I knew what a sandbag was. I knew how to set a ﬂag and I knew what a 50millimeter lens did at eight feet.

Sound is the least-taught aspect of ﬁlm. SVA is one of the rare places that does it. A lot of people think it’s just somebody on set with a microphone on a stick, or sitting at a console trying to create something out of thin air in

post-production. It’s a little bit more than that.

AW: What you said before about being unﬂappable reminds me of what you once told me about your ﬁrst day on Titanic, how [director] James Cameron didn’t even know that you were going to be there.

That’s right. His initial sound crew had resigned over “creative di erences.” They left about two weeks in. And it was certainly a supremely complex, high-pressure project, with massive logistics and a huge cast. But a challenge is an opportunity to ﬁnd out how far you can actually go when you’re pressed. It’s really a gift.

I’m a prep freak, but that shouldn’t be confused with a rigidity about approach. Because if you come with a preconceived notion about how you’re going to do it, you might not be receiving the information that’s right in front of you.

Robert De Niro and Jesse Plemons in Killers of the Flower Moon (2023). Image courtesy of Apple.

Mark Ulano: Bonus Scenes

The Academy Award-winning sound veteran Mark Ulano (1975 Film and Video) has been working in movies for nearly 50 years, amassing one of the most impressive CVs in the business. In addition to the films mentioned in this issue’s Q&A, here are a few more of the notable titles to which he’s contributed.

CUJO (1983)

A rabid dog terrorizes a rural Maine community in this thriller based on the novel by Stephen King, one of several horror credits from Ulano’s early years and likely the best known.

AUSTIN POWERS: INTERNATIONAL MAN OF MYSTERY (1997)

This James-Bond-meetsSwinging-Sixties spoof from writer and star Mike Myers is one of several comedy hits on Ulano’s résumé; others include Wedding Crashers (2005) and Talladega Nights: The Ballad of Ricky Bobby (2006).

STUART LITTLE (1999)

Most of Ulano’s projects are grown-up fare; an exception is this well-received children’s film, inspired by the E.B. White novel, about a New York City family that adopts a talking mouse.

ROCKY BALBOA (2006)

After more than 15 years since Rocky V (1990), Sylvester Stallone resurrected the underdog boxer character that made him a star with this film, Ulano’s sole credit (to date) with the Rocky franchise.

SUPER 8 (2011)

In past workshops, Ulano has shown a clip from this sci-fi film, directed by J.J. Abrams, in which a group of teenagers making a home movie are interrupted by a train derailment. The sudden, startling shift from a close moment among friends to large-scale, catastrophic action derives much of its impact from the dynamics in sound.

THE MASTER (2012)

Joaquin Phoenix and the late Philip Seymour Ho man star in this elliptical drama about a charismatic New Age religious leader and his unstable acolyte, for which Ulano worked with acclaimed writer-director Paul Thomas Anderson.

The primary tools for dealing with the unknown are ﬂuency in your profession and understanding your collaborators’ needs.

SP: But when you normally prepare for a project, how much of it is getting to know the director?

It’s key. The faster I can get inside the circle of trust, the smoother it’s going to go.

A lot of directors don’t come with the knowledge of sound as part of their creative palette. I don’t talk with them about technology. I talk about, “What are your expectations?” And I emphasize the integral relationship of the three legs of ﬁlm sound. There’s the recording of sound on set. There’s the sound editing, when the picture is close to being locked. And then there’s the re-recording after that, and taking all of these diverse elements and bringing them into a uniﬁed whole.

AW: You talked about how the idea for the fountain in Kill Bill came about through collaboration. What was another time when you had to collaborate to solve a problem?

We did an enormous amount of preparatory work for [Tarantino’s] The Hateful Eight [2015], and one thing they did was build real stagecoaches. Real stagecoaches are noisy. And Quentin wanted to record dialogue inside of them, often while they were being towed by six horses in subzero weather in the wilderness.

We had a conversation early on about mitigating the noisiness. The biggest issue was wood-to-metal contact between the stage coach cabin and the chassis. So we said, “Can we put in some kind of insulating material that prevents that contact?”

Because we’d had that conversation in advance, they were able to incorporate that into the blueprints before they’d cut a single piece of wood. And because we were able to reduce that noise through construction, when it came time to ﬁlm we were able to preserve that sacred space between Quentin and his actors.

AW: This interview will be out not long after your latest project, Killers of the Flower Moon, is released. What can you tell us about that experience?

We were in the actual locations in Oklahoma. And many of the people in the ﬁlm—the background people, but also some of the performers—were descendants of the people in the story. That was a very powerful energy to have.

The Scorsese team was committed to establishing trust with the Osage community and doing justice to their story. There was one moment when we were shooting a scene in this traditional sacred hut. We were setting up for a shot, and it was a fairly long setup. And the Osage leader, out of the blue, stood up and gave this talk to Marty and everyone else about how signiﬁcant this was, to have their story come into the world.

The only other time I’ve experienced something like that was on Titanic

Q+A:

we were in the hands of one of the most seasoned ﬁlmmakers on the planet. His motivation was based on a deep-seated respect for the humanity of the historical event.

AW: Was this your ﬁrst time working with Scorsese? It was.

I have an a nity for Marty and those folks. Bob De Niro and I had done Jackie Brown a long time ago, and I couldn’t believe it, but he remembered me. And

between us, with no intermediary. I was grateful for that, and I think he was generous to do that, because we hadn’t done a picture together before.

SP: You and Patrushka spend a lot of time teaching. What advice do you give for ﬁlm students, or anyone who’s just starting their artistic journey?

First, be your own voice. Your dearest relatives may have opinions about the viability of your career choice, but it’s your life.

THIS PAGE Killers of the Flower Moon (2023) stills courtesy of Apple.

The next step is to get good. Seek every source of knowledge. Access to information is better than ever—the Internet is a profoundly fertile resource. Find teachers that are in the trade and get your hands dirty. Go work on student ﬁlms. Every day, have some piece of what you’re trying to learn as part of your daily regimen. Practice, practice, practice.

Don’t be afraid of rejection. And don’t be unhappy in the job you’ve said “yes” to because you’re thinking of it as a doorway to the job you really want— it will deﬂect your focus.

Monitor your own IMDb. Right now, it’s the de facto version of a résumé in the industry, and you have the ability to add and make corrections to it.

this was my fourth picture with Leo DiCaprio, who was very generous. He saw me on the set when I got there, and he introduced me to Marty.

On the last day of principal photography, Jim Cameron called all the crew together and spoke passionately about remembering this tragedy. The idea of exploitation will always surround a movie based on a true story, but in that case and in this, there was truly a passion to try and get to the heart of something. Whether it connects that way with audiences, you don’t know, but

Anyway, on Day 3, we’re doing a wedding scene, with a giant crane shot and music and dialogue. And it was my moment to get inside that circle of trust with Marty, who’s surrounded by a phalanx of sta , and rightly so.

My “New York” came out. I walked up to him and, very directly, went through all of the options that I saw for how we could approach the scene, sound-wise. That established early on that if he had a question or an idea or something of concern, the communication would be

Filmmaking is a freelance lifestyle, above the line and below. So your ﬁrst order of business is to sock away six months’ to a year’s worth of money, so you can survive the dry times. Buy a residence as soon as you can. Try to establish some source of economic stability that is not tied to your work income. It’s very di cult to do—neither Patrushka nor I came from money. But by taking care of your own ﬁnancial health, you can invigorate your creative health and say “no” on occasion because you’re not a prisoner to economic insecurity.

And be a nice person. Really, that’s not a small thing. And now I’ll shut up! [Laughs.]

This interview has been condensed and edited.

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ALUMNI AFFAIRS

A MESSAGE FROM

JANE NUZZO, DIRECTOR OF ALUMNI AFFAIRS AND DEVELOPMENT AT SVA

The past year was another eventful one for our o ce and the SVA alumni community. As I wrote in the last Visual Arts Journal, our o ce has resumed a busy schedule of alumni receptions and other events. In the 2023 – 2024 academic year, we are planning New York City and regional events. Additionally, alumni a nity groups are also planning their own get-togethers. And this fall, with the campus COVID-19 restrictions eased, we are reinstating the SVA Library benefit for alumni. Visit sva.edu/alumni for more information and to connect

with us or any a nity groups of interest to you.

Another piece of news that I am particularly happy to announce is the o cial launch of the latest SVA alumni a nity group, the Queer Alumni Association (QAA), established by two College alumni and sta to serve as a meeting platform for members of the LGBTQIA+ community and their allies. With the clarion call, “Let’s raise our voices, rise up and thrive!” they aim to foster community between queer alumni and students and promote professional development, mentoring opportunities, networking and communication.

In late June, the QAA partnered with the SVA o ces of Academic A airs and Diversity, Equity and Inclusion to bring students, faculty, alumni and sta together to walk in the NYC Pride March. (See photos above.) SVA Alumni

A airs and Development joined the e ort, donating custom-printed crayon boxes that were handed out during the march to show support for queer and trans youth. This collective e ort uplifts, celebrates and furthers SVA’s a rmational and inclusive campus.

The QAA co-presidents are Dan Halm (MFA 2001 Illustration as Visual Essay; BFA 1994 Illustration), External Relations project manager

(and longtime Visual Arts Journal contributor), and Michael Severance (MFA 2013 Art Practice; BFA 2011 Fine Arts), Academic A airs operations manager. Halm and Severance seek interested alumni to volunteer in other leadership roles. If you would like to volunteer or wish to be included on future QAA communications, email svaqaa@gmail.com for more information. And stay tuned for upcoming QAA events and programming!

ALUMNI AWARDS

SPRING 2023 SVA ALUMNI SOCIETY AWARDS

The SVA Alumni Society celebrates its latest group of award winners: 12 students and recent graduates, representing a range of the College’s undergraduate programs.

Thanks to the generosity of alumni and friends of the College, each spring the SVA Alumni Society distributes several awards honoring current and graduating students. The accolades include the Alumni Society Merit Award, for a BFA candidate who demonstrated community building and leadership excellence

while at SVA; the Brian Weil Memorial Award, for graduating BFA Photography and Video students; the Jack Potter Memorial Award, given to two ﬁrst-year students who have demonstrated exceptional drawing skills; the Lila Eva Lewental Memorial Award and Rodman Family Scholarship, merit-based awards for second- or third-year students; the Richard Wilde Award, given to third-year BFA Advertising and BFA Design students; the Russell J. Efros Memorial Award, for graduating BFA Film students; the Silas H. Rhodes Memorial Award, established in memory of SVA’s founder, given to third-year BFA Visual & Critical Studies students who demonstrate excellence in writing; and

the Will Eisner Sequential Art Scholarship, for BFA Comics students entering their third or fourth year.

Alumni Society Merit Award

Amy (Muxi) Zhou, BFA 2023 Photography and Video

Brian Weil Memorial Award

Ramie Nasser-Ahmed, BFA 2023 Photography and Video; Alexis Salas, BFA 2023 Photography and Video

Jack Potter Memorial Award

Dieu Sam Bui-Diefenbach, BFA Comics; Lal Diltemiz, BFA Illustration

Korean Alumni Association Award

Jihyo Yu, BFA 2023 Design

Lila Eva Lewental Memorial Award

Aubrey Alcoy, BFA Animation

Richard Wilde Award

Rachel Pan, BFA Design

Rodman Family Scholarship Award

Antonia Castillo, BFA Photography and Video

Russell J. Efros Memorial Award

Arnav Mangla , BFA 2023 Film

Silas H. Rhodes Memorial Award

Eden Cainel, BFA Visual & Critical Studies

Will Eisner Sequential Art Scholarship

Peifung Liu, BFA Comics

1. Amy (Muxi) Zhou, Untitled, 2022, pigment inkjet print. 2. Lal Diltemiz, Lost in Visions, 2022, Posca pens, colored pencils and acrylic on wood. 3. Eden Caine, Leg Anatomy, 2022, silicone, wax, yarn and fabric. 4. Ramie Nasser-Ahmed, Benji & Jae, 2021. 5. Antonia Castillo, Starring… , 2022, inkjet print. 6. Dieu Sam Bui-Diefenbach, excerpt from Memoriam, 2023, ink on Bristol. 7. Alexis Salas, Aiko With Scarlette, 2021, pigment inkjet print. 8. Peifeng Lu, excerpt from The Dark Forest , 2023, Procreate.

DONORS

The Alumni Society gratefully acknowledges these SVA alumni who gave to the society January 1 through June 30, 2023.

Anonymous (4) Leroy Biles BFA 1988

Photography

Gary Brinson BFA 1985 Media Arts

Sharon Burris-Brown BFA 1984 Media Arts

Kevin Butler BFA 1984 Media Arts

Je Chabot MFA 1997 Photography and Related Media

Anthony Chibbaro 1979

Adam (alumnus) and Linda Ciccarino BFA 2012 Computer Art, Computer Animation and Visual E ects

August Cosentino 1977

Michael F. Daly BFA 1985 Media Arts

Kevin J. Farley BFA 1977

Photography

Donald Fedynak 1966 Film and Video

W.H. Giles 1968

John and Lauren (alumnus) Giu re BFA 1986 Media Arts

Jennifer Kachler BFA 2009 Film and Video

Joel Kaminski 1972

Jean B. Kooi BFA 1978 Media Arts

Pat Langer BFA 1995 Illustration

J.P. Lee MFA 1991 Computer Art

Karen Wolf Leeman 1972

Ingrid Andresen Lindfors BFA 1987

Photography

Rochelle Lipton 1967 Media Arts

Missy Longo-Lewis BFA 1984 Media Arts

Marilu Lopez BFA 1975 Media Arts

Patrick F. Loughran BFA 1980 Fine Arts

Leith McLoughlin 1974 Graphic Design

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

Brittany Ne BFA 2012 Film and Video

Edith Ostrowsky 1972

Claudia Papazian BFA 1986 Media Arts

Peter Papulis BFA 1977 Fine Arts

Alexander Payson BFA 2017 Photography and Video

Craig Plestis BFA 1987 Film and Video

Steve Pullara BFA 1979 Fine Arts

Frank Riley BFA 2003 Illustration

Jorge Luis Rodriguez BFA 1976 Fine Arts

Linda Saccoccio MFA 1991 Fine Arts

Tammy Stone 1981

Catherine Vitale BFA 1983 Media Arts

Mark Willis BFA 1998 Illustration

We also thank these parents and friends of SVA who supported the SVA Alumni Society.

Ace-Atlas Corp

Jessica Adams

Ainsworth

Anonymous (2)

Mark Baron

BRD Foundation

Josine Susine Chuang

Elaine Cloder

Beth Cohan

Jayne Cohan

Ralph Colucci

Donna and Louis Di Lillo

Sam and Rose Elias

Seymour Feldman

Daphne Fenske

Grant Thornton

Linda Holzman

Scott Lauer

Laurence G. Jones Architects, PLLC

Julie Lester

Herb Litwin

Susan Lupul

Paul Milbauer in memory of Lawrence Milbauer (1965)

Gail Moss

National Golf Foundation

Novartis

Elizabeth and Coleman O’Donoghue

Charles and Debbi Overbeck

Robert Owens

Jennifer Reame

Shelley Rothy

Amy Sklar

Patricia E. Smith

Michael Stack

W.B. Mason

Weil, Gotshal & Manges LLP

Wells Fargo Middle Market Banking

Will & Ann Eisner

Family Foundation

Lynne Wilson

ALUMNI NOTES & EXHIBITIONS

GROUP EFFORTS

SVA alumni achievements from December 1, 2022, through May 31, 2023.

ANTHONY IACONO (BFA 2010 Illustration), Dog Walk , 2023 (left), and Interior (right), 2022-2023, acrylic on cut and collaged paper. On view in the solo exhibition ”Glimpse,” Marinaro, NYC, 5/11-6/17/23. Courtesy the artist and Marinaro, New York.

BFA Photography alumni Nona Faustine (1994) and Natalie Krick (2008) had work in the group exhibition “Refracting Histories,” The Museum of Contemporary Photography, Chicago, 11/10/22-4/2/23.

Many SVA alumni participated in or showed work during Miami Art Week, 11/28-12/4/22: Lucia Rollow (BFA 2009 Photography) organized a booth and Margaret McCarthy (BFA 1975 Fine Arts) and Linda Stillman (1972 Graphic Design) had work in Aqua Art Miami; Jose Alvarez (D.O.P.A) (1995 Fine Arts), Katherine Bernhardt (MFA 2000 Fine Arts), Andrew Brischler (MFA 2012 Fine Arts), Willie Cole (BFA 1976 Media Arts), Veronica Fernandez (BFA 2020 Fine Arts), the late Keith Haring (1979 Fine Arts), Guadalupe Maravilla (BFA 2003 Photography), Matthew Pillsbury (MFA 2004 Photography, Video and Related Media), Gideon Rubin (BFA 1999 Fine Arts), Kenny Scharf (BFA 1981 Fine Arts), Sarah Sze (MFA 1997 Fine Arts), Juana Valdes (MFA 1993 Fine Arts) and Rebecca Ward (MFA 2012 Fine Arts) had work in Art Basel Miami Beach; Dan Halm (MFA 2001 Illustration as Visual Essay; BFA 1994 Illustration) had work in Art Gaysel; BFA Illustration alumni KAWS (a.k.a. Brian Donnelly) (1996) and James Jean (2001) and MFA Illustration as Visual Essay alumni Timothy Okamura (1993) and Martin Wittfooth (2008) had work in Art Miami; Mark Dion (1985 Fine Arts) had work in Ink Miami Art Fair; Katelyn Kopenhaver (BFA 2016 Photography and Video) and Denise Treizman (MFA 2013 Fine Arts) had work in group exhibitions at Laundromat Art Space, Miami; Florencia Escudero (BFA 2010 Fine Arts), Anthony Iacono (BFA 2010 Illustration), Lucia Love (BFA 2012 Fine Arts), Nadia Haji Omar (MFA 2014 Fine Arts), Patricia Iglesias Peco (BFA 1998 Fine Arts) and Masamitsu Shigeta (BFA 2018 Fine Arts) had work in NADA Miami; Scarlett Lingwood (MFA 2016 Fine Arts) had work in Red

Dot Miami; Quinn Dukes (MFA 2015 Art Practice) and Brian Whiteley (MFA 2013 Fine Arts) organized and Justin Aversano (BFA 2014 Photography), Stephanie McGovern (MFA 2022 Fine Arts), Justin Melillo (BFA 2013 Computer Art, Computer Animation and Visual E ects), Ben Quesnel (MFA 2017 Art Practice) and Travis Rix (BFA 2014 Photography) had work in Satellite Art Show; Kyung Tae Kim (MFA 2017 Fine Arts), Shai Kremer (MFA 2006 Photography, Video and Related Media), Artem Mirolevich (BFA 1999 Illustration), and Christine Romanell (BFA 1992 Graphic Design) had work in Scope Miami Beach; Theodora Eliezer (MFA 2022 Art Practice), Bryan Fernandez (BFA 2022 Fine Arts), Magdalene Kavanagh-Hetrick (BFA 2022 Photography and Video), Killion Huang (BFA 2022 Illustration), Kyra Husbands (BFA 2022 Visual & Critical Studies), Stephanie McGovern , Dylan Rose Rheingold (MFA 2022 Fine Arts), Xuemeng Zhang (MFA 2022 Photography, Video and Related Media) had work in the SVA Galleries booth curated by Dan Halm , Untitled Art Miami Beach; Valerie Amend (MA 2017 Curatorial Practice) and Asya Geisberg (MFA 1999 Fine Arts) curated booths at and Vincent CY Chen (BFA 2015 Fine Arts), Leah Dixon (MFA 2014 Fine Arts), Alexandra Hammond (MFA 2015 Art Practice), Dana James (BFA 2008 Fine Arts), Carlos Jaramillo (BFA 2015 Photography), Jon Key (MA 2021 Design Research, Writing and Criticism), Linda Loh (MFA 2021 Computer Arts), Dana Robinson (MFA 2019 Fine Arts), Lindsey Rome (BFA 2004 Photography), Carlos Rosales-Silva (MFA 2020 Fine Arts) and Alina Tenser (BFA 2003 Fine Arts) had work in Untitled Art Miami Beach; Michelle Weinberg (BFA 1983 Fine Arts) presented “Treading Water” as part of “No Vacancy Miami Beach” at the Royal Palm; and Arantxa X. Rodriguez (MFA 2019 Fine Arts) had work in Just Art! Pre-Art Basel. BFA 2022 Design alumni Yantong Chen , Emma Chin , Meredith Greene , Junyang Hu , Hyunsoo Jung , Sam Lee , Haonan

Qi, Jiayin Song and Benjamin White won 2022 American Graphic Design Awards, Graphic Design USA , 12/1/22.

Elizabeth Libert (MFA 2010 Photography, Video and Related Media) and Barbara Owen (MFA 2020 Art Practice) had work in the group exhibition “Red 2022,” and Owen won the award for Best in Show, Cambridge Art Association, Cambridge, MA, 12/1/22-2/4/23.

Danielle Scott (BFA 2001 Fine Arts) and Caroline Villard (MFA 2017 Fine Arts) had work in the group exhibition “Interstices,” VillageOne Art , NYC, 12/6-12/31/22.

Victoria Arslani (BFA 2013 Animation), Shayne Ryan (BFA 2008 Computer Art, Computer Animation and Visual E ects) and Ben Voldman (MFA 2011 Illustration as Visual Essay) were featured in “Meet the SVA Alumni Educating the School’s Next Generation of Artists,” Cartoon Brew, 12/20/22.

Tyler Comrie (BFA 2015 Design), Pablo Delcan (BFA 2012 Graphic Design), Hyosun Hwang (BFA 2022 Illustration), Laura Lannes (BFA 2015 Illustration), E S Kibele Yarman (MFA 2015 Design) and MFA Illustration as Visual Essay alumni

Grace J. Kim (2020), Anuj Shrestha (2005), Matt Williams (2019) and Daniel Zender (2014) were featured in “The Year In Illustration,” The New York Times, 12/13/22.

Mark Dion (1985 Fine Arts) and Netta Laufer (MFA 2016 Photography, Video and Related Media) had work in the group exhibition “Facing the Wild,” Israel Museum, Jerusalem, 12/13/22.

Roger Carmona (BFA 2006 Fine Arts) and Peter Mallo (MFA 2005 Fine Arts) had work in the group exhibition “Intimate Immensity,” The Empty Circle, NYC, 12/14/22-1/7/23.

Valerie Hallier (MFA 1994 Computer Art) and Georgia Lale (MFA 2016 Fine Arts) had work in the group exhibition “Friend of the Artist,” A.I.R. Gallery, NYC, 1/7-2/5/23.

Many SVA alumni won awards in “Illustrators 65,” Society of Illustrators, NYC, 1/113/18/23: Gold medalists: Brian Britigan (MFA 2017 Illustration as Visual Essay), Animation; Arthur Guttilla (MFA 2016 Computer Art), Animation; Grace J. Kim (MFA 2020 Illustration as Visual Essay), Editorial; Nora Krug (MFA 2004 Illustration as Visual Essay), Book; Sam Lee (BFA 2022 Design), Animation; Hao Li (MFA 2016 Computer Art), Animation; Mojo Wang (MFA 2019 Illustration as Visual Essay), Surface/Product Design; and Jean Yu (BFA 2021 Animation), Animation. Silver medalists: Selina Alko (BFA 1995 Illustration), Book; Tara Anand (BFA 2022 Illustration), Editorial; Toma Vagner (BFA 2017 Illustration), Uncommissioned; and Meijia Xu (MFA 2019 Illustration as Visual Essay), Animation. Many graduates also had work in the group exhibition, including John Lee (BFA 2011 Animation); BFA Illustration alumni Tianqi Chen (2022), Islenia Milien (2017) and Wenjing Yang (2022); MFA Illustration as Visual Essay alumni Rovina Cai (2013), Emilia Chin (2021), Liam Eisenberg (2019), John Ferry (1994), Carles Garcia O’Dowd (2021), John Hendrix (2003), Michael Hirshon (2015), Paul Hoppe (2005), Yuke Li (2020), Nicole Rifkin (2017), Deena So’Oteh (2018), Anuj Shrestha (2005), Jacqueline Tam (2016), Colin Verdi (2018), Sophia Wiedeman (2008) and Danlin Zhang (2021). Eugenia Mello (MFA 2017 Illustration as Visual Essay) was the Illustrators 65 chair.

Joseph Illidge (BFA 1990 Media Arts), Christopher Jordan (BFA 1993 Illustration), Shawn Martinbrough (BFA 1993 Illustration) and Milo Stone (BFA 1996 Illustration) had work in the group exhibition “Creating Justice: The Art of Judge Kim and the Kids Court,” Society of Illustrators, NYC, 1/11-3/18/23.

MFA 2020 Social Documentary Film alumni Jamie Deradorian Delia and Adam Evans were archival assistant and editor, respectively, for How to Survive A Pandemic, which was nominated for Best Broadcast Editing, Cinema Eye Honors, NYC, 1/13/23.

Zackary Drucker (BFA 2005 Photography) was co-director of The Stroll ; Jenni Morello (MFA 2011 Social Documentary Film) was cinematographer of Under G-d, Victim/Suspect and Judy Blume Forever ; Minos Papas (BFA 2004 Film and Video) was producer and cinematographer of Take Me Home; Sosena Solomon (MFA 2011 Social Documentary Film) was editor of Bravo, Burkina! ; Thom Zimny (BFA 1990 Film and Video) was director of Willie Nelson & Family ; and Greta Zozula (BFA 2010 Film and Video) was cinematographer of Fairyland, all of which screened at Sundance Film Festival, Park City, UT, 1/19-1/29/23. Drucker was also the recipient of the Special Jury Award: Clarity of Vision at the festival.

Sophia Peer (MFA 2006 Photography, Video and Related Media) was director and co-writer of Who’s Annie?, and Bill Plympton (1969 Cartooning) was title animator of Downwind, both of which screened at Slamdance Film Festival, Park City, UT, 1/20-1/26/23.

Ja’Tovia Gary (MFA 2014 Social Documentary Film) and Lorna Simpson (BFA 1982 Photography) had work in the group exhibition “Resting Our Eyes,” Institute of Contemporary Art San Francisco, San Francisco, 1/21-6/25/23.

Beth B (BFA 1976 Fine Arts) and Jamie Nares (1975 Fine Arts) had work in the group exhibition “Who You Staring At?,” Pompidou Center, Paris, 2/1-6/19/23.

Noor Bseiso (BFA 2016 Fine Arts), Yi Hsuan

Lai (MFA 2020 Photography, Video and Related Media) and MFA Fine Arts alumni

Rina Dweck (2018), Amy Finkbeiner (2001) and Hanna Washburn (2018) had work in the group exhibition “Paroxysm,” Westbeth Gallery, NYC, 2/8-2/23/23.

Ian Jones-Quartey (BFA 2006 Animation) and Pilar Newton (MFA 2020 Visual Narrative) were featured in “10 Black Animators Who’ve Done Exceptional Work for Disney and Other Studios,” Cinemablend, 2/10/23.

MFA 2023 Fine Arts alumni Capucine Bourcart , Simon Cooper, Katinka Huang , Polin Huang , Yanmei Jiang , SungHyuk Kwon , Yingyao Liang , Yissho Oh and

Windy Jungle,” 21st Annual Visual E ects Society Awards, Los Angeles, 2/15/23.

Peter Dudek (BFA 1978 Fine Arts), Dan Halm (MFA 2001 Illustration as Visual Essay; BFA 1994 Illustration) and Marianna Peragallo (MFA 2019 Fine Arts) curated booths at and Chris Bors (MFA 1998 Illustration as Visual Essay), Eva Mantell (MFA 1988 Fine Arts) and BFA Fine Arts alumni Agata Bebecka (2005) and Emily Silver (2005) had work on view at Spring/Break Art Show, Los Angeles, 2/15-2/19/23.

Kurt Lightner (MFA 2004 Fine Arts) and BFA Fine Arts alumni Vincent CY Chen (2015), Nicasio Fernandez (2015), Yesiyu Zhao (2018) had work in the group exhibition

Tianshu Zhang had work in the group exhibition “Echo Box,” LatchKey Gallery, NYC, 2/10-2/16/23.

Jose Alvarez (a.k.a D.O.P.A) (1995 Fine Arts), Andrew Brischler (MFA 2012 Fine Arts) and Jason Yarmosky (BFA 2010 Illustration) had work in the group exhibition “Think Pinker,” Gavlak Gallery, Los Angeles, 2/11-3/25/23.

Lucia Love (BFA 2012 Fine Arts) and Carlos Rosales-Silva (MFA 2020 Fine Arts) had work in the group exhibition “Death of Beauty,” Sargent’s Daughters, Los Angeles, 2/14-3/25/23.

Kirstin Hall (BFA 2007 Computer Art) was nominated for Outstanding Visual E ects in a Photoreal Episode for Prehistoric Planet, Episode 4: “Ice Worlds,” and Ryan Smith (BFA 2001 Computer Art) was nominated for Outstanding Created Environment in an Animated Feature for Strange World, “The

nominated for Best FX – TV/Media for Cars on the Road, Michael Ruocco (BFA 2011 Animation) was nominated for Best Storyboarding – TV/Media for Looney Toons Cartoons: Hex Appeal, Nicholas Smith (1973 Photography) was nominated for Best Editorial – Feature for Turning Red, Dana Terrace (BFA 2013 Animation) created The Owl House, which was nominated for Best TV/Media – Children, Dice Tsutsumi (BFA 1998 Illustration) was nominated for Best Direction – TV/Media for Oni: Thunder God’s Tale, 50th Annie Awards, Los Angeles, 2/25/23.

MFA 2021 Fine Arts alumni Tong Wang and Xinyu Wo had work in the group exhibition “In the Mood For Love,” VillageOne Art, NYC, 3/2-4/1/23.

MFA Fine Arts alumni Desirée Alvarez (1992) and Graciela Cassel (2014) had work in the group exhibition“On the Waterfront,” presented by Central Booking in collaboration with the New York Historical Society, NYC, 3/3-4/23/23.

Katherine Bernhardt (MFA 2000 Fine Arts) and María Berrío (MFA 2009 Illustration as Visual Essay) were featured in “The Ultra-Contemporary Women Artists at the Forefront of the Art Market,” Artsy, 3/8/23. Marianna Peragallo (MFA 2019 Fine Arts) had a solo exhibition, “Carry,” curated by Ti any Smith (MFA 2015 Photography, Video and Related Media), Here Arts Center, NYC, 3/9-4/29/23.

Nona Faustine (BFA 1994 Photography) and MFA Photography, Video and Related Media alumni Maureen Drennan (2009) and Anders Jones (2017) had work in the group exhibition “New York Now: Home,” The Museum of the City of New York, NYC, 3/10-8/20/23.

Judy Chin (BFA 1988 Film and Video) won Best Makeup and Hairstyling for The Whale, and Joel Harlow (1988 Film and Video) was nominated in the same category for Black Panther: Wakanda Forever, 95th Academy Awards, Academy of Motion Picture Arts and Sciences, Los Angeles, 3/12/23.

“Ripe,” Harper’s Los Angeles, Los Angeles, 2/15-4/1/23.

Ian Phillips (BFA 2009 Film and Video) screened There Goes the Neighborhood and Yunhong Pu (MFA 2019 Social Documentary Film) screened Go Through The Dark, Winter Film Awards International Film Festival, NYC, 2/18/23.

Pacifico Silano (MFA 2012 Photography, Video and Related Media) and MFA Fine Arts alumni Katherine Bernhardt (2000) and Sarah Sze (1997) were featured in “Hyperallergic’s Spring 2023 New York Art Guide,” Hyperallergic, 2/21/23.

Aleathia Brown (BFA 1987 Media Arts) and Monique Young (BFA 2009 Cartooning) had work in “Harlem Fine Arts Show,” Harlem Fine Art Show, NYC, 2/24-2/26/23.

Elana Lederman (BFA 2016 Computer Art, Computer Animation and Visual E ects) was

Several SVA alumni participated in South by Southwest, Austin, 3/13-3/19/23: Meichun Cai (BFA 2017 Interior Design) showcased an art installation “Mixanthropy;” Zackary Drucker (BFA 2005 Photography) was a producer of National Anthem, Minos Papas (BFA 2004 Film and Video) was a producer of Take Me Home, Scott Ruderman (MFA 2016 Social Documentary Film) was cinematographer, producer and co-director of Pay or Die, and Inaya Graciana Yusuf (MFA 2014 Social Documentary Film) was editor for Join or Die, all of which premiered at the festival; Ruderman was a panelist for “Young and Uninsured: Pay or Die,” and Carol Silverman (MFA 2020 Visual Narrative) was a panelist for “Who Is The Set Decorator and What Do They Do.”

Douglas Salati (MFA 2014 Illustration as Visual Essay) was the recipient of the Illustrator Award for Hot Dog, and Chioma Ebinama (MFA 2016 Illustration as Visual Essay) was the recipient of Illustrator Honors for Emile and the Field, written by Kevin Young, 2023 Ezra Jack Keats Awards, 3/14/23.

Xuemeng Zhang (MFA 2022 Photography, Video and Related Media) had a solo exhibition, “Other Rooms,” curated by Penelope Umbrico (MFA 1989 Fine Arts), :iidrr Gallery, NYC, 3/15-3/26/23.

BFA Animation alumni Rebecca Sugar (2009) and Dana Terrace (2013) were featured in “20 Cartoon Shows With Awesome LGBTQ+ Characters,” Pride, 3/16/23.

LUCIA LOVE (BFA 2012 Fine Arts), Delicate Touch, 2021, oil on canvas. On view in the group exhibition “Death of Beauty,” Sargent’s Daughters, Los Angeles, 2/14-3/25/23. Courtesy the artist, JDJ and Sargent’s Daughters.

Andrea McGinty (MFA 2014 Fine Arts) and BFA Fine Arts alumni Bryce Kroll (2013) and Lucia Love (2012) had work in the group exhibition “Local Objects,” International Objects, NYC, 3/18-5/28/23.

MFA Fine Arts alumni Luca Buvoli (1991), Gary Petersen (1987) and Sarah Sze (1997) had work in the group exhibition “After ‘The Wild’: Contemporary Art from The Barnett and Annalee Newman Foundation Collection,” The Jewish Museum, NYC, 3/24-10/1/23.

MFA 2022 Fine Arts alumni Xayvier Haughton and Dylan Rose Rheingold were featured in and Anoushka Bhalla (MFA 2023 Fine Arts) wrote “The Myth of Agency Around Artists’ Signatures,” Hyperallergic, 3/30/23. Renee Cox (MFA 1992 Photography and Related Media) and Lorna Simpson (BFA 1982 Photography) had work in the group exhibition “Black Venus,” Museum of the African Diaspora, San Francisco, 4/5-8/20/23.

Michael Halsband (BFA 1980 Photography), the late Keith Haring (1979 Fine Arts) and Kenny Scharf (BFA 1981 Fine Arts) had work in the group exhibition “Basquiat x Warhol. Painting Four Hands,” Fondation Louis Vuitton, Paris, 4/5-8/28/23.

Raymond Alma (BFA 1987 Media Arts), Julian Alexander (BFA 2020 Illustration), Eric Arroyo (BFA 2013 Cartooning), Flora Bai (MFA 2021 Illustration as Visual Essay), Natalya Balnova (MFA 2013 Illustration as Visual Essay), Josh Bayer (MFA 2009 Illustration as Visual Essay; BFA 2007 Cartooning), Lauren Berke (MFA 2003 Illustration as Visual Essay), Chris Brimacombe (MFA 2011 Illustration as Visual Essay), Miranda Bruce (MFA 2019 Illustration as Visual Essay), G. Davis Cathcart (MFA 2021 Visual Narrative), Kou Chen (BFA 2014 Cartooning), Tianqi Chen (BFA 2022 Illustration), Boyeon Choi (MFA 2013 Illustration as Visual Essay), Hye Jin Chung (MFA 2013 Illustration as Visual Essay), John Dombrowski (BFA 2010 Illustration), Drew Friedman (BFA 1981 Media Arts), Meredith Gran (BFA 2006 Animation), N. Steven Harris (BFA 1991 Media Arts), Glenn Head (BFA 1985 Media Arts), Max Hu man (BFA 2016 Cartooning), Cindy Kang (BFA 2018 Illustration), Kate Lacour (MPS 2009 Art Therapy), Hyesu Lee (MFA 2011 Illustration as Visual Essay), Jerry Ma (BFA 1997 Cartooning), John Malta (MFA 2012 Illustration as Visual Essay), Xiaochan Mei (BFA 2018 Illustration), Shinyeon Moon (MFA 2017 Illustration as Visual Essay), Keiko Nabila Yamazaki (BFA 2017 Illustration), Vidhya Nagarajan (MFA 2019 Illustration as Visual Essay), Aatmaja Pandya (BFA 2014 Illustration), Sanika Phawde (MFA 2021 Illustration as Visual Essay), Bill Plympton (1969 Cartooning), Ada Price (MFA 2014 Illustration as Visual Essay; BFA 2008 Cartooning), Radhia Rahman (BFA 2020 Illustration), Matthew Rota (MFA 2008 Illustration as Visual Essay), Cecilia Ruiz (MFA 2012 Illustration as Visual Essay), Jess Ruli son (BFA 2008 Illustration), Patrick Sinnott (BFA 2012 Cartooning), Panayiotis Terzis (MFA 2015 Fine Arts; BFA 2006 Illustration), Toma Vagner (BFA 2017 Illustration), Dahui Wang (BFA 2019 Animation), Wenjia Wang (BFA 2018 Illustration), Yao Xiao (BFA 2013 Illustration), Wenjing Yang (BFA 2022 Illustration) and Zhiyu You (BFA 2022 Illustration) exhibited work at MoCCA Arts Festival Society of Illustrators, NYC, 4/1-4/2/23. Moon and Terzis were recipients of the Award of Excellence at the festival.

XUEMANG ZHANG (MFA 2022 Photography, Video and Related Media), R4G2 (top) and R2G3 (bottom), both 2021, UV prints on acrylic. From “Other Rooms,” a solo exhibition curated by PENELOPE UMBRICO (MFA 1989 Fine Arts), :iidrr Gallery, NYC, 3/15-3/26/23. Photos by Annie Chen Ziyao. Courtesy of Zhang.

Joseph Cavalieri (BFA 1983 Media Arts), Mona Monahan (BFA 2023 Design), Peter Papulis (BFA 1977 Fine Arts), Natcha Wongchanglaw (MPS 2020 Digital Photography) and Jeongin Yoon (BFA 2019 Illustration) had work in “Rockefeller Flag Project 2023,” Rockefeller Center, NYC, 4/3-4/30/23.

Barbara Owen (MFA 2020 Art Practice) and Louise Sloane (BFA 1974 Fine Arts) had work in the group exhibition “The All Fools Show,” Icebox4 Space for Artists, NYC, 4/6-4/27/23.

Chelsi Bullard (MFA 2017 Social Documentary Film), Maya Cozier (BFA 2016 Film) and Catya Plate (1988 Fine Arts) were recipients of the NYC Women’s Fund grant, Mayor’s O ce of Media and Entertainment and New York Foundation for the Arts, 4/11/23.

Daniel Gadd (BFA 2009 Fine Arts) and Wade Schaming (MFA 2010 Fine Arts) had work in the group exhibition “Causality,” M. David & Co., NYC, 4/14-5/14/23.

Ti any Alfonseca (BFA 2020 Fine Arts) and Yirui Jia (MFA 2022 Fine Arts) were featured in “10 Standout Artworks Discovered at Expo Chicago 2023,” Galerie, 4/17/23.

MFA Fine Arts alumni Kahori Kamiya (2009) and Dana Robinson (2019) participated in 2023 Spring Open Studios, The International Studio & Curatorial Program, NYC, 4/214/22/23.

Carol Caputo (Graphic Design) had a solo exhibition, “Carol Caputo,” M. Maison, Vero Beach, FL, 1/26-2/1/23, and was featured in “For Caputo, it’s art for (the love of) art’s sake,” Vero News, 1/26/23.

1967

Carole Feuerman (Fine Arts) presented “Sea Idylls” as a public art installation on Park Avenue, NYC, 4/21-12/10/23, and as a solo exhibition at Galeries Bartoux, NYC, 4/27-9/10/23.

1968

Richard Rutner (Media Arts) had a solo exhibition, “Ruminations on Ancient and Natural Forms,” Central Machine Works, Austin, TX, 5/5-7/2/23.

1969

Ping Chong (Film and Video) was interviewed in “For a Pioneering Artist, the Joy of Having Done the Work His Way,” The New York Times, 1/26/23.

Bill Plympton (Cartooning) was featured in “‘Your Face’: A masterclass in animation by Bill Plympton,” Far Out, 1/30/23, and “Bill Plympton’s animated films, at the crossroads of pop culture and political satire,” Le Monde, 3/15/23.

Nina Yankowitz (Fine Arts) was featured in “Woman Up: Nina Yankowitz Defies the Patriarchy,” ArtNews, 1/12/23.

1972

Rick Kopstein published a photobook, Made in NY, 4/28/23.

Linda Stillman (Graphic Design) had work in the group exhibition“The Fragile Beautiful Earth,” Gallery Sitka, Newport, RI, 4/225/25/23.

1973

Tim Maul (Fine Arts) had a solo exhibition, “Between The Buttons,” Picture Theory, NYC, 1/25-3/8/23.

1974

Eileen Burgess (BFA Fine Arts) wrote “Theodora Smiley Lacey, Civil Rights Activist,” The Nation, 3/29/23.

Alexandra Hammond (MFA 2015 Art Practice) and Brian Kelley (BFA 2010 Photography) gave a talk, “Envisioning Adaptation,” Catskill Art Space, Livingston Manor, NY, 4/22/23.

Peter Hristo (BFA 1981 Fine Arts) cocurated, and BFA Visual & Critical Studies alumni Ryan Brady (2012) and Kyra Husbands (2022) had work in the group exhibition “The New Math: Geometric Plasticism, Ideal Visions, and the Reductive Impulse,” New York Artists Equity Association, Inc., NYC, 5/11-6/10/23.

MFA 2023 Fine Arts alumni Polin Huang , Fernando Monroy and Yin Ming Wong had work in the group exhibition “Fritto Misto,” IRL Gallery, NYC, 5/19-6/11/23.

INDIVIDUAL NOTES & EXHIBITIONS

1959

Paul Davis (Illustration) was featured in ”Paul Davis: Poster Child,” East Hampton Star, 12/8/22.

1960

The late Félix Beltrán (Advertising) was featured in “Félix Beltrán: Revolutionary graphic design,” Grafikmagazin, 1/17/23, and “The Daily Heller : Félix Beltrán, Art Director of the Cuban Revolution,” Print, 1/26/23.

Louise Sloane (BFA Fine Arts) had a solo exhibition , “Louise P. Sloane,” MM Fine Art, Southampton, NY, 5/27-6/11/23.

1975

The late Ellsworth Ausby (BFA Fine Arts) had a solo exhibition, “Ellsworth Ausby: Odyssey,” The Houston Museum of African American Culture, Houston, 2/4-4/8/23.

Margaret McCarthy (BFA Fine Arts) had work in the group exhibition “13th Annual Photobook Exhibition,” Gri n Museum of Photography, Winchester, MA, 1/12-2/26/23.

Jamie Nares (Fine Arts) was featured in “Meet Me at Reception,” Frieze, 1/13/23, and was interviewed in “Jamie Nares’s Message to Her Daughters Was Simple: ‘Go for It’,” The New York Times, 4/20/23.

1976

Beth B (BFA Fine Arts) had a film showcase, “Sex, Power, & Money: Films by Beth B,” Metrograph, NYC, 3/10-3/13/23.

Willie Cole (BFA Media Arts) was featured in “Willie Cole’s Ecological Interventions Turn Trash into Art,” The New York Times, 2/23/23.

Theresa DeSalvio (BFA Fine Arts) had work in the group exhibition“2022 NYAE Annual Member’s Invitational,” New York Artists Equity Association, NYC, 12/8/22-1/8/23.

Jorge Luis Rodriguez (BFA Fine Arts) had work in the group exhibition“Two Grains of Wheat,” 601Artspace, NYC, 4/22-7/2/23.

1977

Dawoud Bey (Photography) was the recipient of the Artist Award for a Distinguished Body of Work, College Art Association, 2/6/23.

1978

Katherine Snedeker (BFA Photography) was featured in “A Sustainable Arrangement,” Garden and Gun, 1/18/23.

1979

Ray Billingsley (BFA Media Arts) was featured in “Curtis replaces Dilbert on Democrat-Gazette comics pages,” Arkansas Democrat-Gazette, 3/6/23.

Work by the late Keith Haring (Fine Arts) was featured in solo exhibitions, “Keith Haring: Subway Drawings,” Brattleboro Museum & Art Center, Brattleboro, VT, 2/18-6/11/23, and “Keith Haring: Art Is For Everybody,” The Broad, Los Angeles, 5/27-10/8/23.

John Michael Pelech (BFA Media Arts) had work in the group exhibition “Birthday Suit: An Artful Exploration of Nude Photography,” Salmagundi Club, NYC, 2/21-4/21/23.

Amy Sillman (BFA Fine Arts) discussed “Joan Mitchell: Paintings, 1979–1985” for David Zwirner’s “Program” conversation series, 1/27/23; was interviewed in “A brush with ... Amy Sillman,” The Art Newspaper, 2/22/23; and had a solo exhibition, “Temporary Object,” Thomas Dane Gallery, Naples, Italy, 4/26-7/29/23.

Karen Starrett (Media Arts) participated in Artists’ Open Studios, Jersey Shore Arts Center, Ocean Grove, NJ, 4/23/23.

1981

Cara Berton (BFA Media Arts) published an artbook, Dancer Glory, Rose Press, 4/12/23.

1982

Lorna Simpson (BFA Photography) was featured in “ Women at Rest: Ten Black artists imagine the freedom of leisure at ICA San Francisco’s ‘Resting Our Eyes’ exhibition,” New York, 1/19/23, “An exhibition framing self-care as a radical act for Black women,” Vice, 2/7/23.

Joey Skaggs (BFA Media Arts) screened Metamorphosis, Cockroach Miracle Cure, Los Angeles Comedy Film Festival, Los Angeles, 5/1-5/20/23.

1983

Andrea Fraser (Fine Arts) had a solo exhibition, “Andrea Fraser,” Marian Goodman Gallery, NYC, 1/12-2/25/23.

Steven Petruccio (BFA Media Arts) had work in the group exhibition “Members Exhibition,” Edward Hopper House Museum & Study Center, Nyack, NY, 4/1-4/9/23.

Tomas Tobler (BFA Fine Arts) was featured in “Two Teachers Reimagine a Mobile Home in Shandaken,” Chronogram, 4/1/23.

1984

Gail Anderson (BFA Media Arts) was featured in “An ode to the art of the book cover,” Fast Company, 3/15/23, and gave a talk, “Hard Work and Dumb Luck: 39 Years of Work and Play,” St. Bride Foundation, London, 5/3/23.

Lydia Panas (BFA Photography) was featured in “ART + SCIENCE: The Pandemic: Aline Smithson and Lydia Panas,” Lenscratch, 12/15/22, and had a solo exhibition, “Gor-

geous Discontent,” Ithaca College, Ithaca, NY, 1/26-3/8/23.

Barbara Salvatore (BFA Fine Arts) was featured in “Born from a dream, Warren native’s book series explores plants, Ponca Tribe,” East Bay RI, 5/10/23.

Wendy Small (BFA Fine Arts) had a solo exhibition, “New Math,” Morgan Lehman, NYC, 1/12-2/18/23.

1985

Darrell McNeill (BFA Communication Arts) was featured in “Black History Month Part 1: Darrell M. McNeill and Sally A. Foxen-McNeill SB Black Culture House,” Montecito Journal, 2/21/23.

Art Museum University of Maine, Bangor, ME, 1/20-4/21/23.

1987

Aleathia Brown (BFA Media Arts) participated in “Celebrating Black History Month: What It Means to Be an Artist of Color,” Artists Talk on Art, NYC, 2/6/23, and hosted “Paint Sip Tear,” The Children’s Art Carnival, NYC, 3/26/23.

Elizabeth Peyton (BFA Fine Arts) was featured in“Elizabeth Peyton and Taylor Russell on Portraiture and Self-Protection,” The New York Times, 2/16/23, and “The 10 Best Booths at Art Basel in Hong Kong 2023,” Artsy, 3/22/23.

The late Julie Ross (BFA Media Arts) was featured in the book Julie Ross: A Lifetime

Penelope Umbrico (MFA Fine Arts) had work in the group exhibition“I’ll Be Your Mirror: Art and the Digital Screen,” The Modern Art Museum of Fort Worth, Fort Worth, TX, 2/12-4/20/23.

Dawn Vaccaro-McDonnell (BFA Media Arts) was featured in “Inspiration Everywhere for Dawn McDonnell,” The Sandpaper, 3/9/23. T.J. Wilcox (BFA Fine Arts) had a solo exhibition, “T. J. Wilcox,” GAVLAK Gallery, Palm Beach, FL, 1/12-2/1/23.

1990

Paul Fox (Film and Video) was featured in “The Directors: Paul Fox,” Little Black Book, 12/20/22.

Francis Palazzolo (BFA Fine Arts) curated and had work in the group exhibition “Feeling Here,” Boricua College Gallery, NYC, 5/45/27/23.

Alexis Rockman (BFA Fine Arts) participated in “What Does Art Have to Do with Climate Change? With Helen Molesworth,” Dialogues: The David Zwirner Podcast, 12/7/22, and had solo exhibitions, “ Melancolia,” Sperone Westwater, NYC, 5/11-7/28/23, and “Alexis Rockman: Oceanus,” Mystic Seaport Museum, Mystic, CT, 5/27/23- .

Collier Schorr (BFA Communication Arts) photographed “Why Willem Dafoe Can’t Slow Down,” The New York Times, 3/2/23, “Brie Larson Refuses to Stick to Hollywood’s Script,” Harper’s Bazaar, 3/23/23,“King Princess on getting lost, and learning to love the mess,” Harper’s Bazaar Australia, 4/10/23.

1986

Elizabeth Aubrey was featured in “Fine Arts: Paintings by Liz Aubrey call for quiet contemplation,” NJ.com, 3/29/23.

Kit Warren (MFA Fine Arts) had a solo exhibition, “Altered States & Other Stories,” Zillman

of Creation, written and published by Olivia Hoefling, 3/23/23.

Brigitte Sleiertin-Linden (BFA Media Arts) was featured in “Loren’s Ghost: The Haunted History of the Scream Mask,” Fangoria, 3/9/23.

1988

Kathy Shorr (BFA Photography) gave a talk, “SHOT: We the Mothers Miami,” Miami-Dade County District 5, Miami, 5/8/23.

1989

Craig Gillespie (BFA Media Arts) executive produced the series Pam & Tommy, which was nominated for Best Limited Series, Golden Globes, Los Angeles, 1/10/23.

Yehonatan Koenig (Fine Arts) had a solo exhibition , “Ink on Paper,” The Bag, Los Angeles, 2/3-2/19/23.

Margaret Lanzetta (MFA Fine Arts) had work in the group exhibitions “O The Cloth 2,” WHITEBOX, NYC, 1/9-2/22/23, and “Tenuous Threads,” Atlantic Gallery, NYC, 1/24-3/4/23.

Michael Giacchino (BFA Film and Video) was featured in “Michael Giacchino, Variety’s Composer of the Year, Breaks Down His Career With J.J. Abrams,” Variety, 12/1/22, and was nominated for Best Score Soundtrack For Visual Media for The Batman, Grammys, Los Angeles, 2/6/23.

Robert Melee (BFA Fine Arts) had work in the group exhibition “Fine Art Conversations: Five Artists Sparking Dialogue Through Color,” James Yarosh Associates Gallery, Holmdel, NJ, 4/15-9/30/23.

Gina Minichino (BFA Media Arts) had work in the group exhibition “Curated Group Show,” George Billis Gallery, NYC, 5/4-5/30/23. 1991

Erika Cosby-Ranee (BFA Fine Arts) had a solo exhibition, “All Natural,” Klaus von Nichtssagend Gallery, NYC, 2/17-3/21/23.

Jean Davis (BFA Media Arts) had work in the group exhibition “Glass Recollections,” Van Der Plas Gallery, NYC, 12/16/22-1/8/23.

Lisa Deloria Weinblatt (MFA Illustration as Visual Essay) had a solo exhibition, “School

ORIANNE COSENTINO (BFA 1999 Graphic Design), Delancey, 2015, acrylic, ink, pencil, found parking tickets on wood. Photo by Orianne Cosentino.

as Visual Essay), in her studio in front of Las Hijas de la Montaña (Children of the Mountain) (detail), 2023.

Lunch,” Chesapeake Arts Center, Brooklyn Park, MD, 12/19/22-2/15/23.

1992

Desirée Alvarez (MFA Fine Arts) recited poetry at “Ecopoetry Reading,” Central Booking, NYC, 3/25/23, and “All in Good Time—Performances of Music, Poetry and Dance,” Fridge Art Fair by 2B&2C, NYC, 5/20/23.

Annette Back (BFA Graphic Design) had a solo exhibition, “Layered Thoughts,” Mulberry Street Library, NYC, 3/6-4/29/23.

Angela Cappetta (BFA Photography) was featured in “Watching a Girl’s Life Change on the Lower East Side,” The New Yorker, 12/30/22.

Michael Colón (BFA Fine Arts) was featured in “Art Auction Supports Artists with Serious Mental Illness,” Mott Haven Herald, 4/19/23.

Viktor Koen (MFA Illustration as Visual Essay) presented at the Annual Holocaust Remembrance Day of the Greek Jewry, hosted by Consulate General of Greece, Hebrew Union College, NYC, 1/19/23.

Dinh Quang Lê (MFA Photography and Related Media) had work in the group exhibition “Living Pictures,” National Gallery Singapore, Singapore, 12/2/22-8/20/23.

Lynn Pauley (MFA Illustration as Visual Essay) was interviewed in “The Daily Heller : Drawing Life Where it Lives,” Print, 3/8/23.

Christine Romanell (BFA Graphic Design) had a solo exhibition, “Cyclical Gravity,” Pingry Hostetter Arts Center Gallery, Pottersville, NJ, 4/4-4/28/23, and was featured in ArtNation Season 1: Episode 7, “Deception,” Smithsonian Channel, 4/18/23.

Taney Roniger (BFA Fine Arts) had a solo exhibition, “Drawing Is a Verb,” Studio 34, NYC, 3/4-4/8/23.

1993

Guy Aroch (BFA Photography) photographed “William Franklin Miller,” Icon, 12/1/22.

Vladimir Cybil Charlier (MFA Fine Arts) had solo exhibitions, “The Indigo Suites,” GARNER Arts Center, Garnerville, NY, 3/11-4/23/23, and “Pantéon: When the Saints Go Marching!,” The Coronado Print Room, Austin, 5/11-7/15/23.

Alan Robert (BFA Illustration) was featured in “Interview—Alan Robert (Horror Artist/ Life of Agony Bassist),” Dark Art Conspiracy, 5/26/23.

Rance Jones (MFA Illustration as Visual Essay) had a solo exhibition, “La Vida

Co ee,” Artnet News, 5/16/23, and had a solo exhibition, “Inka Essenhigh,” Miles McEnery Gallery, NYC, 4/27-6/3/23.

John Ferry (MFA Illustration as Visual Essay) had work in the group exhibition “Stairs,” Manifest, Cincinnati, 1/27-2/24/23.

Leemour Pelli (BFA Fine Arts) was interviewed in “Leemour Pelli. Body and Soul: Investigations of the Human Spirit,” In the Net, 5/5/23.

Oscar Villegas (MFA Photography and Related Media) had work in the group exhibition “Portuaria. ¿Tiene el puerto una colección de arte?,” Port of Santander, Santander, Spain, 4/6-4/9/23.

1995

Michael De Feo (BFA Graphic Design) had work in the group exhibition “A Blooming Resilience,” Waterfall Gallery, NYC, 4/1-6/3/23. Lori Earley (BFA Illustration) had work in the group exhibition “Year of The Rabbit,” Modern Eden Gallery, NYC, 1/14-2/4/23.

David Levy (BFA Animation) was appointed Head of Studio at Pinkfong USA, and was featured in “David B. Levy on guiding artists through Your Career in Animation,” Toon Boom, 1/13/23.

Pleasant (a.k.a. Jalal Pleasant) (Fine Arts) participated in “Super Retro Con 2023,” Tampa, FL, 1/28-1/29/23, and “MegaCon 2023” Megacon Orlando 2023, 3/30-4/2/23, with Moped Magazine

Clara Varas (BFA Fine Arts) had a solo exhibition, “Between Memory and Desire,” Dimensions Variable, Miami, 10/22/221/10/23, and was featured in “Masks O , Wallets Out: Art Basel 2022,” The New York Times, 12/1/22.

1996

Kyra Garrigue (BFA Photography) was interviewed for the Art Town podcast, 3/5/23.

Sean Greene (BFA Illustration) had work in the group exhibition“MASS MoMA: Artists of the Berkshires and Pioneer Valley,” TurnPark Art Space, West Stockbridge, MA, 4/1-4/30/23.

Brava—Cuba Today,” Forum Gallery, NYC, 4/27-6/9/23.

Shawn Martinbrough (BFA Illustration) was featured in “How Shawn Martinbrough became a Jack of all comic trades,” The Popverse, 2/28/23, and “Buying Black: Local comic book artist and kids book author,” FOX 29 News, 4/5/23.

Tim Okamura (MFA Illustration as Visual Essay) painted a portrait of Willie O’Ree, first Black player in the National Hockey League, presented at the Beaverbrook Art Gallery, New Brunswick, Canada, 1/18/23.

Vanessa Pineda Fox (BFA Graphic Design) had work in the group exhibition “Visions of Spring,” WomensWork.Art Gallery, Poughkeepsie, NY, 3/10-4/22/23.

Sarah Prud’Homme (MFA Photography and Related Media) had a solo exhibition, “Inhuman Time,” The Cornwall Library, Cornwall, CT, 1/21-3/4/23.

1994

Inka Essenhigh (MFA Fine Arts) was featured in “The New Generation of Transcendental Painters,” Artsy, 2/28/23, and “In Her Manhattan and Maine Studios, Artist Inka Essenhigh Creates Luminous, Ethereal Landscapes From Buckets of Paint and

Justine Kurland (BFA Photography) had work in the group exhibition “Bonds of Love,” Delpire & Co, Paris, 2/15-4/15/23, and was featured in “Splicing The Male Gaze And Strippers Revisited: The Best Photography Books Of 2022,” The Guardian, 12/21/22, and “Meet the Artist Cutting Up the Patriarchy,” Esquire, 3/8/23.

Jonathan Roumie (BFA Film and Video) was featured in “Jesus Christ, Streaming Star,” The New York Times, 12/1/22, and starred in Jesus Revolution, Lionsgate, 2/24/23.

1997

Laura D’Alessandro (MFA Photography and Related Media) had work in the group exhibition “Quiet Spaces & Hectic Places,” Doubting Thomas Gallery, Cleveland, 12/9/22.

Johanna Fateman (BFA Fine Arts) wrote “Top Ten: Johanna Fateman’s Highlights of 2022,” Artforum, 12/2/22.

John Patrick Green (BFA Graphic Design) was featured in “InvestiGators Spino Agents of S.U.I.T. Has a Half-Million Print Run,” Bleeding Cool, 2/16/23.

Murray Hill (MFA Photography and Related Media) hosted a reality competition show, Drag Me to Dinner, Hulu, 5/31/23.

MARÍA BERRÍO (MFA 2009 Illustration

Photo

Cordy Ryman (BFA Fine Arts) had a solo exhibition, “Collecting Sparks,” Walter Storms Galerie, Munich, Germany, 5/12-6/30/23.

Sarah Sze (MFA Fine Arts) had the solo exhibitions “Timelapse,” Guggenheim, NYC, 3/319/10/23, and “The Waiting Room,” Peckham Rye Station, London, 5/19-9/17/23.

Je rey Wasson (BFA Fine Arts) was featured in “Visitors learn how to build a ‘knight in shining armor’ at Ridgewood warehouse,” QNS , 4/17/23.

1998

Nanette Fluhr (BFA Illustration) was the recipient of the Outstanding Woman Artist Achievement Award at the exhibition “HerStory,” Manhattan Arts International, NYC, 3/17/23.

Juliet Martin (MFA Computer Art) had a solo exhibition, “I See You Falling Out of Love with Me,” 440 Gallery, Los Angeles, 2/9-3/12/23.

1999

Alina Bliumis (BFA Computer Art) had a solo exhibition, “Plant Parenthood,” SITUATIONS Gallery, NYC, 2/24-4/2/23, and was featured in “Painting the Terrifying Beauty of Abortion-Inducing Flowers,” Hyperallergic, 3/7/23.

Orianne Cosentino (BFA Graphic Design) was featured in “Artist creates paintings using discarded NYC parking tickets,” New York Post, 2/25/23.

Jeronimo Elespe (BFA Fine Arts) was featured in “Spotlight: Spanish Artist Jeronimo Elespe’s Enigmatic Paintings Tap Into Psychology and Dreams. See His Uncanny Visions Here,” Artnet News, 4/7/23.

Elizabeth Goldwyn (BFA Photography) was featured in “Run, Don’t Walk to This Special Auction of Susan Cianciolo’s Cult Clothing Line,” Cultured, 3/30/23.

Ketta Ioannidou (MFA Illustration as Visual Essay) had work in “Secret Show,” Spring/ Break Art Fair, NYC, 5/10-5/20/23.

Janelle Lynch (MFA Photography and Related Media) gave a talk,“PRC Speaker Series presentation with Janelle Lynch,” Photographic Resource Center, Cambridge, MA, 4/20/23.

Artem Mirolevich (BFA Illustration) had a solo exhibition, “Time Spiral,” Denis Leon Gallery, Lake Worth, FL, 3/16-3/31/23.

Gideon Rubin (BFA Fine Arts) had work in the Ryan Lee Gallery booth, EXPO Chicago 2023, 4/13-4/16/23.

Erika Somogyi (BFA Fine Arts) had a solo exhibition, “Wild Flower,” Kristen Lorello, NYC, 1/10-2/25/23.

Li Zhang (BFA Graphic Design) was interviewed in “Artist Spotlights,” Inprint, 1/24/23. 2000

Katherine Bernhardt (MFA Fine Arts) had the solo exhibitions “I’m Bart Simpson, Who the Hell Are You?,” Canada, NYC, 1/112/25/23, and “Katherine Bernhardt,” David Zwirner, Hong Kong, 5/20-8/5/23.

Gonzalo Fuenmayor (BFA Fine Arts) had work in the group exhibition “Tremors in Paradise,” Dot Fiftyone Gallery, Miami, 11/18/22-1/20/23, and had a solo exhibition, “Bretonian Slip,”Dolby Chadwick Gallery, San Francisco, 4/6-4/29/23.

Alba Garcia-Rivas (BFA Animation) was featured in “Alba Enid García-Rivas on the Significance of Being a Latina Stop-Motion Filmmaker,” Pop Sugar, 4/20/23.

Sean Linal Peterkin (BFA Film and Video) was featured in “Cut to Black: Sean Linal Peterkin, Picture Editor,” Cinemontage, 2/14/23.

Eric Rhein (MFA Fine Arts; BFA 1985 Fine Arts) had work in the group exhibition “Edge of All Things,” CLAMP Gallery, NYC, 1/123/4/23.

Ellen Stagg (BFA Photography) photographed the cover of the April 2023 Hustler, 4/1/23.

2001

Joe Baptista (BFA Photography) was featured in “How Joe Baptista went from front desk to partner at New York City’s renowned Pace Gallery,” The West Australian, 3/2/23.

women film and TV directors, from Pixar’s Domee Shi to Beef’s Hikari,” South China Morning Post, 5/17/23.

Daina Higgins (BFA Fine Arts) had work in the group exhibitions “Art Bazaar,” Basin Gallery, NYC, 12/1-12/22/22, and“Her City,” Leake Street Galleries, London, 3/204/30/23.

Carlos Motta (BFA Photography) participated in“Body Politics – On Masculinity,” KW Institute for Contemporary Art, Berlin, 3/3/23, had work in the group exhibition “Signals: How Video Transformed the World,” Museum of Modern Art, NYC, 3/5-7/8/23, and had a solo exhibition, “Stigmata,” Bogotá Museum of Modern Art, Bogotá, 3/16-6/11/23.

Maayan Zilberman (BFA Fine Arts) was featured in “Sculptor and Confectioner Maayan Zilberman Shares Her Holiday Hosting Tips and a Sweet, Chihuly-Inspired Recipe,” Artnet News, 12/8/22.

2002

Michael Alan (BFA Fine Arts) was featured in “Art as Emotional and Scientific Process: A Look into Michael Alan Alien’s Multidisciplinary Practice,” SuperRare, 1/14/23, and participated in “The Living Installation,” Times Square, NYC, 1/21/23.

Marlena Buczek Smith (BFA Graphic Design) had work in the group exhibitions “No War Posters,” ESCA Underground Mall, Nagoya, Japan, 2/18-2/27/23, and “Plaster,” The Fourteenth International Graphic Design Festival, Torun, Poland, 5/12-8/27/23.

Mariam Ghani (MFA Photography and Related Media) was the recipient of a 2023 Film-Video Fellowship, John Simon Guggenheim Memorial Foundation, 4/5/23.

Reka Nyari (BFA Fine Arts) had work in the group exhibitions “Temptation,” Muse Contemporary, Istanbul, 1/17-3/10/23, and “Crypto Art: A New Possibility,” Dynamicart Museum in collaboration with CAFA Art Museum, Beijing, 3/14-3/24/23.

Christopher Reiger (MFA Fine Arts) had a solo exhibition, “A Laguna Field Guide,” Laguna Foundation, Santa Rosa, CA, 1/5-4/28/23.

Sam Tufnell (BFA Fine Arts) had work in the group exhibition “A Touch of Grass,” The Locker Room, NYC, 2/7-3/12/23.

Emma Wilcox (BFA Photography) wrote “Beats All: Mortality, Salvage, and Queerness,” The Audacity, 12/7/22.

2003

SHINYEON MOON (MFA 2017 Illustration as Visual Essay), Celestial Beings, 2023, digital; winner of an Award of Excellence at MoCCA Arts Festival Society of Illustrators, NYC, 4/1-4/2/23.

Richard Cutrona (BFA Photography) had a solo exhibition, “Fluid Structures,” Gallery-on-the-Boulevard, Kenilworth Public Library, Kenilworth, NJ, January – April 2023.

Dan Halm (MFA Illustration as Visual Essay; BFA 1994 Illustration) had a solo exhibition, “Goodbar,” Iridian Gallery at Diversity Richmond, Richmond, VA, 3/10-4/22/23.

Chie Hayakawa (BFA Photography) was featured in “Detour,” Talk House, 4/20/23, “Director Chie Hayakawa Interview: Plan 75 film, Japanese Elderly Isolation,” The Natural Aristocrat, 4/20/23, and“11 emerging Asian

Sarah Neuburger (MFA Fine Arts) was selected as the campaign artist for the 2023 Atlanta Jewish Film Festival, Atlanta, 2/1/23.

Mika Rottenberg (BFA Fine Arts) had the solo exhibitions, “Cosmic Generator,” SCAD Museum of Art, Savannah, Georgia, 2/107/24/23, and “Mika Rottenberg: Spaghetti Blockchain,” Contemporary Jewish Museum, San Francisco, 5/18-10/22/23.

Amy Talluto (MFA Fine Arts) was interviewed in “Amy Talluto: Blending sculpture, painting, and conversation,” Two Coats of Paint, 1/19/23.

Olympia Gayot (BFA Fine Arts) was featured in “How Olympia Gayot Brought J.Crew Back,” Harper’s Bazaar, 2/6/23.

Michelle Groskopf (BFA Film and Video) was featured in “Celeb Photographer Michelle Groskopf and the Prisoner Wine Company Showcase Torontonians Defying Convention,” Toronto Life, 12/8/22.

Guadalupe Maravilla (BFA Photography) was the recipient of an Art for Justice Artist Fellowship, Art for Justice Fund, 4/26/23.

Matthew McCarthy (BFA Illustration) was appointed supervisor of Fine and Performing Arts, Bridgewater-Raritan Regional School District, Bridgewater, NJ, 1/25/23.

Sarah McColgan (BFA Photography) was interviewed in “Check Out Sarah McColgan’s Story,” Voyage LA , 2/6/23.

Katie Yamasaki (MFA Illustration as Visual Essay) was included in the 2023 Michigan Notable Books list for Shapes, Lines, and Light: My Grandfather’s American Journey, Library of Michigan, Lansing, MI, 1/8/23.

Timur York (BFA Advertising) created street art for “Windows to Love: A Hudson Park Library Chapter,” New York Public Library, NYC, 12/31/22.

2004

Joshua Clark (BFA Graphic Design) was on the Brand-Side/In-House jury, 102nd Annual ADC Awards, NYC, 5/17/23.

Rosson Crow (BFA Fine Arts) is now represented by Miles McEnery, 5/1/23.

Ryan Kelly (BFA Photography) was interviewed in “Making Fashion and Beauty: An Interview with Ryan Michael Kelly,” B&H Photo, 1/31/23.

Nora Krug (MFA Illustration as Visual Essay) had a solo exhibition, “Nora Krug: Belonging,” Norman Rockwell Museum, Stockbridge, MA, 3/18-6/18/23.

Kurt Lightner (MFA Fine Arts) had a solo exhibition, “I Hauled,” Harpers, NYC, 1/51/21/23.

2005

Agata Bebecka (BFA Fine Arts) was featured in “5 Breakout Artists We Discovered at the Los Angeles Art Fairs Whose Work Stopped Us in Our Tracks,” Artnet News, 2/22/23.

Casey Brooks (BFA Film and Video) was featured in “Homegrown and in Demand,” The East Hampton Star, 1/11/23.

2006

Brent Birnbaum (MFA Fine Arts) had work in the Keijsers Koning booth, Dallas Art Fair, 4/20-4/23/23.

Allison Hester (MFA Fine Arts) had work in the group exhibition “Freaky Flowers,” September Gallery, Kinderhook, NY, 4/15/28/23.

Ian Jones-Quartey (BFA Animation) was featured in “Why Online Learning Platform Skillshare Is Targeting Creators in New Campaign,” Ad Age, 2/15/23.

Jane Kang Lawrence (MAT Art Education) had work in the Paradice Palase booth, Future Fair, NYC, 5/10-5/13/23.

Jeongmee Yoon (MFA Photography, Video and Related Media) had work in the group exhibition “Invisible Room,” ACC Gallery, Tenafly, NJ, 1/17-2/11/23.

2007

Robbie Banfitch (BFA Film and Video) was featured in “ The next Blair Witch Project ? NJ filmmaker shocks horror world with The Outwaters,” Asbury Park Press, 2/7/23.

Amy Elkins (BFA Photography) was the recipient of the 2023 – 2025 Eureka Fellowship Fleishhacker Foundation, San Francisco, 1/18/23; had work in the group exhibition “Crisis of Image,” Museum of Contemporary Art Arlington, Arlington, VA, 2/11-5/14/23; and was featured in “In the galleries: Explor-

CARLOS MOTTA (BFA 2001 Photography), Corpo Fechado: The Devil’s Work , 2018, single channel video, stereo sound, 24:33 min. On view in the solo exhibition “Stigmata,” Bogotá Museum of Modern Art, Bogotá, 3/16-6/11/23. Courtesy of Mor Charpentier.

Andrea Burgay (BFA Fine Arts) had work in the group exhibition “Putting it Together,” Lockwood Gallery, Kingston, NY, 4/155/14/23.

Zackary Drucker (BFA Photography) directed the TV miniseries Queenmaker: The Making of an It Girl, Hulu, 5/17/23.

Paul Gabrielli (BFA Fine Arts) was featured in “John Waters, connoisseur of quirky art,” CBS News, 3/12/23.

Karen Gibbons (MPS Art Therapy) participated in “18th Annual Small Works Show Artist & Curator Talk,” 1 2/11/22, and “‘Two Truths and a Lie’ & ‘Fragment/Fracture’” artist talk, 1/26/23, 440 Gallery, NYC.

Kyung Jeon (MFA Fine Arts) was featured in the documentary Below the Belt, produced by Hillary Clinton, Rosario Dawson, Corinne Foxx and Mae Whitman, 3/29/23.

Keren Moscovitch (MFA Photography, Video and Related Media) had a solo exhibition, “Sun, Moon, Egg,” Penumbra Foundation, NYC, 2/16-5/1/23.

Rachel Papo (MFA Photography, Video and Related Media) photographed“Farewell to Stomp, a Show at the Beating Heart of New York,” The New York Times, 1/4/23, and was featured in “What Does the First Year of Motherhood Look Like? For This Photographer—and Many Other Women—It Was Dark and Complex,” CNN, 12/13/22.

Christine Sun Kim (MFA Fine Arts) had a solo exhibition, “Cues on Point,” The Secession, Vienna, 2/17-4/16/23, and was featured in Season 11 of Art in the Twenty-First Century, Art21, 2/22/23.

Dylan Mortimer (MFA Fine Arts) had a solo exhibition, “Infusion,” Habitat Contemporary Gallery, Leedy-Voulkos Art Center, Kansas City, MO, 3/3-4/12/23.

Linda Nicholas (BFA Fine Arts) had work in the group exhibition “Layers of Meaning,” Kingsborough Art Museum, NYC, 3/225/18/23.

Charles Vincent Sabba (BFA Fine Arts) was featured on the podcast Warfare of Art & Law, 3/5/23, and wrote “Gardner Museum Robbery to be Featured on Episode of History’s Greatest Heists,” La Voce di New York, 3/28/23.

Roey Shmool (BFA Film and Video) produced, directed and edited the feature film CUTDOWN: Infant Surgery without Anesthesia, 3/29/23.

Fabian Tejada (MFA Computer Art; BFA 1998 Computer Art) provided art direction, editing, design and animation for “Bill Nye tells us the fastest way to slow global warming,” Environmental Defense Fund, 4/10/23, and gave a talk, “Movement With Fabian Tejada,” Creative Mornings, Tucson, AZ, 4/28/23.

Shen Wei (MFA Photography, Video and Related Media) had a solo exhibition, “A Season Particular,” Flowers Gallery, London, 5/5-6/3/23.

Natalie Krick (BFA Photography) was a panelist for “o_Man! and the Legacy of Curation,” 21c Museum Hotel, Chicago, 4/15/23.

Sarah Palmer (MFA Photography, Video and Related Media) had a solo exhibition, “The Delirious Sun,” Mrs., NYC, 3/11-5/6/23, and created artwork for “Yellowjackets Shows Us the Teenage Girlhood We Were Hungry For,” The New York Times, 4/6/23.

2009

María Berrío (MFA Illustration as Visual Essay) had a solo exhibition, “María Berrío: The Children’s Crusade,” Institution of Contemporary Art, Boston, 2/16-8/6/23.

Nathan Freise (MFA Computer Art) was featured in “Freise Brothers Returning to Their Roots, Plan to Film Movie in Union,” Emissourian, 12/2/22.

Barbara Kalina (MFA Photography, Video and Related Media) had work in the group exhibition “In This Moment,” Athens Cultural Center, Athens, NY, 4/22-5/21/23.

Kahori Kamiya (MFA Fine Arts) had a solo exhibition, “Long Eclipse,” Amos Eno Gallery, NYC, 3/2-3/26/23, and was featured in “Kahori Kamiya Transmutes Grief Into Play,” Hyperallergic, 3/19/23.

John MacConnell (MFA Illustration as Visual Essay) had a solo exhibition, “Fragments,” Childs Gallery, Boston, 5/19-7/8/23.

Peggy O’Leary (BFA Film and Video) was featured in “Peggy O’Leary: Irish American stand up comedian making a name for herself in Philadelphia,” Irish Star, 3/22/23.

Jaime Permuth (MPS Digital Photography; MFA 1994 Photography and Related Media) had work in the group exhibition “Something Beautiful: Reframing La Colección,” El Museo del Barrio, NYC, 5/19/23-3/10/24.

ing new methods of image transformation,” The Washington Post, 5/5/23.

Ryan Feerer (MFA Design) was featured in “Art Professor Demonstrates How Creativity, Hard Work Leads to Success,” Abilene Christian University, 1/18/23.

Timothy Goodman (BFA Graphic Design) illustrated the cover story “Secrets of Happiness Experts,” Time, 1/5/23.

Laura June Kirsch (BFA Photography) wrote and photographed “NBA Icon James Harden Is Playing the Wine Game to Win,” Wine Enthusiast, 4/7/23.

Raheem Nelson (BFA Cartooning) had work featured on a Times Square billboard as part of NFT NYC Conference, NYC, 4/12-4/14/23.

Ryan Pfluger (MFA Photography, Video and Related Media) shot the February 2023 cover of Rolling Stone, 1/20/23, and photographed “Everybody Hearts Paul Mescal,” The Hollywood Reporter, 2/22/23.

2008

Cat Del Buono (MFA Photography, Video and Related Media) was featured in “Fulbright 75th Anniversary award: Cat Del Buono,” Fulbright, 5/23/23.

Jade Doskow (MFA Photography, Video and Related Media) had work in the group exhibitions “Architecture Now: New York, New Publics,” Museum of Modern Art, NYC, 2/197/29/23, and “Altruistic Genius: Buckminster Fuller’s Plans to Save the Planet,” Asheville Art Museum, Asheville, NC, 4/14-8/21/23.

Ian Phillips (BFA Film and Video) was the recipient of the Best In Borough, Best Film and Best Director awards for There Goes the Neighborhood, Triborough Film Festival, NYC, 1/28/23, and screened There Goes the Neighborhood, International Film Festival, NYC, 2/18/23, and Lower East Side Film Festival, NYC, 5/6/23.

Rich Tu (MFA Illustration as Visual Essay) was creative talk host at Asian Creative Festival 2023, Industry City, NYC, 5/20-5/21/23.

Paul Vogeler (BFA Fine Arts) had a solo exhibition, “Naturaleza Nocturna,” SGR Galería, Bogotá, 3/31-5/6/23.

Taili Wu (MFA Computer Art) had a solo exhibition , “Little Peanut,” CC Gallery, Taipei City, 5/9-6/3/23.

Arin Yoon (MFA Photography, Video and Related Media) was featured in “Arin Yoon: Motherhood and the Military,” Lenscratch, 5/10/23.

2010

Sophia Dawson (BFA Fine Arts) had work in the group exhibition ”Young, Gifted and IcoKnick,” The Knickerbocker Hotel, NYC, 2/1-4/30/23, and was featured in ”Four Remarkable Emerging Black Artists Transform The Knickerbocker Hotel St. Cloud Rooftop Into Thoughtful Gallery Experience,” Forbes, 2/28/23.

Natan Dvir (MFA Photography, Video and Related Media) was featured in “Photography exhibition o ers insight into Israeli culture,” Cyprus Mail, 4/13/23, and had work in the group exhibition “Diversity: A State of Mind,” Larnaca, Limassol and Nicosia, Cyprus, 4/23-6/4/23.

Bennett Elliott (BFA Film and Video) directed episodes of Season 3 of Couples Therapy, Showtime, 4/28/23.

Darya Golubina (BFA Fine Arts) had a solo exhibition, “Surrender,” Super Secret Projects, Beacon, NY, 5/13-6/3/23.

Anthony Iacono (BFA Illustration) had a solo exhibition, “Glimpse,” Marinaro, NYC, 5/11-6/17/23.

Lana Khayat (MFA Computer Art) was featured in “‘Conversation With the Wilderness’ by Lana Khayat,” Islamic Arts, 12/10/22.

Dina Litovsky (MFA Photography, Video and Related Media) was featured in “In the Flash with Dina Litovsky,” Street Photography, 4/19/23, and photographed “I’m a Couples Therapist. Something New Is Happening in Relationships,” The New York Times, 5/16/23.

Leonora Loeb (MFA Fine Arts) curated “Hard Measure: Pooneh Maghazehe + Kate Steciw,” Underdonk, NYC, 5/13-6/18/23.

Angela Riechers (MFA Design Criticism) wrote “Kaleidoscope of Culture: The Radiant Art of ‘Colours of Africa,’” Print, 2/6/23.

Devin Oktar Yalkin (BFA Photography) photographed “John Cale Makes It New Again,” The New Yorker, 1/15/23.

2011

Kristin Garay (BFA Fine Arts) co-wrote Designing Engaging and Interactive Synchronous Online Class Sessions, EdTech Books, 2022. Theresa Himmer (MFA Fine Arts) had work in the group exhibition “Knowing the Ropes,” The Hallwyl Museum, Stockholm, 2/7-3/5/23.

Aileen Kwun (MFA Design Criticism) wrote “Redefining the ‘New’ in Lunar New Year,”

1/21/23, and “When Pretty Walls Tell a Deeper Story,” 3/9/23, The New York Times, and had work in the group exhibition “Ukraine Relief Benefit,” Artland, NYC, 1/27-1/28/23.

Anaïs La Rocca (BFA Advertising) was appointed director of the design agency Brand New School, NYC, 2/28/23.

Adehla Lee (MFA Fine Arts) was featured in “A Portfolio: Adehla Lee,” Juxtapoz, 3/8/23, and had a solo exhibition, “How To Break The Spell,” OCHI, Los Angeles, 3/11-4/22/23.

Tina Lugo (BFA Illustration) was featured in “Inked in Providence,” Providence Online, 3/31/23.

Sophocles Plokamakis (BFA Cartooning) had work in the group exhibition “New You,” One Art Space, NYC, 1/20-1/22/23.

Stephanie Rodriguez (BFA Illustration) published Doodles from the Boogie Down, Penguin Random House, 4/23/23, and was featured in “ Latina writer and illustrator publishes book on culture in the Bronx,” NY1 Noticias, 5/8/23.

2012

Nir Arieli (BFA Photography) was featured in “‘Flocks,’ the living sculptures of Nir Arieli,” Objects, 2/1/23.

Andrew Brischler (MFA Fine Arts) had work in the booth presented by Gavlak Gallery, Felix Art Fair, Los Angeles, 2/15/23.

Dario Calmese (MPS Fashion Photography) participated in “Design Matters Live with Dario Calmese and Debbie Millman,” Creative Mornings, NYC, 12/15/22, and is featured in Aida Amoako’s book As We See It, Laurence King Publishing, 1/2/23.

M. Benjamin Herndon (BFA Fine Arts) had a solo exhibition, “andforththroughthemista-

mountainameadow,” Emerson Dorsch, Miami, 4/30-6/3/23.

Elektra KB (BFA Visual & Critical Studies) had work in the group exhibition “Think Tank: Reproductive Agents,” Donnaregina Contemporary Art Museum, Naples, Italy, 2/26-5/1/23.

Peter Ash Lee (MPS Fashion Photography; BFA 2009 Photography) photographed “How One Hairstylist Is Reimagining a 2,000-YearOld Korean Art Form,” Vogue, 2/17/23, and “Lil Yachty on His Big Rock Pivot: ‘F-ck Any of the Albums I Dropped Before This One,’” Billboard, 3/8/23.

Lee Ann Norman (MFA Art Criticism and Writing) participated in “The Poetics of Criticism,”Leslie-Lohman Museum of Art, NYC, 12/16/22.

Nasrah Omar (BFA Photography) was featured in “Photographs That Show the ‘Fire and Thunder’ of Contemporary Life,” Aperture, 5/5/23.

Haehyun Park (BFA Advertising) was featured in “Creative Minds: Haehyun Park’s deliciously simple concept of happiness includes solo dives and Dr. Dre’s music,” Campaign Asia, 1/4/23.

Brandon Soucy (MFA Illustration as Visual Essay) was appointed senior director of communications and marketing for the Principal Partnerships O ce, Virginia Tech, Blacksburg, VA, 2/28/23.

2013

Anna Paula Costa E Silva (MFA Fine Arts) had work in the group exhibition “Art For Women’s Lives,” apexart, Rio de Janeiro, 12/7/22-2/17/23.

Supranav Dash (BFA Photography) was featured in “The Year in New Yorker Photography,” The New Yorker, 12/19/22.

Kat Fajardo (BFA Cartooning) received honors for writing and illustrating Srta. Quinces, Pura Belpré Awards, American Library Association, 1/30/23.

Lauren Hom (BFA Advertising) was featured in “Content Entrepreneur Lauren Hom Teaches Fellow Creatives How to Build Their Businesses,” The Tilt, 12/26/22.

Chemin Hsiao (MFA Illustration as Visual Essay; BFA 2011 Animation) hosted “Watercolor Workshop: Spring Blooms,”Queens Botanical Garden, NYC, 4/15/23.

Mathias Kessler (MFA Art Practice) had a solo exhibition, “Wasted Sunset,” Galerie Heike Strelow, Frankfurt, Germany, 3/245/13/23.

Star Montana (BFA Photography) had work in the group exhibition “You Belong Here: Place, People, and Purpose in Latinx Photography,” Princeton University Art Museum, Princeton, NJ, 2/11-5/7/23.

Jamie Perkins (MPS Fashion Photography) had a solo exhibition, “Dreams of Transcendence,” County Gallery, Palm Beach, FL, 4/15-5/6/23.

Matt Shaw (MFA Design Criticism) wrote “The Forgotten History of Storefront for Art and Architecture,” Frieze, 12/5/22, and “‘An expansion of the public sphere:’ how video transformed the world,” The Guardian, 3/3/23.

Ilona Szwarc (BFA Photography) was artist-in-residence and had an open studio event, Field Projects, NYC, 3/26-5/7/23.

Brian Whiteley (MFA Fine Arts) had work in the group exhibition “Bestiary: Artefacts, Allegories, Representations,” Crux Galerie, Athens, Greece, 2/9-3/25/23, and “Center Street Studio: Translations in Print,” University Hall Gallery at UMass Boston, Boston, 3/6-5/13/23.

2014

Melanie Aronson (MFA Social Documentary Film) was interviewed on“CEO Builds a Community Platform that Makes Socialising More Authentic,” I Am CEO Podcast, 2/3/23.

Justin Aversano (BFA Photography) was featured in“From fashion photographer to NFT artist: Justin Aversano on Web3 trends and the power of healing through art,” Vogue, 2/13/23.

Harsha Biswajit (MFA Computer Art) was featured in “ From techno-inspired rave bags to pants that depict neurons, this Chennai-based gender neutral fashion label’s creations are conversation starters,” The Hindu, 4/14/23.

Ja’Tovia Gary (MFA Social Documentary Film) was featured in “The Film World Doesn’t Know What to Make of Ja’Tovia Gary,” Cultured, 2/10/23, and “The Evolving Visual Multitudes of Ja’Tovia Gary,” Mubi, 5/1/23, and had the solo exhibitions, “You Smell Like Outside,” Paula Cooper Gallery, NYC, 2/11-3/11/23, and “I Know It Was the Blood,” The Dallas Museum of Art, Dallas, 4/23-11/5/23.

Jameson Green (BFA Illustration) was featured in “Jameson Green will be the debut artist in a new Artspace, Phaidon, and Independent limited edition program,” Artspace, 4/23/23.

Genna Howard (BFA Illustration) was featured in “5 Artists on Our Radar in February 2023,” Artsy, 2/6/23.

Zak Krevitt (BFA Photography) created the art for “Is This the Trend Report of the Future? An AI Interprets the Fall 2023 Menswear Season,” Vogue, 2/6/23.

Alison Kuo (MFA Fine Arts) hosted “‘Altering Altars’ with Alison Kuo,” Baxter St. at Camera Club NY, NYC, 3/18/23.

Molly Matalon (BFA Photography) photographed “Blonde Ambition,” New York, 12/7/22.

Caroline Tompkins (BFA Photography) photographed “How Central Ohio Got People to Eat Their Leftovers,” The New York Times, 1/1/23, and “Still Crushing on Logan Lerman: Your internet boyfriend is all grown up,” New York, 1/20/23.

Holly Trotta (BFA Advertising) was interviewed in “Interview: Production Designer Holly Trotta,” Vents, 1/24/23.

Terence Trouillot (MFA Art Criticism and Writing) was featured in “The Year in Review: Frieze Editors on Art in 2022,” Frieze, 12/15/22.

2015

Najeebah Al-Ghadban (MFA Design; BFA 2013 Design) illustrated “For the First Time Ever, I’m Optimistic About Women in the Movie World,” The New York Times, 1/26/23.

Yasi Alipour (BFA Photography) was the recipient of the 2022 Biennial Competition Award, The Louis Comfort Ti any Foundation, NYC, 1/27/23, and had a solo exhibition, “The Desire to Be a Corner (Lis-

ten),” Schlomer Haus Gallery, San Francisco, 5/12-6/24/23.

Michael Bailey-Gates (BFA Photography) photographed “Sam Smith Seeks Self-Acceptance and Catharsis, and a Sound to Match,” The New York Times, 1/26/23.

Hovey Brock (MFA Art Practice) wrote “Samuelle Green, Judith Henry & Lizzie Wright,” The Brooklyn Rail, 3/1/23.

Vincent CY Chen (BFA Fine Arts) was featured in “10 Standout Emerging Artists Discovered at NADA and Untitled Art in Miami,” Galerie, 12/2/22, and had a solo exhibition, “Xenogenesis,” Steve Turner, Los Angeles, 4/29-5/27/23.

Dana Davenport (BFA Photography) was featured in“Bright Ideas,” Bust, 3/16/23. Hayley Gold (BFA Cartooning) was featured in “A Year of Free Comics presents a Beat Original: Hayley Gold’s Pure Indulgence,” Comics Beat, 5/19/23.

Emmanuel Iduma (MFA Art Criticism and Writing) wrote “How Nigeria’s Ideological and Ethnic Map Reflects Its Enduring Divides,” Literary Hub, 2/22/23.

Carlos Jaramillo (BFA Photography) had a solo exhibition, “Tierra Del Sol,” Guerrero Gallery, Los Angeles, 12/9/22-1/14/23, and photographed “Diego Calva and the Detour That Took Him to Babylon,” The New York Times, 1/3/23.

Wednesday Kim (BFA Fine Arts) had work in the group exhibition“Mental: Colours Of Wellbeing,” ArtScience Museum, Singapore, 9/3/22-2/26/23.

Christybomb (a.k.a. Christy Lee) (MFA Fine Arts) had a solo exhibition, “The Bomb Family,” Ricco/Maresca Gallery, NYC, 2/143/14/23.

Evelyn Lee (BFA Film and Video) wrote, directed and produced Mother Daughter, which was released by Goldenview, Carnation Pictures, 12/1/22.

Enle Li (BFA Design) was featured in “Motion Designer Enle Li on the Joys of Teaching,” Creative Review, 4/17/23.

Tali Margolin (BFA Fine Arts) had work in the group exhibition “Intersections,” Howard County Arts Council, Ellicott City, MD, 12/16/22-2/4/23.

Paola Ochoa (MFA Social Documentary Film) screened Hermanas, San Diego Latino Film Festival, San Diego, 3/9-3/19/23.

Ti any Smith (MFA Photography, Video and Related Media) gave a talk, “Marilyn Nance in Conversation with Ti any Smith,” Pratt Institute, NYC, 4/11/23.

Jocelyn Tsaih (BFA Design) created the illustrations and graphics for the entrances of The San Francisco Museum of Modern Art, 11/10/22.

William Warasila (BFA Photography) was featured in “Will Warasila: Quicker Than Coal Ash,” Lenscratch, 1/6/23.

Alex Cassetti (BFA Photography and Video) had a solo exhibition,“Broadway is Closed,” Mirabo Press, Bu alo, NY, 3/3-3/31/23. 2016

Daryl Myntia Daniels (MFA Fine Arts) was the selected artist for the Gender Equality Art Initiative, PayPal, NYC, 3/12/23.

Sean Donovan (MFA Fine Arts) had a solo exhibition, “Praxis of Matter,” M23, NYC, 1/13-2/26/23.

Chioma Ebinama (MFA Illustration as Visual Essay) was featured in “The Best Children’s Books of 2022,” The New York Times, 12/8/22.

Raymond Hwang (BFA Illustration) had a solo exhibition, “Lambent Fire,” Latitude Gallery, NYC, 12/21/22-1/30/23.

Dozie Kanu (BFA Film) was featured in “When Will Artist Dozie Kanu Find Home?,” Cultured, 4/18/23.

Jaedoo Lee (BFA Design) was interviewed in “Pen & Paper: Jaedoo Lee,” HypeBeast, 2/23/23.

Amalia Mourad (MFA Fine Arts) had a solo exhibition, “Iron Age,” Zaratan—Arte Contemporânea, Lisbon, Portugal, 1/5-1/21/23.

Nobuaki Nogamoto (BFA Advertising) was interviewed in“Creative Minds: Nogamoto’s bucket list is like Costco’s receipt–long and driven by FOMO,” Phuket Times, 2/10/23.

Sophie Parker (MFA Fine Arts) had a solo exhibition, “Super Natural,” Room 57 Gallery, NYC, 2/17-3/7/23.

Scott Ruderman (MFA Social Documentary Film) was featured in“MTV Documentary Films Acquires Rights To Pay or Die, Powerful Film On Americans ‘Held Hostage’ By High Cost Of Insulin,” Deadline, 5/30/23.

Dana Stirling (MFA Photography, Video and Related Media) was featured in “Dana Stirling: Why Am I Sad?,” Lenscratch, 5/4/23. 2017

Kesewa Aboah (BFA Fine Arts) was featured in “Kesewa Aboah on Modelling, Body Printing, and the Freedom of Making Mistakes,” Elle, 4/6/23, and had a solo exhibition, “A Lightness,” Incubator 23, London, 4/194/30/23.

Kriti Bisaria (MPS Fashion Photography) was featured in“Bhopal: Kriti Bisaria’s underwater photographs wow art lovers,” MSN, 1/9/23.

Kyle Browne (MFA Art Practice) had a solo exhibition, “ Seaworthy Seductions: A Taste of Intimacy,” Gallery at Spencer Lofts, Chelsea, MA, 4/15-6/10/23.

Adebunmi Gbadebo (BFA Fine Arts) gave a talk, “Learning From Edgefield,” The Metropolitan Museum of Art, NYC, 12/3/22; had a solo exhibition, “Remains,” Claire Oliver Gallery, NYC, 1/13-3/11/23; and was featured in “Haunting Generational Trauma in ‘Remains’ by Adebunmi Gbadebo at Claire Oliver Gallery In Harlem,” Forbes, 2/11/23.

Installation view of “Super Natural,” a solo exhibition by SOPHIE PARKER (MFA 2016 Fine Arts), Room 57 Gallery, NYC, 2/17-3/7/23. Photo by Daniel Greer.

Sandra Itainen (MFA Social Documentary Film) screened Coming Around, Thessaloniki International Documentary Festival, Thessaloniki, Greece, 3/7-3/8/23.

Ming Ma (BFA Fine Arts) was selected as one of the“50 New Wave: Creatives,” The Fashion Awards, London, 12/5/22, and was featured in “What to Watch: Emerging Chinese Influencers to Watch in 2023,” Women’s Wear Daily, 1/9/23.

Mika Orr (MPS Directing) was featured in “Interview: Mika Orr,” Vents, 12/2/22.

Toma Vagner (BFA Illustration) illustrated “The Filmmakers Who Voyaged Inside the Body,” The New Yorker, 5/15/23.

Poyen Wang (MFA Computer Art) was the recipient of Triangle Arts Spring 2023 Residency, 3/9/23, and had work in Dumbo Open Studios 2023, Triangle Arts, NYC, 4/22-4/23/23.

Jaenam Yoo (BFA Design) was featured in “Jaenam Yoo’s synthetic, dream-like drawings focus on the beauty in the mundane,” Creative Boom, 5/9/23.

2018

Storm Ascher (BFA Visual & Critical Studies) was featured in “The Best Booths of New York Art Week 2023,” Artsy, 5/12/23.

Johnnie Chatman (MFA Photography, Video and Related Media) gave a talk, “PhotoAlliance Lecture Series: Johnnie Chatman and Charlotta Hauksdóttir,” Randall Museum, NYC, 12/1/22.

Ann Collins (MFA Art Writing) wrote “Meret Oppenheim: My Exhibition,” 12/15/22, “Benoît Platéus: Other Percolators,” 2/1/23, and “Ficre Ghebreyesus: I Believe We Are Lost,” 5/3/23, Brooklyn Rail

Andrea Cordoba (MFA Social Documentary Film) produced two episodes of Eva Longoria: Searching for Mexico, CNN, 3/26/23.

Tyler Furey (BFA Illustration) had work in the group exhibition “Concept Art Association’s Gallery Show,” LightSource, San Francisco, 3/1-3/31/23.

Kiya Kim (MFA Art Practice) had an installation, You Make Me Smile, in the group exhibition “Together, to Gather,” Sinsa House, Seoul, 4/14-5/10/23.

Clara Kirkpatrick (MFA Illustration as Visual Essay) illustrated “Turns Out Everything in Your Home Is Toxic,” The New Yorker, 5/14/23.

Haleigh Mun (BFA Illustration) had a solo exhibition, “From New York, to You,” SVA Seocho Gallery, Seoul, 3/4-3/21/23.

Kelsy Postlethwait (MPS Branding) wrote “The Mess + Magic of Dynamic Duos,” Print, 5/10/23.

Sabrina Puppin (MFA Fine Arts) had work in the group exhibition “Abstraction, Layers, and Perception,” Riverside Gallery, 3/31-4/13/23.

Masamitsu Shigeta (BFA Fine Arts) was featured in “Artist Masamitsu Shigeta Finds the Beauty in the Mundane,” Vents, 12/16/22.

Hanna Washburn (MFA Fine Arts) was interviewed in “Taking Up Space: In Discussion With Hanna Washburn,” Femme Art Review, 1/30/23, and “Hanna Washburn’s Upcycled Cloth Sculptures Celebrate Memories,” Cultbytes, 4/26/23.

Yiyuan Yuan (MFA Computer Arts) was featured in“Yiyuan Yuan: 5 Things I Wish Someone Told Me When I First Became a Filmmaker,” Authority, 12/11/22.

2019

Sadia Fakih (MFA Fine Arts) had a solo exhibition , “Mythologies of the Interspace,” Vivianeart, Calgary, Canada, 5/19-7/9/23.

Jess Xiaoyi Han (BFA Illustration) was featured in “5 Artists on Our Radar in April 2023,” Artsy, 4/4/23.

John Kazior (MA Design Research, Writing and Criticism) wrote “‘Nature-rinsing’ Is the Perfect Term for Our Age of Climate Anxiety,” Fast Company, 12/14/22.

Ji Eun Lim (MAT Art Education) had work in the group exhibition “She Is 2023,” One Art Space, NYC, 3/10-3/16/23.

Carla Maldonado (MFA Photography, Video and Related Media) was selected for The Lockdown artist residency, The Locker Room, NYC, 3/1-3/31/23.

Jax (a.k.a. Jackson McGoldrick) (BFA Photography and Video) was featured in RuPaul’s Drag Race: Season 15, MTV, 1/6/23.

Dana Robinson (MFA Fine Arts) had a solo exhibition, “Turtle Shell,” Turley Gallery, Hudson, NY, 5/6-5/28/23.

Arantxa X. Rodriguez (MFA Fine Arts) had work in the group exhibition “Celebrating art by women: If not now, then when?,” Mexican Cultural Institute NY, NYC, 3/7-3/25/23, and was featured in “Paint with Arantxa X. Rodriguez,” AI-AP, 5/4/23.

Ling-Hsiu Tsai (a.k.a. The Alice Tsai) (MFA Computer Arts) was the recipient of the Artist Development Fund, Adobe Stock, 12/20/22.

Matt Williams (MFA Illustration as Visual Essay) was featured in “Matt Williams on Making a Career Change,” Creative Review, 1/2/23.

Hugo Yu (BFA Photography and Video) photographed“Colorful Stories for Children, With the Darkest History as Backdrop,” The New York Times, 4/26/23.

Yihuang Zhou (BFA Design) was featured in “Pepsi’s New Logo—What Designers Like (And Don’t Like) About the Refresh,” AdAge, 3/29/23.

2020

Lune Ames (MFA Art Writing) was a panelist for a roundtable hosted by New City Critics, Urban Design Forum and Urban Omnibus/The Architectural League, NYC, 1/25/23.

Daniela Dwek (BFA Computer Art, Computer Animation and Visual E ects) gave a talk “Finding Your Authentic Voice,” TEDx Saint Andrews School, Boca Raton, FL, 4/21/23.

Veronica Fernandez (BFA Fine Arts) had a solo exhibition, “Where I Go to Sin and Cry,” presented by Sow & Tailor at Frieze Focus LA, Los Angeles, 2/16-2/19/23, and was featured in “6 of the Best Artworks at Frieze Los Angeles 2023, From a Jennifer Bartlett Masterwork to a Powerful Debut by a 24-Year-Old Rising Star,” Artnet News, 2/17/23.

Catherine Finsness (MFA Social Documentary Film) screened Cloistered, SFFILM Documentary Film Festival, San Francisco, 4/13-4/23/23.

Rachel Hyein Kim (BFA Design) created cover art for K-pop artist Leehan’s album Neverland, 1/10/23.

Xinya Li (BFA Design) was featured in “Peace in Ukraine: How One Artist Is Making A Di erence,” Forbes, 5/25/23.

Anisa Li-A-Ping (BFA Computer Art, Computer Animation and Visual E ects) was the recipient of ARTWorks 2023/24 Fellowship Jamaica Center for Arts & Learning, NYC, 5/8/23.

Jimmy Mezei (MFA Fine Arts) had work in the group exhibition“A Painting is a Painting is a Painting,”ArtPort Kingston, Kingston, NY, 4/15-5/28/23.

Carlos Rosales-Silva (MFA Fine Arts) had a solo exhibition, “Border Logic,” Sargent’s Daughters, Los Angeles, 4/1-5/13/23.

Linda Streicher (MFA Fine Arts) had work in the group exhibition “Alternate Side Parking,” Starta Arta, NYC, 4/26-5/26/23.

Natcha Wongchanglaw (MPS Digital Photography) was the recipient of the IPE 164 Award, Royal Photographic Society, Bristol, UK, 12/8/22; had work in the group exhibition “The RPS International Photography Exhibition 164,” Royal Photographic Society Gallery, Bristol, UK, 1/28-5/7/23; and was featured in “A Look at New York’s Couchsurfing Community, in Portraits,” Feature Shoot, 3/7/23. Yufei Yu (BFA Computer Art, Computer Animation and Visual E ects) was featured in “3D Art Designer Yu Yufei: Transforming the Dreamlike Beauty into Reality,” Financial Content, 5/8/23.

2021

Flora Bai (MFA Illustration as Visual Essay) was featured in “Flora Bai on art as self-healing, developing her style, and exploring parallel worlds via shoes,” Creative Boom, 3/23/23.

Jon Key (MA Design Research, Writing and Criticism) had a solo exhibition, “Second Goodbyes,” High Line Nine presented by Steve Turner, NYC, 4/6-4/29/23.

Doi Kim (MFA Fine Arts) had a solo exhibition, “Velvet,” ChaShaMa, NYC, 1/20-2/6/23.

Ricardo Saca (MPS Branding) wrote “Rock On, Spotify! The Marketing Genius of ‘Wrapped,’” 12/2/22, and “The New Pepsi Logo Proves the Mass Appeal of Nostalgic Rebrands,” 3/31/23, Print, and was a judge for the Advertising category of the 2023 Print Awards, 3/1/23.

Alexander Si (MFA Fine Arts) had the solo exhibitions “170 FORSYTH,” Ki Smith Gallery, NYC, 1/21-2/26/23, and “Fulfillment Center, Pt.1,” SPACES, Cleveland, OH, 2/24-4/28/23, and was interviewed in “A Brooklyn-Based Artist’s Latest Installation: A Fake Real Estate O ce,” Brooklyn, 2/1/23.

Xinyu Wo (MFA Fine Arts) had a solo exhibition, “Starry Heavens, Moral Law,” VillageOne Art, NYC, 5/4-5/27/23.

Gonnie Zur (BFA Film) was the recipient of Best Women Student Filmmakers, DGA Student Film Awards, NYC, 12/14/22.

2022

Woosik Choi (MFA Fine Arts) was featured in “All Eyes On: Woosik Choi,” Suboart, 5/8/23.

Yuan Fang (MFA Fine Arts; BFA 2019 Visual & Critical Studies) had a solo exhibition, “Stratospheres,” Half Gallery, NYC, 1/112/11/23, was featured in“What Would Francis Bacon’s Paintings Look Like If He Listened to Katy Perry?,” Brooklyn, 1/19/23, and “Wave After Wave,” Phillips, 3/8/23.

Gabrielle Ghzala Laguerre (BFA Photography and Video) had work in the group exhibition “39th Annual Members Show,” Ashawagh Hall, East Hampton, NY, 5/265/29/23.

Zhijun He (BFA Illustration) was featured in “Beautiful Illustrations and Sketches By Zhijun He,” Design You Trust, 4/9/23.

Yirui Jia (MFA Fine Arts) had a solo exhibition, “Inviting Me to Me,” COMA Gallery, Darlinghurst, Australia, 1/13-2/18/23.

Kostas Lales (MFA Fine Arts) was interviewed in “In Focus: Kostas Lales and the human at the core of art,” Art Scene Athens, 3/29/23.

Ailyn Lee (MFA Fine Arts; BFA 2017 Illustration) was selected as artist-in-residence at Vermont Studio Center, Johnson, VT, 1/1/23, and Wassaic Project, Wassaic, NY, 2/1/23.

Janet Lee (BFA Illustration) was featured in “Sister-Run Business Encourages People To ‘Feel Better’ Through Nostalgic Stationery,” The Ticker, 12/10/22.

Jesse Liu (BFA Illustration) had a solo exhibition , “Spring Fever,” Yiwei Gallery, Los Angeles, 3/4-4/2/23, and was featured in “Jesse Liu’s Spring Fever in California,” Arts & Collections, 3/4/23.

Mónica Llorente (MFA Fine Arts) had work in the group exhibition “The Storms Inside,” Triangle Loft, NYC, 4/15-4/29/23.

Xiaohan Lu (MPS Digital Photography) was interviewed in “Photographer Interview: Xiaohan Lu and Her Colorful Realist Shows,” Cliche, 5/3/23.

Yuchen Lu (BFA Illustration) was featured in “Yuchen Lu creates dreamlike illustrations inspired by Greek mythology and Chinese folklore,” Creative Boom, 4/25/23.

Ashley McLean (BFA Photography and Video) was the recipient of the 2023 Photography Fellowship, En Foco, Inc., NYC, 1/30/23.

Reema Mehta (MPS Branding) was interviewed in “Reema Metha: In Conversation with a Creative Brand Strategist,” Desi Creative, 4/10/23.

Yiting Nan (BFA Design) was featured in “Yiting Nan combines the skillset of graphic design and printmaking with animation,” It ’s Nice That, 3/2/23.

Dylan Rose Rheingold (MFA Fine Arts) had a solo exhibition, “Lost in the Dress Up Bin,” T293, Rome, 5/11-6/1/23.

Brooke Viegut (MA Design Research, Writing and Criticism) wrote “Embalmed in Plastic: The Nuances of Groucho Glasses,” Print, 3/1/23.

Zhiyu You (BFA Illustration) was featured in “Zhiyu You depicts the struggles facing women in a diabolical series of Hell Scene paintings,” Creative Boom, 3/15/23. 2023

Ramie Ahmed (BFA Photography and Video) was featured in “Photographer Ramie Ahmed Is Preserving LGBTQ Beauty,” Paper, 3/16/23.

Anoushka Bhalla (MFA Fine Arts) had work in the group exhibition“A Pound of Flesh,” Charmoli Ciarmoli, NYC, 5/12-6/18/23.

Helia Chitsazan (MFA Fine Arts) had a solo exhibition, “After Midnight…,” Fou Gallery, NYC, 5/6-7/16/23.

Katinka Huang (MFA Fine Arts) had work in the group exhibition “Really From,” NYC Culture Club, NYC, 4/17-5/21/23.

J Yueqiao Ma (MFA Computer Arts) was featured in “Meet 3 tattoo artists shaking up NYC’s tattoo scene,” Washington Square News, 5/5/23.

Yin Ming Wong (MFA Fine Arts) was featured in “Artist Yin Ming uses ping pong as a metaphor for the act of code switching,” It’s Nice That, 1/18/23.

IN MEMORIAM

Scot Rienecker

(BFA 1994 Illustration) died on February 20, 2023, of injuries from a fire at his home in Jersey City, New Jersey, as was reported in The Su olk Times and Jersey City Times He was 50. Nicknamed “Goat” since childhood, Rienecker grew up on Long Island and graduated from Mattituck High School in 1990. After SVA, he worked variously as a tattoo artist, managing editor of Tattoo Revue and the voice actor for a character inspired by and named after him on MTV’s animated series Downtown (1999), created by classmate Chris Prynoski (BFA 1994 Animation). Rienecker was also a multimedia artist and active in Jersey City’s creative community. He is survived by his parents, Hank and Lynn; brother, Hank (Camille); nieces Gabrielle (Brendan) Ga a, Brittni (Mateusz) Kowalski, and Bayleigh; and nephew, Gri n.

Bill Brady

(MFA 1996 Fine Arts) died on April 30, 2023, due to complications from asthma. He was 55. Brady grew up in Kansas City, Missouri, and attended Grandview High School, Kansas City Art Institute and the Skowhegan School of Painting and Sculpture before enrolling at SVA. After completing his MFA, Brady worked for the Guggenheim Museum and Chase Manhattan Art Collection and then founded several galleries in New York, Kansas City, Los Angeles and Miami. He is survived by his wife, Young Mee Kang; parents, Patricia and Charles; siblings Deborah Collins, Pauline (Mark) Shugart, Donald (Lisa), and Mitzi (Chris) Gobbi; and nieces and nephews, Parker and Miranda Collins; Macy, Jacob and Charlie Brady; and Colin and Benjamin Gobbi.

Stephen Brown

(1970 Illustration) died on October 21, 2022, at the age of 67. Brown lived in Gloucester Township, New Jersey, near Philadelphia. For 35 years he worked as an insurance broker, co-founding his own business, Ford Brown Agency, in Philadelphia, and he was known as a devoted Philadelphia sports fan. He is survived by his wife, Susan; children, Stacey (Eamonn) Fox and Stephen Jr.; siblings Craig (Mary), Lisa Bonfrancesco and Denise Anderson; and grandchildren Xantara, Elaina, Antonio, Angelo and Evelyn. He was predeceased by his brother Dennis.

William M. Duryea, Jr.

(BFA 2001 Photography), died at the age of 86 on December 24, 2022. Duryea grew up on Long Island and in South Carolina, and attended Middlesex School in Connecticut before joining the U.S. Marine Corps. He worked on Wall Street, retiring as a partner at the H. Hentz & Co. brokerage firm, and enrolled at SVA in his 60s. After graduating, his work was exhibited at the National Arts Club and published in several Long Island publications. Duryea was an avid athlete and sailor, active in many local organizations and a longtime

THIS PAGE Stills of Goat, a character inspired and voiced by the late SVA alumnus Scot Rienecker, from MTV’s Downtown (1999), created by fellow alumnus Chris Prynoski. © MTV/Viacom.

member of the Westminster Kennel Club Dog Show’s board of governors. He is survived by his wife, Lovejoy; children William (Alliston), Melissa (Craig) Lewis, Robert (Tina) and David; and eight grandchildren.

Sandra Imho

(BFA 1974 Fine Arts) died on April 29, 2023, at the age of 70, and memorialized in an obituary in the Tribeca Citizen Imho was raised in Connecticut and, after moving to Manhattan to attend SVA, remained a New Yorker for the rest of her life. Shortly after graduation she worked as a screen-printer for artists such as Richard Serra before embarking on a long career as a video animator. For decades, Imho lived in a loft downtown, until the collapse of a neighboring parking garage earlier in April destroyed a shared wall and forced her and her three pets—two cats, one dog—out of their home. Their ordeal was covered by The Guardian and New York Post, and Imho eventually secured temporary housing, but died soon after. She was remembered by friends as a devoted film and animal lover and dedicated museumgoer.

Howard Moo Young

(1967) died on February 15, 2023, at his home in St. Andrew Parish, Jamaica, at the age of 80, and memorialized in obituaries in the Jamaica Observer and Caribbean National Weekly Moo Young grew up in Jamaica, attending Wolmer’s Boys’ School in Kingston before moving to New York to enroll at SVA. After college, he worked for ad agencies in Jamaica before co-founding his own, Moo Young/Butler and Associates, for which he also served as creative director. The firm created logos and campaigns for institutions such as the Jamaica Stock Exchange and the government’s National Works Agency. He was also a lifelong photographer, whose work won awards and appeared in many magazines and newspapers; a regular contributor to Jamaican newspaper The Gleaner; and a longtime educator, teaching design at Edna Manley College and mentoring local youth.

A FROM THE ARCHIVES

fter graphic designer Alvin Lustig died in December 1955, his wife, Elaine, was surprised when many of his clients asked that she continue the practice. Twenty-eight years old at the time, she had a ﬁne-arts degree but had never designed, though she had worked with Alvin at his New York City o ce for most of their seven years together. She would go on to become one of the preeminent American designers of the mid-20th century.

One of the business’s clients was Meridian Books, a highbrow, low-budget imprint run by publisher and editor Arthur Cohen, whom Elaine would go on to marry. Lustig Cohen ultimately created jackets for nearly 100 Meridian titles, including works by political theorist Hannah Arendt and playwright Tennessee Williams. Later design luminaries like Ellen Lupton have credited her strikingly minimal work—featuring expressive type and a judicious use of imagery—as a template for contemporary book cover design.

“The book jackets and museum catalogs I designed in the 1950s and 1960s were intended to give the voice of the book primacy of place,” Lustig Cohen once wrote. “In experimenting with abstraction, photography and a playful use of conceptual ideas, I found solutions that were not being used in mainstream publishing or museum catalog design at the time.”

In 1972, Lustig Cohen and her husband started a bookstore, Ex Libris, specializing in rare 20th-century art and architecture publications, run out of their Upper East Side home. She designed the catalogs, now coveted items in their own right, and ran the store on her own after Arthur died in 1986 until the late 1990s. She also continued her art practice; Julie Saul Gallery in Manhattan represented her from 1994 until her death in 2016.

The Elaine Lustig Cohen Collection at the Milton Glaser Design Study Center and Archives, comprising much of the late artist’s graphic design work, was established in 2017 by Lustig Cohen’s daughter, Tamar Cohen. For more information on Lustig Cohen’s life and work, visit elainelustigcohen.com.

—Lawrence Gi n is the assistant archivist at the School of Visual Arts.

A selection of book jackets, along with a shopping bag from the avante-garde art and architecture book store

Ex Libris (above), designed by the late artist and graphic designer Elaine Lustig Cohen, part of the Elaine Lustig Cohen Collection at the Milton Glaser Design Study Center and Archives at the School of Visual Arts.

Sound pro Mark Ulano (1975 Film and Video) was nominated for an Academy Award for his work on James Gray’s Ad Astra (2019).

SVA x Film

James Jean (BFA 2001 Illustration) has created the poster art for winners of the Academy Award for Best Picture: Daniel Kwan and Daniel Scheinert’s Everything Everywhere All at Once (2022, above) and Guillermo del Toro’s The Shape of Water (2017, below). (See page 50.)

Academy Awardwinning composer Michael Giacchino (BFA 1990 Film and Video) made his directorial debut with the Marvel Studios special Werewolf by Night (2022).

While animation is now often digital, in its earliest days each cel was a hand-drawn, individual work of art.

(See page 46.)

Disney/Pixar’s

The Incredibles (2004) features contributions from composer Michael Giacchino (BFA 1990 Film and Video) and Gini Cruz Santos (MFA 1996 Computer Art), among others.

SVA alumni work in set, costume and makeup design as well—Judy Chin (BFA 1988 Film and Video) won an Academy Award for her makeup work on Darren Aronofksy’s The Whale (2022).