Issuu

VISUAL ARTS

JOURNAL

School of Visual Arts Magazine Fall/Winter 2025–26

JACK WOLFGANG BECK, SVA Department of Advertising Design Evening School poster, 1961. Image courtesy of the SVA Archives.

VISUAL ARTS JOURNAL

CONTENTS Fall/Winter 2025–26

FROM THE PRESIDENT PAGE 2

MY SVA An SVA-inspired artwork by animator, illustrator, and alumnus Yiting Nan

SVA CLOSE UP News and events from around the College

PORTFOLIO: MARÍA BERRÍO Meticulous, monumental collages by the artist and SVA alumnus

MARÍA BERRÍO PHOTO © BRAD OGBONNA, 2025. COURTESY OF HAUSER & WIRTH.

Q+A: RALPH APPLEBAUM The SVA alumnus on Filmmakers Dialogue, his long-running screening and Q&A series at the College

SHELF LINERS Recent publications by SVA community members

FOR GOOD MEASURE A visit to CUP, a nonprofit led by SVA alumnus Pilar Finuccio DOUBLE TAKES SVA alumnus Steve Birnbaum captures music history and the passage of time with @thebandwashere

SPACE CRAFT BFA Design and BFA Illustration students reach for the stars in an SVA–NASA collaboration

ALUMNI AFFAIRS | PAGE 66 Alumni Notes and Exhibitions For Your Benefit Alumni Society Awards Donors In Memoriam

FROM THE PRESIDENT // MY SVA VISUAL ARTS JOURNAL

Fall/Winter 2025–26 Volume 33, Number 2 EDITORIAL STAFF

Angie Wojak, executive director Joyce Rutter Kaye, editorial director Greg Herbowy, editor Tricia Tisak, copy editor VISUAL ARTS PRESS, LTD.

Gail Anderson, creative director Brian E. Smith, design director Mark Maltais, art director Anthony Carhuayo, senior designer Jennifer Liang, assistant director CONTRIBUTORS

Jeremy Cohen Emily Cushman Maeri Ferguson Karlotta Freier Lawrence Giffin Michelle Gigante Beth Kleber Diana McClure Kylie Mitchell Yiting Nan Rodrigo Perez Miranda Pierce © 2025, Visual Arts Press, Ltd. Visual Arts Journal is published twice a year by SVA External Relations. SCHOOL OF VISUAL ARTS

209 East 23rd Street New York, NY 10010-3994

facebook.com/schoolofvisualarts instagram.com/svanyc threads.net/@svanyc tiktok.com/@svanyc x.com/sva_news youtube.com/user/svanewyorkcity

As you may have noticed, the Visual Arts Journal has changed. After nine years, the magazine’s format has been refreshed, to create novel ways of showcasing our community’s stories and successes. This new look is a work in progress, but we hope you enjoy it. Your comments are welcome at news@sva.edu. It is an apt time to reimagine the Journal, as the School of Visual Arts is itself in the midst of change. On September 1, the College’s ownership transferred from the Rhodes family to the SVA Alumni Society, marking the institution’s conversion to a 501(c)3 tax-exempt organization. Nearly a decade of preparation went into this transition, and there is much work to be done still—the results of which I look forward to sharing with you in the months ahead. I am pleased to announce this momentous step, which I believe will best ensure SVA’s legacy and enhance our future as a global leader in art and design education for generations to come.

p r e s i de n t s c ho ol of v i s ua l a r t s

COVER

To introduce the reformatted Visual Arts Journal, the Visual Arts Press commissioned an original wraparound cover illustration by artist Karlotta Freier (MFA 2021 Illustration as Visual Essay). Freier’s clients include Hermès, The New Yorker, Montblanc, and Red Bull. To see more of her work, visit karlottafreier .com or @karllikesotto.

sva.edu/journal

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MY SVA

For this issue’s My SVA art, animator and illustrator Yiting Nan (BFA 2022 Design) created a scene of herself in the College’s Digital Imaging Center. “No design student at SVA can forget their time spent in the DIC,” she says. “It was an old tradition: printing our work before class, often at the very last minute.” To see more of Nan’s work, visit yitingnan.com or @nineteen_nan.

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VISUAL ARTS JOURNAL

News and events from around the College

C A M P U S N E W S

Alumni in Sync THE SCHOOL OF VISUAL ARTS opened its 2025–26 exhibition season last month with “Wavelengths,” a juried show of work by 15 alumni artists from seven of the College’s undergraduate and graduate programs, jointly presented by SVA Alumni Affairs and Development and SVA Galleries. An anonymous alumni jury selected the artists following a call for submissions from New York City–based graduates from the classes of 2010 through 2020. While the work on view represents a range of approaches and media, the artists share a focus on process-based practice and the pursuit and expression of joy amid adversity. 4 VISUAL ARTS JOURNAL

FROM LEFT ShinYeon Moon, Pearls, 2025, graphite on paper; Jeong Hur, Watchers, 2024, mixed media on paper pulp. On view at “Wavelengths,” SVA Chelsea Gallery, through Saturday, December 6. Images courtesy of the artists.

“SVA Galleries serve as a unique and vital space for the entire SVA community to exchange ideas, explore new perspectives, and celebrate creative excellence,” say SVA Alumni Affairs and Development Director Jane Nuzzo and SVA Galleries Director Tyson Skross.

“Through ‘Wavelengths,’ we are proud to spotlight the achievements of our alumni and create opportunities for them to bring their real-world experience back to campus, enriching the community they helped shape.” The participating artists are Gabrielle Benak (BFA 2019 Fine Arts), Alex Cassetti (BFA 2016 Photography and Video), Sophy Chang (BFA 2019 Fine Arts), Jeong Hur (MFA 2020 Photography, Video, and Re-

lated Media), Ray Hwang (BFA 2016 Illustration), Georgia Lale (MFA 2016 Fine Arts), Jing Lin (MFA 2018 Photography, Video, and Related Media), Victor Liu (MFA 2014 Art Practice), Ivy Johnson (BFA 2018 Illustration), ShinYeon Moon (MFA 2017 Illustration as Visual Essay), Vanessa Powers (BFA 2013 Fine Arts), Francena Poyo-Ottley (BFA 2019 Photography and Video), Paul Rho (BFA 2019 Photography and Video), Carra Seals (MFA 2020 Fine Arts), and Christine Stiver (MFA 2017 Art Practice). “Wavelengths” is on view through Saturday, December 6, at the SVA Chelsea Gallery, 601 West 26th Street, 15th floor. For more information, visit sva.edu/events. [Maeri Ferguson]

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OPPOSITE, CLOCKWISE FROM TOP Jing

Lin, The Last Code, 2023, AI-generated image installation; Vanessa Powers, Glory, 2023, oil on canvas; Gabrielle Benak, Help Me Do a Backbend 01, 2024, pencil and pen on wood panel. On view at “Wavelengths,” SVA Chelsea Gallery, through Saturday, December 6. Images courtesy of the artists.

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The MPS Branding program at SVA has launched a three-book series in partnership with Rockport Publishers to inform, educate, and inspire practitioners and the broader public with titles that reflect the program’s multifaceted approach to teaching. In her foreword to the series, MPS Branding Chair Debbie Millman, who co-founded the program in 2010 with MFA Design Co-Chair Emeritus Steven Heller, says that the project “gathers together and documents the brand research and pedagogy we’ve been investigating and creating over the past 15 years. The very faculty that have invented and developed this curriculum have codified their learning and their teaching for the first time in this manner.” The series debuted in July with A History of Brands by Richard Shear, one of the program’s founding faculty and partner and chief creative officer of invōk brands. The book traces branding’s evolution—from early logos and trademarks to today’s complex systems of identity and meaning—while examining the cultural impact of iconic brands and the transformative role of technology in the field. Two titles will follow this fall. The Meaning of Branded Objects by Tom Guarriello, a founding faculty member holding a PhD in psychology, explores how brands shape the meaning of everyday objects and influence consumer behavior through symbolism, storytelling, and design. The third release, Brands in the Age of A.I., by faculty member and series editor Mark Kingsley, founder and chief creative officer of Malcontent, offers a timely look at how artificial intelligence is reshaping branding, consumer engagement, and loyalty. Kingsley describes it as an exploration of “the historical and cultural personas of AI,” and a proposal for how brands can use it to forge deeper connections with audiences. [Joyce Rutter Kaye] 6 VISUAL ARTS JOURNAL

PORTRAIT BY MARK SHAW, COURTESY JASON FORREST.

A T R I P L E P L AY

Chart from Streets to Stability, a 2024 McKinsey/ Jason Forrest Agency project with Crankstart on ameliorating homelessness in San Francisco. Image courtesy of Crankstart.

Charting a New Path NEXT FALL , the School of Visual Arts will inaugurate its latest graduate degree program, a 10-month course of study leading to a master of professional studies in data visualization and communication, to be chaired by data-visualization expert, designer, and editor Jason Forrest. Data visualization is the practice of communicating information through compelling visual means—whether charts and graphs, motion graphics, installations, interactive applications, or other creative solutions. Its contemporary practice requires knowledge of traditional and emerging design methods as well as specialized skills such as data engineering and collection, analysis, and coding. Accordingly, MPS Data Visualization and Communication will offer a hybrid curriculum, Forrest says, balancing instruction in design, technical competencies, and professional and entrepreneurial studies. Forrest is the founder and principal of the Jason Forrest Agency, which

specializes in data visualization, interactive-software development, and information design. He was previously an associate partner and director of the data visualization lab at McKinsey & Company, and has worked in UX design, product management, and digital media strategy across a range of industries. He is the cofounder and former editor in chief of Nightingale, the Journal of the Data Visualization Society, and founder of its biannual print edition, Nightingale Magazine. He is also one-half of Data Vandals, a data-art group that has produced temporary public installations and interactive games in New York City and abroad, and an electronic musician and producer.

“Data visualization is mainly taught in data science, data engineering, and business analytics schools,” he says. “These programs focus on data engineering and analysis, with limited emphasis on data visualization. Our program aims to offer a comprehensive education, with a dual focus on design as well as data, and an emphasis on developing job-ready skills and professionalism to broaden students’ career prospects.” To learn more about MPS Data Visualization and Communication at SVA, visit sva.edu. [Greg Herbowy]

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C A M P U S N E W S

CLOSE UP

C A M P U S N E W S

Stills from the Art21 "New York Close Up" film Guadalupe Maravilla’s ‘Mariposa Relámpago’ (2025). © Art21, Inc. 2025.

“Thinking of animism and the energy that these materials hold is really important to what I’m exploring.”

Magic School Bus The latest batch of documentaries by the arts nonprofit Art21 includes a short film devoted to a recent work by artist Guadalupe Maravilla (BFA 2003 Photography). Guadalupe Maravilla’s Mariposa Relámpago, a 13-minute film about the artist’s mobile and auditory sculpture of the same name, built from a former school bus and inspired by his journey as a child from El Salvador to the U.S., premiered in February. It is the second Art21 documentary to spotlight his work; the first, Guadalupe Maravilla & the Sound of Healing, debuted in 2021. “Even when I’m making sculptures, I’m always really thinking about using re-

cycled materials for them and repurposing objects,” Maravilla says in the new film. “Thinking of animism and the energy that these materials hold is really important to what I’m exploring.” Another new Art21 short, on artist Trey Abdella (BFA 2016 Illustration), will premiere on Wednesday, December 10. Art21 is known for its films and public programs, which are dedicated to highlighting noteworthy contemporary artists and their work. For more information about the organization or to watch its documentaries, visit art21.org. [GH]

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CLOSE UP

C A M P U S N E W S

Purr-spective

Every few months, New York City straphangers encounter a new work by an SVA faculty member via the College’s long-running series of posters displayed in the city’s subway stations. This past summer’s featured artist was faculty member Teresa Fasolino (1968 Illustration). Fasolino’s painting of a cat contemplating a Manhattan sunset was inspired, she says, by Hiroshige’s One Hundred Famous Views of Edo (1856–58). “I had a narrative in mind of a magical view of New York City in the evening,” she says. “Something uplifting on the need for art, artists, and imagination in difficult times felt right.” The fall 2025 SVA poster, featuring an illustration by faculty member Frances Jetter, went up in stations at the end of August. [Rodrigo Perez] 10 VISUAL ARTS JOURNAL

SCHOOL OF VISUAL ARTS A NEW CHAPTER

In September, the School of Visual Arts underwent one of the most significant changes in its 78-year history when the family of founder Silas H. Rhodes transitioned ownership of the College to the SVA Alumni Society, a tax-exempt institution that provides scholarships to SVA students. This milestone closely follows SVA’s 75th anniversary and signals a future-focused plan to ensure the College’s status as a leader in art and design education for generations to come. “For almost eight decades, my family has shepherded SVA through countless changes in the landscape of higher education amid New York City’s ever-evolving arts community,” says SVA President David Rhodes. “It feels like the natural next step for such a beloved institution to be guided into its future by the Alumni Society, an organization comprising leadership that cares about SVA as much as I do.”

The SVA Alumni Society, founded in 1972, not only provides grants and scholarships to students but represents the interests of SVA alumni in the U.S. and abroad. Its longstanding support of SVA’s educational programs and community, Rhodes says, makes it ideally suited to establish a seamless continuation of the College’s mission and culture. Throughout the transition, SVA’s

academic offerings, admissions and enrollment process, and other daily operations will continue uninterrupted. “My own relationship with SVA spans more than half of its entire history, so the opportunity to help lead the College into this new era is both exciting and deeply meaningful,” says sports-branding designer and expert Todd Radom

(BFA 1986 Media Arts), who has chaired the SVA Alumni Society board for the past 10 years. “Our entire board is bound together by our love for SVA, and we look forward to building upon the Rhodes family’s great legacy as we work with the SVA community to educate future generations of global creative citizens.” [MF]

CLOSE UP

Last February, Adriana Valdez Young was promoted from acting chair to chair of MFA Interaction Design, succeeding the founding chair, Liz Danzico, who launched the program in 2009 with Steven Heller, MFA Design cofounder and co-chair emeritus and special assistant to SVA President David Rhodes.

N E W S

Valdez Young joined MFA Interaction Design as a faculty member in 2020 and became director of programs in 2023 before assuming the position of acting chair later that year. Outside of SVA, she has led design research at 3x3, littleBits, Openbox, and Stae, and taught at the Copenhagen Institute of Interaction Design. In the early 2000s, she was part of a group of young artists who created a clandestine living space in a Rhode Island shopping mall, a project featured in the documentary Secret Mall Apartment (2024). She is a senior advisor at Sour design studio, serves on the board of Superbloom, and holds a bachelor’s in history from Brown University and a master’s in city design from the London School of Economics. Over the past two years, Valdez Young says, “I’ve had the opportunity to build on Danzico and Heller’s legacy and evolve the curriculum to reflect all the radical changes happening in interaction design with the emergence of AI. . . . My vision is to nurture the next generation of ethical interaction-design advocates: practitioners who have a similar code of conduct to that of doctors—to do no harm—and who are empowered to not only create, but to also think critically, care, protect, and heal our broken systems.” [Kylie Mitchell]

PORTRAIT BY STEPHANIE ALVAREZ EWENS, COURTESY ADRIANA VALDEZ YOUNG.

C A M P U S

Moral Coding

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PEOPLE IN NEW YORK CITY can expect to encounter pigeons, but visitors to the School of Visual Arts campus may now find themselves in the company of an especially large—and friendly—one: Savvy, the College’s new mascot, which made its real-world debut this summer, as SVA geared up for the 2025–26 academic year. Savvy’s origin dates to 2018, when SVA Student Affairs used cartoon-like pigeon illustrations throughout their new-student orientation materials. The birds are synonymous with urban life, says Bill Martino, associate executive director of Student Affairs, and the motif became an annual tradition, decorating not just orientation materials but SVA-branded swag like T-shirts and hats. Two years ago, the Visual Arts Students Association, the College’s student government, proposed a pigeon mascot to the SVA administration as part of VASA’s ongoing effort to build and strengthen a unified

Bird Is the Word school identity and sense of community across all undergraduate and graduate programs. With President David Rhodes’s approval, a student-led contest to create the mascot began. Last spring, students were invited to choose among three finalists’ designs. The winning look, by James Aquilone (BFA Comics), features SVA’s

signature blue and red colors, an apple-like artist’s beret (a wink to New York’s “Big Apple” nickname), and high-top sneakers. “This mascot was created by the student body for the student body, and I cannot wait for the community to interact with Savvy more throughout the year,” says VASA President Liam Shanley (BFA Photography and Video). “I hope we can see Savvy at VASA’s Annual Halloween Party, or other community events like SVA’s Open House or Accepted Students Day. There are so many opportunities for Savvy to meet our community, and I am excited for it." To keep up with Savvy’s adventures throughout the 2025–26 SVA academic year, follow the mascot on its Instagram, @savvy_sva. [GH]

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CLOCKWISE FROM TOP LEFT Savvy

illustration courtesy of SVA student James Aquilone, creator of the College’s new mascot; Savvy meets SVA staff, photos by Bill Martino.

CLOSE UP

C A M P U S N E W S

MFA Visual Narrative’s anniversary book (left), designed by Marianna Mezhibovskaya (MFA 2016 Products of Design) with a logo by Rick Landers (MFA 2006 Design). Photos from the department’s anniversary party, with environments by Mezhibovskaya, by Borderless Colors.

To Be Continued

Ten years ago this past July, the first class of graduates from the MFA Visual Narrative program at SVA received their degrees. To celebrate this milestone anniversary, the department produced a range of activities throughout the 2024–25 academic year.

Last fall, the department unveiled a commemorative logo, designed by Rick Landers (MFA 2006 Design), as well as a “Where are they now?” Instagram series spotlighting MFA Visual Narrative graduates and their achievements. (Watch them at @mfavn.) In the spring, the department produced a commemorative book, featuring a community directory and

acknowledgments of the program’s innumerable supporters through the years. Titled MFAVN: 10 Years of Story First and designed by Marianna Mezhibovskaya (MFA 2016 Products of Design) with MFA Visual Narrative Alumni and Special Projects Coordinator Joan McCabe, it was produced on Risograph printers in the program’s RisoLab by faculty member Aidan Fitzgerald. At the end of May, more than 120 MFA Visual Narrative alumni gathered with faculty, students, and staff for an anniversary party featuring a trivia game with prizes, interactive art wall, and photo booth, all designed and fabricated by Mezhibovskaya. MFA Visual Narrative was founded in 2013 by its chair, illustrator and comics artist Nathan

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Fox (MFA 2002 Illustration as Visual Essay). Its multidisciplinary, low-residency curriculum—which pairs intensive summer semesters with online study in the fall and spring—offers students scheduling flexibility and the freedom to choose their media and visual narrative style. “Our program is story first,” Fox says. “We challenge all of our students to be both the author and artist of everything that they create, which ultimately results in something that is unique to their personal expression and vision— their story voice.” Since its inception, MFA Visual Narrative has evolved and grown, adding the popular RisoLab, directed by Pan Terzis (MFA 2015 Fine Arts; BFA 2006 Illustration), in 2015, and recruiting faculty from the worlds of theater, publishing, animation, film, gaming, graphic narrative, and interactive design, among others. Graduates include an inaugural Obama Foundation Fellow and ASL learning app developer, a semifinalist for the Sony Future Filmmakers Award, a Library of Congress–recognized children’s book author, a game designer for Exploding Kittens, a designer and producer at Apple, and a winner of Best Student Work in Game Writing at the 2025 Narrascope conference. “Storytelling is one of the most powerful forces in the human world, and a command of story is the most critical foundation that any creative professional can possess,” Fox says. “It is the universal language that connects and moves us all.” [GH]

FA C U LT Y M E M O R I A M

R E C E N T PA S S I N G S

The School of Visual Arts community lost two noted faculty this past spring. Artist and critic Max Kozloff, who taught in the MFA Photography, Video, and Related Media program, died on April 6 at the age of 91, and pioneering video and installation artist Dara Birnbaum, who taught in MFA Art Practice and MFA Fine Arts, died on May 2 at the age of 78.

BIRNBAUM TAUGHT IN

KOZLOFF JOINED SVA in 1989 to teach in the MFA photography program, which had welcomed its first class the previous fall, and served as a foundational instructor in the department for nearly 10 years. (His wife, Joyce Kozloff, who survives him along with their son, Nikolas, taught briefly at the College.) By then, he had been a prominent editor and writer for nearly 30 years, as a critic for The Nation, editor of and contributor to Artforum, author of several books, and recipient of a 1968 Guggenheim Fellowship. In the late 1970s, he dedicated himself to his color photography of street scenes and portraiture, which was exhibited in venues throughout the world. In 2015, MFA Photography, Video, and Related Media presented Max Kozloff: Unfolding Photography Criticism, a symposium celebrating his work.

MFA Art Practice from 2011 through 2017, and MFA Fine Arts from 2015 through 2024. She was widely recognized for her video works that interrogated the aesthetics, conventions, and subtexts of televised media—most famously through Technology/Transformation: Wonder Woman (1978–79), a remix of excerpts from the 1970s superhero series that laid bare the retrograde ideology behind the notionally feminist story. She also created installations of multichannel

videos, prints, and photographs. In addition to her many honors, including a 2021 Guggenheim Fellowship and 2024 American Academy of Arts and Letters Award, in 2017 Carnegie Mellon University, her alma mater, established an annual award in her name, for a graduating student working at the intersection of art and technology. Birnbaum’s work is in the permanent collections of such institutions as the Museum of Modern Art, New York, and Whitney Museum of American Art. [GH]

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Dara Birnbaum, Kiss the Girls: Make Them Cry, 1979, two-channel video installation, two road cases. Installation view, Art Institute of Chicago, Chicago, 2016. Courtesy of Dara Birnbaum studio, Marian Goodman Gallery, and Electronic Arts Intermix (EAI), New York.

CLOSE UP

CAREER GOOOOOAL!!

PORTRAIT BY KAREEM BLACK, COURTESY RICH TU.

In June and July of 2026, Canada, Mexico, and the U.S. will host the FIFA World Cup, arguably soccer’s most prestigious competition, held every four years and including dozens of national teams vying for the top prize. In advance of the tournament, FIFA—the sport’s international governing body—commissioned artists to create posters for each of its 16 venues, and among those artists is BFA Design faculty member Rich Tu (MFA 2009 Illustration as Visual Essay). Tu’s poster, for MetLife Stadium in his home state of New Jersey, depicts the Statue of Liberty’s iconic torch, a soccer ball centered in its flame, against a background filled with other references to the game and the New York City metropolitan region. “The World Cup is about soccer, but it’s about civic pride, too,” Tu says of his design. “Togetherness is something that we need more than ever right now.” The FIFA World Cup 2026 posters are available for purchase at allposters.com. [RP]

C A M P U S N E W S

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C A M P U S N E W S

Northern Exposure LAST FALL, MELISSA GUIDO (MFA 2022 Illustration as Visual Essay; BFA 2013 Illustration) traveled to Reykjavík to study sustainable and traditional Icelandic textile printing and production techniques on a U.S. Fulbright Student Program Open Study/Research Award.

Guido is the third SVA alumnus to receive a prestigious Fulbright award through SVA Career Development’s Fulbright Assistance Program, established in the 2016–17 academic year to help guide students through the intensive application process. This year, the program raised

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SVA alumnus Melissa Guido recently spent 10 months in Iceland as a Fulbright grantee, studying sustainable and traditional textile printing and production. Photos courtesy of Guido.

its tally to five: Max Kornfield (BFA 2020 Visual and Critical Studies) received an Open Study/Research Award to study Neapolitan art and architecture at the Università degli Studi Suor Orsola Benincasa, in Italy, and Jessica Reisch (MFA 2024 Computer Arts) received an English Teaching Assistant Award and is now at West University of Timișoara, in Romania. In Reykjavík, Guido was the sole visual artist in a cohort of about 20 Fulbright fellows and scholars that included scientists, writers, and a composer. Over her 10-month stay, she taught block printing to local art students; made experimental inks and printing pastes using all-natural ingredients; designed and knit a lopapeysa, an Icelandic style of sweater made with local wool; and built relationships with local artists and entrepreneurs looking to expand and strengthen the country’s commitment to ecologically responsible design and manufacturing practices. Along with her fellow Fulbright recipients, she met with Iceland’s president, Halla Tómasdóttir. She also witnessed several auroras borealis, or northern lights, and a volcanic eruption;

and created many drawings and prints inspired by the country’s dramatic landscapes. “I first went to Iceland a couple of years ago and was struck by its natural beauty and folklore, as well as the local fabrics and textiles,” Guido says. “Almost everyone there learns tactile skills at a young age, and there are a lot of young people there who are thinking about how to reduce or repurpose textile waste.” Her goals now, she says, include using what she learned to incorporate more sustainable processes—and textile work—into her own practice, opening her 19 FALL/ WINTER 2025–26

own print studio, and maintaining her connections with Iceland’s artist community. To that end, she has joined Íslensk Grafík, the Icelandic Printmakers Association, and made tentative plans with her host institution, Myndlistaskólinn í Reykjavík, or the Reykjavík School of Visual Arts, to return as a visiting faculty member for future printmaking workshops. She is also developing a body of work she hopes to exhibit in an Icelandic gallery. (Along with being a SVA graduate, Guido worked in the SVA Printshop for nine years and teaches at New Jersey City University.) [GH]

SHELF LINERS

G O O D R E A D S

Manifest | Thirteen Colonies, by Wendel A. White. Courtesy of Radius Books.

Books by SVA alumni and faculty

Art/Photography

CROSSING THE FINISH LINE

DOGTANGLE

POWERFUL LIKE A DRAGON

TALKING TO MY FATHER’S GHOST: AN ALMOST TRUE STORY

Thushanthi Ponweera; illustrated by Maithili Joshi (BFA 2022 Illustration) Union Square Kids Hardcover, $18.99

BORDER DOCUMENTS

Arturo Soto (MFA 2008 Photography, Video, and Related Media) The Eriskay Connection Softcover/softcover with print, €25/€65

Christopher Cheng; illustrated by Jacqueline Tam (MFA 2016 Illustration as Visual Essay) Roaring Book Press Hardcover/e-book, $18.99/$10.99

MANIFEST | THIRTEEN COLONIES

Wendel A. White (BFA 1980 Photography) Radius Books Hardcover/signed hardcover, $70/$75

Children’s/Picture THE BOY WHO LIVED IN A SHELL: SNIPPETS FOR WANDERING MINDS

John Himmelman (BFA 1981 Media Arts) Margaret Ferguson Books Hardcover/e-book, $16.99/$9.99

WORDS WITH WINGS AND MAGIC THINGS

Matthew Burgess; illustrated by Doug Salati (faculty, BFA Illustration; MFA 2014 Illustration as Visual Essay) Tundra Books Hardcover/e-book/audio, $19.99/$10.99/$14.99

Comics/Graphic Novels CALL ME EMMA: ONE CHINESE GIRL FINDS HER WAY IN AMERICA

Makee (BFA 2019 Illustration) Street Noise Books Paperback, $23.99

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Max Huffman (BFA 2016 Cartooning) Fantagraphics Hardcover, $19.99

Alex Krokus (faculty, BFA Animation) Chronicle Books Paperback, $22.95

Cookbooks VEGANA ITALIANA

Tara Punzone (BFA 1999 Photography) with Gene Stone Rodale Books Hardcover/e-book, $32.50/$14.99

Poetry BY THE SHORE OF LAKE MICHIGAN

Tomiko and Ryokuyō Matsumoto; co-translated by Kyoko Miyabe (chair, Humanities and Sciences) UCLA Asian American Studies Center Press Paperback, $27

The couples’ passionate immersion in the U.S.–Japan tanka world of the time led to the selection of one of Tomiko’s poem’s to be read at the Emperor’s annual poetry party in 1955, and then to the publication of their poetry anthology. This English-language translation of the Matsumotos’ book offers a look into the innermost thoughts and feelings of one Issei (first-generation) Japanese couple’s passage through the darkest chapter of Japanese American history, the unconstitutional incarceration of 120,000 people of Japanese descent. It is especially notable coming at a time when much of Issei literature remains untranslated.

Is it secretly watching over ten thousand people sound asleep? The moon above Heart Mountain shines clearly tonight

Nancy Matsumoto B Y T H E S H O R E of L A K E M I C H I G A N

BY THE SHORE of L AK E M ICHIG AN In 1960, Tomiko and Ryokuyō Matsumoto published a collection of their tanka poetry, titled ミシガン湖畔 (By the Shore of Lake Michigan). Their tanka — a traditional form of Japanese poetry — chronicled their lives over a seventeen-year period, from their 1942 forced relocation from Los Angeles to the Heart Mountain, Wyoming U.S. Government prison camp through their resettlement in Chicago at war’s end.

BY THE SHORE of L AK E M IC H IG A N by

Tomiko and Ryokuyō Matsumoto

– TO M I KO M AT S U M OTO –

By the Shore of Lake Michigan

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BY EMILY CUSHMAN

MARÍA BERRÍO

PORTFOLIO

THE AIRY M MENT OF BLUE RIB SENT STREA THROUGH AIR BY A Y DANCER, EXTENDED MEASUREME BY A SE

MOVE THE BBON— AMING THE YOUNG THEN FOR ENT ECOND

MARÍA BERRÍO

FIGURE, AND FINALLY DRAPED OVER ANOTHER’S SHOULDER FOR CUTTING— BELIES ITS SYMBOLIC WEIGHT. In her latest exhibition, “Soliloquy of the Wounded Earth,” at Hauser & Wirth on West 22nd Street this fall, artist María Berrío (MFA 2009 Illustration as Visual Essay) uses blue ribbon as a unifying motif, initially appearing in three images of the Fates, posing as dancers, before weaving through more intricate, denser compositions filled with figures, horses, and natural elements. Speaking recently of this new work, Berrío says she is “coming to terms with not trying to be another artist. I am trying to dig into myself, and this is what I love to do. These are my stories, my characters, my worlds. In this body of work, I made these large paintings, each of them carrying a world and carrying a story. They will come together and blend into this myth, as I construct a world in which people feel at this moment in time. . . . It’s a time to have less words and more images and actions.” This latest series, one of Berrío’s largest and most abstract, embraces escape and fantasy while grappling with the complexities of the contemporary world. Initially conceived as an extension of her 2024 series “The End of Ritual,” which featured dancers from the Gallim company who donned masks and costumes and inhabited both folkloric realms PREVIOUS PAGES María Berrío in her Brooklyn studio. © Brad Ogbonna, 2025. Courtesy of Hauser & Wirth.

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and contemporary scenes, “Soliloquy of the Wounded Earth” deepens and expands the narrative. It opens with the three images of individual dancers, each transformed into one of the Fates from Greek mythology: Clotho, the weaver, spins the thread of life; Lachesis, the

alloter, measures the thread to determine the length of a person’s life; and Atropos, the inflexible, cuts the thread, signifying death. These pieces confront the tension between control and surrender, asking what role fate plays in our lives and how much agency we truly possess.

BERRÍO ASKS THE VIEWER: “ARE WE SHAPING OUR OWN DESTINIES OR ARE WE MOVING WITHIN A LARGER, PREDETERMINED DESIGN?” The ribbon represents an individual’s life and fate—singular at first, but gradually intertwined with others as one connects to family, community, and, eventually, nation. These entanglements reflect the layered complexity of identity, shaped by the intersection of different cultures, backgrounds, and experiences. In some compositions, the ribbon’s role is overt, as in the works depicting the Fates. In others, Berrío invites the viewer to look more closely, as in The Ground of Being (2025), where the ribbon winds around several poles interspersed through a crowd. Elsewhere, ribbons merge into collective forms—woven into flags, as in Soliloquy of the Wounded Earth (2025)—where the strands of personal fate dissolve into a larger, shared identity. In these moments, the individual María Berrío, The Ground of Being, is subsumed by a greater whole, suggesting both 2025, collage with Japanese papers and the anonymity and power of collective belonging. watercolor paint on linen. Photo: Bruce White. © María Berrío. Courtesy of the Berrío’s own artistic journey is a weaving artist, Hauser & Wirth, and Victoria Miro. of communities and ribbons, reflecting a deeply personal merging of identities and experiences. She came to the United States from Colombia when she was 18, completing her BFA at Parsons School of Design before enrolling at the School of Visual Arts in 2007. She remained in New York after graduating with her MFA, but continued to incorporate remembrances, folklore, and imagery from her Colombian childhood, creating works that have been widely recognized for their aesthetic beauty, allegorical power, and deep engagement with issues like climate change, immigration, social justice, and women’s rights.

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MARÍA BERRÍO

“I want to tell stories,” Berrío says. “I want people to get lost in [the work] and transport themselves to a different world. When I’m making it, I put everything in it and then I see and digest what it is and see what it becomes.” As in many of her earlier series, Berrío uses select pictures from “Soliloquy of the Wounded Earth” as cautionary tales and coded messages. The title work embodies the dual concepts of rebuilding and collapse, reflecting the unsettling reality that, even when given agency over their own destinies, people may still choose conflict and destruction. Visually, it is among the most charged and graphic of her new images. Berrío constructed the flags and background of the composition using layered texts—fragments of letters and phrases that are half-obscured. Behind the lone person, who sits on a blue horse, a striking phrase partially emerges in red: “So much to rebuild in this world.” This message serves not only as a reflection on the present but also as a call to action. María Berrío, Lachesis, 2025, collage with Japanese papers and watercolor paint on linen. Photo: Bruce White. © María Berrío. Courtesy of the artist, Hauser & Wirth, and Victoria Miro.

María Berrío, Soliloquy of the Wounded Earth, 2025, collage with Japanese papers and watercolor paint on linen. Photo: Bruce White. © María Berrío. Courtesy of the artist, Hauser & Wirth, and Victoria Miro.

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“I’VE BEEN EN MATERIAL TELL ME WH THE PAPER TELL TO BE AND HOW IT WA Other works offer a more positive, hopeful vision of how we may live life if given control of our own fate. In The Ground of Being, a group of children gathers around a girl who appears to be levitating. Staring ahead, as if in a state of meditation, she is enveloped by a constellation of flags and ribbons— symbols of hope, unity, and the interconnectedness of individual lives and collective destiny. In another, Spent Suns and Starbirths, Berrío’s blue ribbon has become a gently flowing river, with two figures standing at its edge. As she often has, Berrío

portrays nature here in an untouched state, its serenity underscoring its fragility. The landscape is rendered with larger strips of textured paper that have been painted with visible brushstrokes, creating a sense of movement. “The backgrounds are turning more abstract and expressive, and I’ve been enjoying that,” she says. “I’ve been enjoying letting the material tell me what to do and letting the paper tell me what it wants to be and how it wants to behave”—a liberation of process that allows the picture to reveal itself organically.

María Berrío, Aminata Linnaea, 2013, collage with Japanese papers and watercolor paint on canvas. Collection the Weatherspoon Museum of Art, University of North Carolina, Greensboro, North Carolina. Photo: Jeannette May. © María Berrío. Courtesy of the artist, Hauser & Wirth, and Victoria Miro.

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MARÍA BERRÍO

JOYING LETTING THE AT TO DO AND LETTING ME WHAT IT WANTS NTS TO BEHAVE.” Berrío begins each work by sketching a scene on canvas or linen. She then builds her figures and forms through layering hundreds of torn or cut pieces of painted handmade Japanese paper. The paper itself carries distinct textures and expressive potential through its surface qualities, and Berrío engages in an active dialogue with her medium, allowing its physical character to shape, inform, and sometimes redirect her conceptual intentions. She has “accumulated a library of papers in her head,” she says, and as she works she empties drawers of

paper on the floor for easy access, knowing which ones will help bring her stories to life. Last year, she visited Japan for the first time, spending almost a month meeting with paper artisans and developing a deeper understanding of the material’s colors and textures after seeing them mirrored in her surroundings. Berrío’s images of the Three Fates in her new series nod toward the paper’s origins. She selected a special type that was dried atop wood grain, rendering its textured surface visible, to create the

María Berrío, Distant Gods and Aging Suns, 2024, collage with Japanese papers and watercolor paint on linen. Collection Ostillo Foundation, Austin, Texas. Photo: Bruce White. © María Berrío. Courtesy of the artist, Hauser & Wirth, and Victoria Miro.

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María Berrío, Anemochory, 2019, collage with Japanese papers and watercolor paint on canvas. Collection Perez Art Museum, Miami. Photo: Jeannette May. © María Berrío. Courtesy of the artist, Hauser & Wirth, and Victoria Miro.

FOLLOWING, LEFT María Berrío, Spent Suns and Starbirths, 2025, collage with Japanese papers and watercolor paint on linen. Photo: Bruce White. © María Berrío. Courtesy of the artist, Hauser & Wirth, and Victoria Miro.

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FOLLOWING, RIGHT María Berrío, The Augur, 2019, collage with Japanese papers and watercolor paint on canvas. Collection Princeton University Art Museum, Princeton, New Jersey. Photo: Jeannette May. © María Berrío. Courtesy of the artist, Hauser & Wirth, and Victoria Miro.

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dark, abstracted trees in the compositions. This deliberate engagement serves as an homage to the cyclical nature of creation: trees transformed into paper, then reimagined as trees once more. Each work carries the unique fingerprints of the trees they came from; each strip of paper brings forth its own story, in parallel with the ribbons. In her “Soliloquy of the Wounded Earth” series, Berrío shifts the per spective inward, exploring what would happen if humans controlled their own fate and life. Like many, she grapples with this uncertainty daily and, through her work, she transforms that questioning into a space for reflection and possibility. Her studio and work are a retreat but also a reflection of the current world. “My work is an escape but the compositions are dense,” she says. “There is a lot happening and it relates to how the world feels outside. There are pieces that are very hopeful but it also reflects the world.” In blending the fantastical with the urgent realities of our time, Berrío’s work becomes a mirror and a meditation—inviting viewers to confront the world as it is while imagining what it could be. María Berrío’s work is held in the permanent collections of the Brooklyn Museum, Metropolitan Museum of Art, and Whitney Museum of American Art, all in New York; Los Angeles County Museum of Art; and Yuz Museum, Shanghai, among others. She is represented by Hauser & Wirth and Victoria Miro. Emily Cushman is a collection specialist in the department of drawings and prints at the Museum of Modern Art, New York. Her writing has appeared in Feminist Studies and MoMA Magazine.

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CENTER FOR URBAN PEDAGOGY

FOR GOOD MEASURE A look inside CUP, the award-winning nonprofit dedicated to civic education and engagement By GR EG HE RBOWY Photos by JEREM Y CO H E N (BFA 2014 Photography)

FOUNDED IN 1997, the Center for Urban Pedagogy (CUP) is a Brooklyn-based nonprofit that produces accessible and engaging visual tools—such as games, books, and posters—that educate people about government policies and systems, and how they can harness that knowledge to effect positive change for themselves and their communities. Pilar Finuccio (faculty, MFA Products of Design; MFA 2018 Design for Social Innovation) has served as CUP’s executive director since 2023. In that role, she leads a team of seven staffers, who collaborate with freelance artists, attorneys, social workers, organizers, and, through CUP’s youth-education program, high-school students to research and produce a range of printed materials, videos, and interactive kits. Through plain language and inventive graphics and illustrations, these projects explain the

intricacies of the street-vendor licensing process, land-zoning laws, tenants’ rights, incarcerated trans people’s rights, and much more. CUP’s work is distributed by government offices, community boards, and local nonprofits throughout the city and beyond; has reached upwards of 500,000 people; and has won multiple honors, including a 2016 National Design Award for Corporate and Institutional Achievement from Cooper Hewitt, Smithsonian Design Museum. For the last 15 years, CUP has made its home in the Gowanus area, occupying an airy studio in a former can factory, where its neighbors include architects, artists, filmmakers, musicians, and small book publishers. This past summer, Finuccio walked the Visual Arts Journal through the space and talked about CUP’s history, mission, and culture.

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Pilar Finuccio at the studio of CUP, the Center for Urban Pedagogy, in Brooklyn's Gowanus neighborhood.

TOP

CUP's "What Is Zoning?" tool kit, which illustrates complex land-use regulations through game play.

CENTER FOR URBAN PEDAGOGY

FINUCCIO GREW UP in Florida and studied graphic design at North Carolina State University. After graduating, she moved back to her home state to work for the O, Miami Poetry Festival, a civic-minded annual event that aims to expose all residents of Miami-Dade County to poetry through site-specific installations and performances. That experience led her to the MFA Design for Social Innovation program at SVA, with its focus on using design for altruistic ends. While she was a student, CUP’s then–executive director visited the department to talk about the organization’s work; not long after graduating, Finuccio had joined its staff. “In graphic-design school, I didn’t know that work like CUP’s could be what I did,” she says. “When I saw what CUP was creating, I knew it reflected my interests. I wanted to use graphic design to support education.” Two years ago, Finuccio joined the faculty of another SVA program, MFA Products of Design, for which she co-teaches the course Design for Public Policy. “It’s very much in the same vein as what we do at CUP,” she says. “It’s about understanding the policy, laws, and systems that shape our society, and seeing where and how the design and decisions that underpin those laws and systems come together.”

ALTHOUGH THE BULK of CUP’s work is in print projects, the organization also creates interactive tool kits, designed to guide participants through especially byzantine topics. The three kits in use right now, “What Is Affordable Housing?,” “What Is ULURP?,” and “What Is Zoning?,” tackle complex and sometimes-contentious housing and land-use issues. “What Is Affordable Housing?” employs a felt wall chart and squares to help participants determine their eligibility for various affordable housing programs. “What Is ULURP?” includes role-playing cards and scripts to dissect the Uniform Land Use Review Procedure, the process through which New York City decides how land within the five boroughs can be utilized. The “What Is Zoning?” toolbox includes plastic tiles, building blocks, and a two-sided game board to illustrate zoning topics like allowable building types, heights, and footprints, as well as neighborhood density. These kits are used throughout the city at community-board meetings, usually with a CUP staffer facilitating the workshop. Additionally, CUP’s Youth Education program—through which they partner with local teens and educators to help them identify and research issues that impact their lives—often results in short-form documentaries or zine-inspired publications, produced by the students themselves and viewable on CUP’s website, welcometocup.org. These have covered such subjects as gentrification, assessing Bronx residents’ happiness and quality of life, and migrant students in New York City’s public schools. “The goal is to build civic curiosity, knowledge, and leadership—to have students see themselves as agents of change, and as capable of participating in the city and the systems that make it up,” Finuccio says.

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CUP has produced three tool kits to help New York City residents understand the city's complex land-use and housing policies, to better advocate for themselves and their communities.

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EACH YEAR, CUP produces between eight and 10 new or revised projects. Most often, these take the form of a printed work, whether a pamphlet, poster, or comic or picture book. The subject can be straightforward— for example, informing workers of their rights—or intimidatingly knotty, such as how to apply for asylum in the U.S. Depending on the intended audience, a publication can be produced in multiple languages: Vendor Power!, CUP’s 2009 street-vending guide, is in Arabic, Bengali, Chinese, English, and Spanish. Many of these projects originate in CUP’s Making Policy Public program. In late summer, the organization holds an open call, soliciting ideas from advocates and organizers about policies, systems, or processes that are affecting their communities. The winning entries are chosen by a guest jury and produced at no cost to the submitters through a collaboration among them, CUP, and freelance artists. CUP for Hire, an initiative through which CUP is a paid collaborator on socially minded

education and outreach tools, generates the remainder of the organization’s workload. Past CUP for Hire clients include the Center for Justice Innovation, for which CUP produced a series of picture books and graphic novels for children and teens about understanding and navigating family and dependency courts, and The Door, a long-standing youth-development organization in New York City that serves some 11,000 adolescents and young adults each year. THE CUP STAFF—comprising artists, educators, and social workers—cultivate a workplace where imagination and big ideas are encouraged. To blow off steam, they’ll gather for a round of exquisite-corpse drawing, posting finished works on the office’s door. On a recent work retreat, everyone was given $25 to spend at a nearby art-supplies store to make something that embodied the role they play in creating social change. (Finuccio built a fanciful pair of binoculars, a symbol for envisioning better futures.) And objects of interest

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and inspiration are all around, like a handmade flip book about baking apple pie—a gift to Finuccio from one of her SVA students. Throughout its history, CUP’s mission and culture have been a magnet for notable designers and illustrators. Its cofounders include Stella Bugbee, now the editor of The New York Times’ Style section, who also designed the CUP logo. Collaborators, fellowship recipients, and guest jurors have included such SVA community members as MFA Visual Narrative staffer Sarula Bao, Boyeon Choi (MFA 2013 Illustration as Visual Essay), BFA Illustration faculty and MFA Illustration as Visual Essay alumni Ishita Jain (2020) and Eugenia Mello (2017), Tala Safie (MFA 2018 Design), and Aishwarya Srivastava (MFA 2025 Design for Social Innovation). “Our work is a testament to how art and design can show us what we have, need, and want for ourselves and each other,” Finuccio says. “It’s a testament to all the care, hard work, and imagination it takes to make this city equitable, just, and beautiful.”

The CUP staff cultivate a fun, open workplace where imagination, big ideas, and play are encouraged, and personal idiosyncracies are celebrated.

Most often, CUP projects take the form of a printed work, whether a pamphlet, poster, or full-sized comic or picture book.

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SVA ALUMNUS

STEVE BI R N BAUM’S

@THEBANDWASHERE KEEPS MUSIC HISTORY ALIVE BY DIANA McCLURE

D |O |U |B |L |E 42 VISUAL ARTS JOURNAL

OPPOSITE David Bowie at Radio City Music Hall, Manhattan, 1973. Photo by Masayoshi Sukita, re-imaged by Steve Birnbaum. BELOW Notorious B.I.G. in Brooklyn, 1994. Photo by David McIntyre, re-imaged by Steve Birnbaum. Images courtesy of Steve Birnbaum/ @thebandwashere.

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Around 2017, Steve Birnbaum (BFA 2004 FILM AND VIDEO)

MADE HI S I N STAGRA M ACCOUN T, N OW KN OWN AS @THEBANDWASHERE, PU BLIC.

For years, Birnbaum—a photographer and filmmaker whose clients range from Harley-Davidson to Martha Stewart—had dabbled in a personal project, shared only with family and friends.

Bringing old personal photographs back to the places where they were taken, he would take new photos of the original pictures on site, aligning the compositions as closely as possible with their surroundings, which had often changed, for better or worse, over the intervening years. For Birnbaum—who has also created video profiles of alumni like KAWS, a.k.a. Brian Donnelly (BFA 1996 Illustration), and Rebecca Sugar (BFA 2009 Animation) for SVA Admissions—the exercise was about confronting the inevitable passage of time and the memories it leaves behind. “Everywhere we look or stand, someone once stood too, with their own story,” he says. “One day we’re here and the next we’re not.” After a friend began sharing some of Birnbaum’s re-creations on his own account, Birnbaum made the project public and began mining not his own private memories but our shared cultural history, and popular music in particular: the alleyway where Elvis Presley was mobbed with fans after his 1956 appearance on The Ed Sullivan Show. The Warner Bros. backlot where Prince was photographed

on a motorcycle for the cover of Purple Rain (1984). The Los Angeles warehouse where Beyoncé filmed her 2003 video for “Crazy in Love.” As Birnbaum’s project has grown over the years, so has its audience. Today his work has more than 371,000 followers, including Justin Bieber, Lana Del Rey, Blondie co-founder Chris Stein (1973 Fine Arts), and SZA. Birnbaum credits and tags the photographers of and subjects in the original images whenever he can. Sometimes, they have even shared their memories or thoughts about the pictures in the comments. Skateboarder Tony Hawk took things a step further when he met with Birnbaum earlier this year to re-create tricks in the same San Diego–area spots where he had been photographed more than 40 years earlier, for one of Birnbaum’s occasional non-music posts. Though nostalgia and pop culture are easy sells online, Birnbaum says that @thebandwashere, like the private project it grew out of, is personally driven. Hawk has been his favorite skateboarder since he was 10. Nirvana, another frequent subject, is Birnbaum’s all-time favorite band.

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“It’s rare that I’ll post any artist on my feed that I’m sundown, which offers the additional challenge of not familiar with or that I don’t like,” he says. “For the trying to match the waning daylight of the original. most part, everything you’re seeing is a part of me.” “Weather is always a factor,” he says. “The wind’s hapThe concept of @thebandwashere is so straightpening. I’m trying to dodge traffic. L.A. is really difficult. forward that it can obscure how involved the work Oftentimes, I’m shooting right into the sun, so somebehind it can be. Birnbaum draws his source imagery times the light comes through. . . . There’s a lot of things and inspiration from his own library of books and that you don’t see that go into capturing the photos.” records, online searches, old music magazines, and Birnbaum also recently finished filming what he his years of living and working in New York City. As hopes will be the first episode of a docuseries based far as locating image origins, Google Maps is a vital on the project, focusing on the context and creation resource, although its documentation of landmark album covers. The pilot’s only dates back to 2007. Clues from subject is Woodstock: Music from the OPPOSITE Minor Threat in signage, tour dates, and other ephemOriginal Soundtrack and More (1970), Washington, D.C., 1983. Photo era also aid in the detective work, the best-selling double album of live by Glen E. Friedman, re-imaged along with shoe-leather scouting. performances from the famous 1969 by Steve Birnbaum. ABOVE Minor Threat’s Ian “I was trying to find this Madonna festival. Its cover features a phoMacKaye (left) with Birnbaum photo and I could kind of gauge from tograph of a couple at the concert, in 2022. when the photo was taken, 1982, the mid-embrace, and features interviews Images courtesy of Steve path that she would have walked,” with the photographer, Burk Uzzle; Birnbaum/@thebandwashere. he says. “There’s this one spot that Fugazi and Minor Threat frontman I can’t find, but I know it’s got to be in the vicinity Ian MacKaye, who has cited the album as a major of all these other places that I found in this two- to influence; and one of the photo’s two subjects, a three-block radius. I know they walked there. They now-octogenarian widower. (The woman he is hugprobably went there. It’s got to be somewhere. Or ging on the cover is his late wife.) maybe it’s gone now?” Ultimately, Birnbaum knows @thebandwashere Birnbaum is working on the cover of the Wu-Tang has room to grow and transform. “There’s potential,” Clan’s 1993 debut, Enter the Wu-Tang (36 Chambers). he says. “But, you know, everything takes time.” He has revisited the site several times, trying to Diana McClure is a writer and photographer based tweak his point of view within the photograph to in New York City. Her work has appeared in Art Basel perfection. He’s also considering a Bruce Springmagazine, Art21, Cultured, catalogs, monographs, steen image that took place in New Jersey at and other publications.

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FAR LEFT

Johnny Cash’s Unchained (1996), photographed on the Cash family’s Nashville property. Cover photo by Andy Earl, re-imaged by Steve Birnbaum. NEAR LEFT

Madonna on St. Mark’s Place, Manhattan, 1983. Photo by Amy Arbus, re-imaged by Steve Birnbaum.

FAR LEFT

Elvis Presley outside of CBS Studios, Manhattan, 1956. Photo by Alfred Wertheimer, re-imaged by Steve Birnbaum.

NEAR LEFT

A teenaged Jimi Hendrix outside of his Seattle home, 1961. Photographer unknown, re-imaged by Steve Birnbaum.

FAR LEFT

The Ramones in Manhattan, c.1976. Photo by Danny Fields, re-imaged by Steve Birnbaum.

NEAR LEFT

Kareem AbdulJabbar in Los Angeles, 1975. Photo by John G. Zimmerman, re-imaged by Steve Birnbaum.

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NEAR RIGHT

SZA in Los Angeles, 2021. Photo by Blair Caldwell, re-imaged by Steve Birnbaum. FAR RIGHT

Cyndi Lauper by the 59th Street Bridge, Manhattan, 1983. Photo by Ozier Muhammad, re-imaged by Steve Birnbaum.

NEAR RIGHT

Blondie’s Debbie Harry at Coney Island, Brooklyn, 1976. Photo by Chris Stein, reimaged by Steve Birnbaum.

FAR RIGHT

Nirvana on a break from filming the video for “Smells Like Teen Spirit” (1991), directed by Sam Bayer (BFA 1987 Media Arts), Los Angeles. Photo by Kevin Estrada, re-imaged by Steve Birnbaum.

NEAR RIGHT

The White Stripes in Manhattan, c.2000. Photo by Ewen Spencer, re-imaged by Steve Birnbaum.

FAR RIGHT

Bruce Springsteen in Manhattan, 1979. Photo by Joel Bernstein, re-imaged by Steve Birnbaum. Images courtesy of Steve Birnbaum/ @thebandwashere.

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ABOVE Tony Hawk in Cardiff, California, 1982. Photo by J. Grant Brittain, re-imaged by Steve Birnbaum. OPPOSITE Hawk re-creates the pose in Brittain’s 1982 photo for Steve Birnbaum. Images courtesy of Steve Birnbaum/@thebandwashere.

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Amy Winehouse in Manhattan, 2007. Photo by Patrick Morgan, re-imaged by Steve Birnbaum.

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Still from Michael Jackson’s “Thriller” video (1983), directed by John Landis, Los Angeles. Re-imaged by Steve Birnbaum. Images courtesy of Steve Birnbaum/@thebandwashere.

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NA SA >>SPACE CRAFT

>>BFA DESIGN AND BFA ILLUSTRATION STUDENTS

>>CREATE POSTERS INSPIRED BY NASA’S

>>PLANNED ARTEMIS II MISSION

>>BY MAERI FERGUSON

SVA + NASA

IN SEPTEMBER , the School of Visual Arts presented “SVA + NASA: The Artemis II/Earthrise

Poster Project,” an exhibition of posters by BFA Design and BFA Illustration students, at the SVA Gramercy Gallery. The exhibition, planned with the NASA Office of STEM Engagement at the Goddard Institute for Space Studies, featured 24 works that imaginatively interpreted the goals and values of NASA’s upcoming Artemis II mission, during which four astronauts will orbit the moon. The mission is the next step in the agency’s path to establishing a long-term presence on the moon and, further into the future, a crewed voyage to Mars. “At SVA, we believe that creativity is essential to exploration, and it was a thrill to partner with NASA on a project that brings together the power of art and the wonder of science,” says SVA External Relations Executive Director Angie Wojak (BFA 1990 Media Arts), who facilitated the project with Manager of Strategic Alliances Erika Bettencourt (BFA 2004 Graphic Design), BFA Design Chair Gail Anderson (BFA 1984 Media Arts), BFA Illustration Chair Viktor Koen (MFA 1992 Illustration as Visual Essay), and BFA Design faculty James Daher (BFA 2001 Graphic Design) and Laina Leckie (MFA 1993 Computer Art). “This collaboration allowed our students to engage with real-world challenges and communicate big ideas about Earth, space, and our collective future, and to share their vision with the world.”

The posters reflected on humanity’s relationship with Earth and space, addressing themes of exploration, science, and discovery. A central source of inspiration was Earthrise, the famous photograph of Earth rising over the moon’s horizon, captured by American astronaut William Anders on NASA’s 1968 Apollo 8 mission, which was the first manned lunar orbit. The image, instantly iconic, has since served as a symbol of the ever-expanding perspective of humanity’s place in the universe—or, as Anders said of his voyage, “We came all this way to explore the Moon, and the most important thing we discovered was the Earth.” Through the Artemis II/Earthrise Poster Project, begun in the spring 2025 semester, participating BFA Design and BFA Illustration students collaborated with a visionary partner outside of the classroom, closely engaging with NASA educators, scientists, and astronauts. The design process mirrored that of a professional assignment: Students were given a creative brief asking them to apply their visual storytelling skills to create narratives around the themes of Earth science, space exploration, and the critical role of scientific innovation in addressing global challenges. NASA’s Earth Science to Action strategy—which aims to identify and develop science-driven solutions to humanity’s most pressing issues—served as a conceptual cornerstone, connecting the Artemis II mission’s goals to broader themes of environmental stewardship and sustainable exploration.

“ILLUSTRATING POSTERS IS GREAT,” KOEN SAYS. “BUT ILLUSTRATING POSTERS ABOUT SPACE MISSIONS, COOL HARDWARE, AND GALACTIC VISIONS IS EPIC.” In June, a jury reviewed the students’ work, selecting 24 posters (12 from each department). The jury included Carolyn Hinkson-Jenkins, director of operations for BFA Comics and BFA Illustration at SVA; Allegra N. LeGrande, climate scientist at NASA’s Goddard Institute for Space Studies; Angelina Lippert, executive director and curator of Poster House; K. Megan McArthur, NASA astronaut; Debbie Millman, chair of MPS Branding at SVA; Matthew Pearce, lead for NASA Office of STEM Engagement at NASA’s Goddard Institute for Space Studies; and other SVA staff. The chosen entries represented a range of artistic styles and mediums, from digital drawing and collage to illustration and typography.

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SVA + NASA LEFT Mingyi Gan

(BFA Illustration), “We reach for new heights and reveal the unknown for the benefit of humankind.” –NASA, 2025. From “SVA + NASA: The Artemis II/Earthrise Poster Project.”

OPPOSITE, TOP LEFT

Minjung Lee (BFA Design), “We are going.” –NASA, 2025. From “SVA + NASA: The Artemis II/Earthrise Poster Project.”

OPPOSITE, TOP RIGHT

Ggotbyeol Kim (BFA Illustration), “Mars is there, waiting to be reached.” –Buzz Aldrin, 2025. From “SVA + NASA: The Artemis II/Earthrise Poster Project.”

“Evaluating the creative work from this collaboration between NASA and SVA was both a joy and an honor,” Millman says. “These posters exceeded my expectations and I was impressed not only by the creative ingenuity but also by the intellectual rigor the students brought to the challenge.” Millman is no stranger to NASA collaborations herself. In 2021, she was invited to design an engraved metal plate for the exterior of the Europa Clipper, a space probe that NASA launched in October 2024 on a six-year voyage to Europa, one of Jupiter’s moons, which scientists believe is home to a large ocean beneath its icy surface. Millman called the experience “one of the most thrilling of my life.” “The NASA project has been an absolute blast—pun intended,” Anderson says. “Our students tackled the challenge with incredible enthusiasm and creative firepower, and the results were varied, thoughtful, and truly spectacular. It’s a real honor for our department and for SVA to collaborate with some of the brightest minds out there—people doing deeply important work that inspires us all.” Maeri Ferguson is the assistant director of media relations at SVA.

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REID WISEMAN COMMANDER

VICTOR GLOVER PILOT

CHRISTINA KOCH

| JEREMY HANSEN

MISSION SPECIALIST

ARTEMIS II

WE ARE GOING

LOWER LEFT SoYun Park (BFA Design), “We are

going.” –NASA, 2025. From “SVA + NASA: The Artemis II/Earthrise Poster Project.”

LOWER RIGHT Xiaoyan Sun (BFA Illustration),

“Guardians of Earth, seekers of stars.” –Anonymous, 2025. From “SVA + NASA: The Artemis II/Earthrise Poster Project.”

W E

A R E

G O I N G

SVA + NASA

OPPOSITE Michael Rizzi (BFA Design), “We are going.” –NASA, 2025. From “SVA + NASA: The Artemis II/Earthrise Poster Project.”

ABOVE Emma Tutty (BFA Illustration),

“Guardians of Earth, seekers of stars.” –Anonymous, 2025. From “SVA + NASA: The Artemis II/Earthrise Poster Project.”

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F O R T Y- F I V E Y E A R S A G O T H I S FA L L , A C T O R J O H N H U R T, D I R E C T O R D AV I D LY N C H , A N D PR ODUCER

JONAT H A N SA NGER T OOK T H E STAGE

A T L I N C O L N C E N T E R ’ S B R U N O WA L T E R A U D I T O R I U M FFOOLLLLOOW WIINNGG AA SSHHOOW WIINNGG OOFF TTHHEEIIRR NEW FILM,

T H E EL E P H A N T M A N, F OR T H E

F I R S T S VA F I L M M A K E R S D I A L O G U E , A F I L M- SC R E E N I NG -A N D - Q & A EV EN T SER I ES CR E AT ED

A N D HOST ED BY R A L PH A PPL EBAU M ( B FA 19 7 8 F I L M A N D V I D E O) . 58 VISUAL ARTS JOURNAL

Q +A / R A L P H A P P L E B AU M BY GR EG H ER BOW Y

PORTRAIT BY NIR ARIELI (BFA 2012 PHOTOGRAPHY). ARCHIVAL IMAGES COURTESY OF THE SVA ARCHIVES.

FROM LEFT: R A L P H A P P L E B A U M W I T H D I R E C T O R D AV I D L Y N C H , PR ODUCER JONAT H A N SA NGER , A N D ACTOR JOH N H U RT AT T H E F I RST F I LM M A K ERS DI A LOGU E

E V E N T, F OR T H E E L E P H A N T

M A N (198 0).

59 FALL/ WINTER 2025–26

D E S P I T E T H E FA C T T H A T A P P L E B A U M

AND

H I S GU ESTS H A D T O SI T C R OSS -L EG GE D ON T H E F LOOR —

N O T K N O W I N G T H A T LY N C H W O U L D B E A C C O M PA N I E D B Y H U RT A N D SA NGER , T H E V EN U E

H A D FA I L E D T O P R O V I D E E N O U G H C H A I R S — I T WA S A N A U S P I C I O U S D E B U T F O R T H E SER I ES.

IN THE YEARS since, Filmmakers Dialogue has hosted some 1,000 directors, actors, and other professionals, a tally heavy with boldfaced names like John Carpenter, Gene Hackman, Samuel L. Jackson, Arthur Penn, Gwyneth Paltrow, and Michelle Pfeiffer. The list goes on with SVA graduates-turned-filmmakers Chie Hayawaka (BFA 2001 Photography), Dan Minahan (BFA 1987 Film and Video), and Bennett Elliott and Robert Kolodny (both BFA 2010 Film and Video), and more. Applebaum has built a devoted audience for his fall and spring semester programs, held at venues throughout the city until the SVA Theatre opened in 2009. (For more information, visit sva.edu/ filmmakers-dialogue.) This past summer, ahead of Filmmakers Dialogue’s 45th year, he spoke with the Visual Arts Journal about the project’s origins in his student days, his approach to interviewing, and the only guest who made him nervous. Where did you grow up, and when and why did you fall in love with film?

I grew up in an apartment complex in Brooklyn called Beach Haven, which sounds like a really nice place, and in some respects it was. There was a lot of grass and you could play touch football, stickball, things like that. And once a month, this guy in a suit, Fred C. Trump, and his son Donald would come

to pick up the rent money. That was growing up in Beach Haven. There were a lot of theaters around there, so as a kid I would go to see movies a lot. They had matrons then, and they would chase young kids from the main section where the adults would sit, which is where I always wanted to sit. But movies were a great escape. I remember seeing West Side Story [1961] and The Haunting [1963], both by Robert Wise. When I decided to study film, the School of Visual Arts was at the top of my list. I got to meet [founder] Silas Rhodes, who was very generous, and I got a scholarship to go, and it was onward and upward from there. You started hosting events at SVA with directors while you were still a student. What made you decide to do that? How, as an undergraduate with no entertainment industry connections, were you even able to do that?

SVA’s thing has always been to have working professionals as faculty, but I was always wishing that there would be more guest speakers on campus. So I started asking directors if they would come to show and discuss their work. This was much easier to do then, because the Directors Guild had a book that published addresses and numbers for all of their members. I’m sure they don’t make that public anymore. Some directors and actors also had offices at the studios, because they had deals. And you would write them a letter. I was very good at writing letters. I have a whole stack at home of letters from big directors like Sam Peckinpah and David Lean, and they were very generous in responding. Maybe at that time they weren’t getting as many invitations to do things like that. At that time, it was quite unique. Who was the first director to say yes?

I can’t remember who was the first—I think it was either Hal Ashby, with Bound for Glory [1976], or Brian De Palma, with Phantom of the Paradise [1974].

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Q+A / RALPH APPLEBAUM

But I invited all these people—John Schlesinger, who’s best known for Midnight Cowboy [1969]; Alan Parker, who’d had Midnight Express [1978] come out; and Michael Winner, who was successful with the Death Wish movies. I did a retrospective on the films of Robert Wise and printed a book, like a pamphlet, with an essay by William K. Everson who was a film historian and also an instructor at the school. Were you—or are you—ever nervous about getting up on stage with these big stars?

No, not really. The only time I’ve gotten nervous was when I had Clint Eastwood. He came with Honkeytonk Man [1982] and we did it at the Paris Theater. For me, Clint Eastwood was larger than life. His Westerns and the Dirty Harry series were very much films that I enjoyed, and I looked up to him. And he had all of the Ralph Applebaum charisma that you would ex(left) with director pect from a movie star, but he James L. Brooks at was also very nice, and it was Filmmakers Dialogue, the start of a long relationship 1983. Image courtesy of the SVA Archives. where I showed several of his movies and, if he wasn’t there, he enabled his actors and producers and other talent to come. So now, whenever I think I’m going to get nervous about something, I just say, “Hey, I did Clint Eastwood. Nothing’s gonna match that one.” One person who was a little intimidating, though, was Paul Schrader. I remember he had a can of beer in his hand. He was a little tough, but still generous with his time and informative, and he came back with his films later on, so I guess he had a good time. Almost everybody would come back more than once, because I think they liked the atmosphere. The people who attend are interesting, bright, real cineastes who ask good questions. Forty-five years ago, you could look up an address for an actor or director and write them a letter. Today, that information is harder to find, things move faster, and the film industry has become so much more international. How do you program and schedule your events now?

The beginning of July is really when I start to look very carefully at what the Telluride, Toronto, and Venice festivals are going to spotlight. My audience wants the more “grown-up” movies, as opposed to those big summer blockbusters. I try to see as many films as I can early, then I’ll go to the publicist or the studio—or the filmmaker, if I know them personally—and that’s pretty much how it works. It’s a constant juggling of, “You can get the film on a certain date, but will you be able to get the guest on that certain date?” Because you don’t know where they’re gonna be. Most of the time, it works out.

And how do you prepare for your interviews?

I always watch the film in advance, and I also try to see as many of the previous films that my guest has made, so that I can get a sense of what similarities one film has to another and what they like to explore. If I do anything as an interviewer, it’s just to fade into the background and let the filmmaker talk about what their creative process is like and be the star of the night. I’m always interested in hearing what they like about a particular subject and what the challenges were during the making of a particular film. Who have been among your most memorable repeat guests?

I’ve shown several James L. Brooks films, beginning with Terms of Endearment [1983], the first film he directed. It was an amazing experience, because nobody had really seen it. Jim later told me that was the first public screening of it in New York and, you know, they were crying and laughing and everyone loved it. He’s just a unique talent and brings a unique perspective to everything he does. You really sense the humanity that he has. He came back with his next film, Broadcast News [1987], and he brought not only himself but also Holly Hunter and Albert Brooks, and it was a terrific night. He told me I was his good-luck charm! Barry Levinson, I think I’ve probably shown 20 of his films; that’s probably the record. He first came with Diner [1982], and he brought some of the cast. United Artists at the time were having problems trying to figure out how to sell the film, and the audience responded so positively and Barry was really pleased with that. And another director who I was very fond of, who passed away a couple of years ago, was Michael Apted, who did all the Up documentaries and Gorillas in the Mist [1988]. He was just a lovely person. The first film of his I showed was a TV movie he made in England, called P’tang, Yang, Kipperbang [1982]. Are there any working filmmakers you haven’t been able to book yet but would love to have as guests?

Quentin Tarantino would be nice. I’ve never had him as a guest. I’d like to just talk with him about obscure movies he loves. I made two invites to Steven Spielberg, years ago, when I was still a student. That would be the filmmaker I’d like to have. He had his secretary write to me a couple of times about how he’d like to, so I think I need to remind him. This interview has been condensed and edited.

61 FALL/ WINTER 2025–26

CLOCKWISE FROM TOP LEFT Writer and director Shiori Ito with Ralph Applebaum at a Filmmakers Dialogue event for Black Box Diaries (2024); writer, director, and SVA alumnus Chie Hayawaka for Plan 75 (2022); (from left) actors John Leguizamo and Barbie Ferreira and director Tracie Laymon with Applebaum for Bob Trevino Likes It (2024); actress Lily McInerny with Applebaum for Bonjour Tristesse (2024). Images courtesy of Ralph Applebaum.

62 VISUAL ARTS JOURNAL

ABOVE Ralph Applebaum with director Alan Parker at Filmmakers Dialogue, c.1980s. Image courtesy of the SVA Archives.

Q+A / RALPH APPLEBAUM

CLOCKWISE FROM RIGHT

Director Claudia Weill (left) at Filmmakers Dialogue, c.1980s; Ralph Applebaum (left) with director Barry Levinson and actors Paul Reiser, Tim Daly, and Ellen Barkin for Diner (1982); director Arthur Penn (left), c.1980s; Applebaum with director Sydney Pollack, c.1980s; Applebaum with actress Dominique Sanda, c.1980s. Images courtesy of the SVA Archives.

63 FALL/ WINTER 2025–26

ABOVE Director Michael Apted (left) with Ralph Applebaum at a Filmmakers Dialogue event for 63 Up (2019). Images courtesy of Ralph Applebaum.

LEFT AND BELOW

Actresses Ellen Barkin and Nancy Allen (at left) for a talk with director Brian De Palma (below, left), hosted by then-student Ralph Applebaum (below, right) at SVA’s amphitheater, c.1970s.

OPPOSITE, UPPER AND BOTTOM LEFT

Then-student Ralph Applebaum (left) with director Herbert Ross at SVA’s amphitheater, c.1970s. OPPOSITE, UPPER AND BOTTOM RIGHT

Ralph Applebaum and actress Jeanne Moreau at Filmmakers Dialogue, c.1980s. OPPOSITE Actor Gene

Wilder (left) with Ralph Applebaum at Filmmakers Dialogue, c.1980s. Images courtesy of the SVA Archives.

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Q+A / RALPH APPLEBAUM

65 FALL/ WINTER 2025–26

GROUP EFFORTS

Notes + Exhibitions ABOVE Vibita et ut quatiisci quiscienda tk ditiorro modis isime Lauren Matsumoto (MFA 2003 Design), The Rise and dignimus, cum aut erspideribus and more et adicimint. Fall No. 122,que 2024. On view at “Lovebirds,” Goetze Art and Eptatem incipiendia sum commodis enit reprovi Design, Memphis, 2/6natis – 2/27/25. Courtesy of theducius artist. solorep elestotas iumqui dolut officium aut

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GROUP EFFORTS

SVA ALUMNI

Notes + Exhibitions: Group Efforts

To share your recent career news, write to alumni@sva.edu. Due to the volume of information we receive, not all submissions may be included.

Daniel Arturo Almeida (MFA 2020 Fine Arts) had work in and Michelle Weinberg (BFA 1983 Fine Arts) curated and had work in the group exhibition “Disturbances in the Field,” Collective 62, Liberty City, FL, 12/1/24 – 1/18/25.

Tyler Comrie (BFA 2015 Design), Pablo Delcan (BFA 2012 Graphic Design), and Hea Eun Grace Han (BFA 2013 Design) were featured in “The Best Book Covers of 2024,” The New York Times, 12/13/24.

BFA 2023 Computer Art, Computer Animation, and Visual Effects alumni Aleyda Ortiz and Ollie Yao began apprenticeships at Walt Disney Animation Studios, Burbank, CA, 2025.

MFA Illustration as Visual Essay alumni Xinyue Chen (2023), Millie von Platen (2021), and Matt Williams (2019); Pablo Delcan (BFA 2012 Graphic Design); Sophia Deng (MFA 2021 Interaction Design); and Hayden Goodman (BFA 2020 Illustration) were featured in “The 73 Best Illustrations of 2024,” The New York Times, 12/19/24.

SVA alumni participated in Miami Art Week, 12/2 – 12/8/24: Storm Ascher (BFA 2018 Visual and Critical Studies) and Asya Geisberg (MFA 1999 Fine Arts) organized installations at and Michael De Feo (BFA 1995 Graphic Design) had work in Untitled Art Miami Beach; Katherine Bernhardt (MFA 2000 Fine Arts), María Berrío (MFA 2009 Illustration as Visual Essay), and Elizabeth Peyton (BFA 1987 Fine Arts) had work in Art Basel Miami Beach; James Jaxxa (MFA 2023 Fine Arts) and Denise Treizman (MFA 2013 Fine Arts) had work in and Brian Andrew Whiteley (MFA 2013 Fine Arts) organized and had work in Satellite Art Show; Corinne Jones (BFA 1996 Fine Arts) had work in NADA Miami; Barbara Kolo (BFA 1981 Media Arts) and Artem Mirolevich (BFA 1999 Illustration) had work in Context Art Miami; Miles Ladin (MFA 1993 Photography and Related Media) had work in Red Dot Fair; and Reka Nyari (BFA 2002 Fine Arts) had work in Art Miami.

67 FALL/ WINTER 2025–26

Michael De Feo (BFA 1995 Graphic Design) curated and had work in and Jane Swavely (1980 Fine Arts) had work in the group exhibition “Just a Song Before I Go,” Last Days Gallery, NYC, 1/22 – 2/22/25. SVA alumni participated in or screened their work at the 2025 Sundance Film Festival, Park City, UT, 1/23 – 2/2/25: Daniela Alatorre (MFA 2015 Social Documentary Film) was a juror for the World Cinema Documentary Competition; Jamie Deradorian-Delia (MFA 2020 Social Documentary Film) was co-producer and Adam Evans (MFA 2020 Social Documentary Film) was co-editor of Free Leonard Peltier (2025); Zackary Drucker (BFA 2005 Photography) was director of Enigma; Sara Khaki (MFA 2012 Social Documentary Film) was co-director of Cutting Through Rocks

Notes + Exhibitions

SVA alumni achievements from December 1, 2024, to May 31, 2025.

GROUP EFFORTS (2025), which won the World Cinema Grand Jury Prize: Documentary; Bao Nguyen (MFA 2011 Social Documentary Film) was director of The Stringer; David Osit (MFA 2011 Social Documentary Film) was director of Predators; and Kirill Yeretsky (BFA 2005 Computer Art) was animation director and art director of Hoops, Hopes, and Dreams. Maria Markham (MFA 2024 Art Practice) had work in the group exhibition “Brand New,” LOS/NR, co-founded by C Fodoreanu (MFA 2024 Art Practice), La Jolla, CA, 1/25 – 3/1/25. MFA Fine Arts alumni Nianxin Li (2023) and Se Young Yim (2022) had work in the group

Rouchka Bourquelot (BFA 2024 Photography and Video) had work in and Raymond Roggero (BFA 2022 Photography and Video) assisted in curating the group exhibition “Goodbye, Again,” Gala Art Center, College Point, NY, 2/9 – 2/23/25. SVA alumni were nominated for and received awards at the 23rd Annual VES Awards, Visual Effects Society, Beverly Hills, CA, 2/11/25: Yoon Sun Bae (BFA 2013 Computer Art, Computer Animation, and Visual Effects) was nominated for Outstanding Lighting and Compositing in a Commercial, Marionette, Corcept Therapeutics; Johnny Han (BFA 2003 Computer Art) won Outstanding Supporting Visual Effects in a Photoreal Episode

SVA alumni won awards in the Illustrators 67 Annual Exhibition, Society of Illustrators, NYC, 2/28/25 – 4/12/25: Gold medalists: Yiting Nan (BFA 2022 Design), Animation, Yaoting Wang (MFA 2023 Illustration as Visual Essay), Uncommissioned, Mocong (Mo) Yuan (BFA 2019 Animation), Animation, and Xinyu Allen Zhang (BFA 2025 Illustration), Uncommissioned; Silver medalists: Jeremiah Dickey (BFA 2001 Animation), Animation, Vivi John (MFA 2014 Illustration as Visual Essay), Uncommissioned, John Malta (MFA 2012 Illustration as Visual Essay), Product Design, Keith Negley (MFA 2013 Illustration as Visual Essay), Book, and Lily Padula (BFA 2013 Illustration), Animation. Huilin Gui (BFA 2023 Illustration), Xinmei Liu (MFA 2020 Illustration as Visual Essay), and Yao Xiao (BFA 2013 Illustration) had work in the group exhibition “Eternal Living Room,” Land to Sea, NYC, 3/1 – 5/3/25.

Notes + Exhibitions

SVA alumni were nominated or won awards at the 97th Academy Awards, Academy of Motion Pictures and Sciences, Los Angeles, 3/2/25: Jarin Blaschke (BFA 2000 Film and Video), cinematographer, was nominated for Cinematography, Nosferatu (2024); Johan Grimonprez (MFA 1992 Fine Arts), director, was nominated for Documentary Feature Film, Soundtrack to a Coup d’Etat (2024); and Hannah Rafkin (MFA 2023 Social Documentary Film), director, was shortlisted for Documentary Short Film, Keeper (2024). Asya Geisberg (MFA 1999 Fine Arts) and Dana James (BFA 2008 Fine Arts) were featured in “Five Things to Know: Gallery Representation for Visual Artists,” New York Foundation for the Arts, 3/5/25. Vincent Keane (BFA 1995 Graphic Design) represented Logic CMX at the SXSW Creative Expo, and Brian Andrew Whiteley (MFA 2013 Fine Arts) organized and had work in Satellite Ranch, South by Southwest (SXSW), Austin, TX, 3/7 – 3/15/25.

exhibition “Illuminations–Insects–Stones,” Yeh Art Gallery, NYC, 1/30 – 3/22/25. MFA 2023 Fine Arts alumni Katinka Huang and Yuli Aloni Primor had work in the group exhibition “Goodbye Horses,” Ethan Cohen, NYC, 2/6 – 3/22/25. BFA Animation alumni Chris Burns (2003) and Bob Fox (2005) were nominated for Best Character Animation – Video Game, #BLUD; and Nyoung Kim (BFA 2018 Computer Art, Computer Animation, and Visual Effects) won Best FX – Feature, The Wild Robot (2024), Annie Awards, Los Angeles, 2/8/25.

and Outstanding Special (Practical) Effects in a Photoreal Project and was nominated for the Emerging Technology Award, The Penguin (2024 – ); Nyoung Kim (BFA 2018 Computer Art, Computer Animation, and Visual Effects) won Outstanding Effects Simulations in an Animated Feature, The Wild Robot (2024); Milton Ramirez (BFA 2011 Computer Art, Computer Animation, and Visual Effects) won Outstanding Character in a Photoreal Feature, Better Man (2024). MFA Photography, Video, and Related Media alumni Song Lu (2021) and Fan Yu (2023) were finalists for their AI-generated video “Invisible Women,” 2025 MIT AI Filmmaking Hackathon, Cambridge, MA, 2/15 – 2/16/25.

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Schantelle Alonzo (BFA 2025 Animation), Brenda Perry Herrera (MFA 2014 Art Practice), Ishita Jain (MFA 2020 Illustration as Visual Essay), and Joseph O’Malley (MFA 2024 Photography, Video, and Related Media) gave talks, “TedX SVA Women: The Intersection of Art and Gender,” NYC, 3/10/25. The late Keith Haring (1979 Fine Arts) and Kenny Scharf (BFA 1981 Fine Arts) had work in the group exhibition “Luna Luna: Forgotten Fantasy,” The Shed, NYC, 11/20/24 – 3/16/25. Philip Garber (BFA 2017 Photography and Video) founded the Andrew Martin Creative Action Center, which featured inaugural lectures by Erin Davis and Max C. Lee (both MFA 2016 Photography, Video, and Related Media) and Vanessa Terán (BFA 2017 Photography and Video), NYC, 4/7 and 4/14/25.

Notes + Exhibitions

GROUP EFFORTS

Installation view, “Brooklyn Dreamland, Land Without Shadows,” a solo exhibition of work by Christopher Spinelli (BFA 1989 Media Arts), Arsenal Gallery, NYC, 1/24 – 3/14/25. Photo: Danny Avila.

Lorna Simpson (BFA 1982 Photography), Head on Ice #3, 2016, ink and screenprint on gessoed fiberglass. The Modern Art Museum of Fort Worth, gift of the Director’s Council and museum purchase,

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2017. On view at “Lorna Simpson: Source Notes,” Metropolitan Museum of Art, NYC, 5/19 – 11/2/25. © Lorna Simpson. Courtesy of the artist and Hauser & Wirth. Photo: James Wang.

GROUP EFFORTS / INDIVIDUAL NOTES Daina Higgins (BFA 2001 Fine Arts) and Kurt Lightner (MFA 2004 Fine Arts) had work in the group exhibition “Belonging: The Long Island City Studio Collective,” Contemporary Art Matters Gallery, Columbus, OH, 4/10 – 5/30/25.

SVA ALUMNI

Notes + Exhibitions: Individual Notes

Tom Burr (BFA 1986 Fine Arts) and Cynthia Cruz (MFA 2015 Art Criticism and Writing) received 2025 Guggenheim Fellowships in fine arts and in poetry, respectively, Guggenheim Foundation, NYC, 4/15/25. Phil Buehler (MFA 2003 Photography and Related Media), Dan Halm (MFA 2001 Illustration as Visual Essay; BFA 1994 Illustration), MFA Fine Arts alumni Eva Mantell (1988) and Brian Andrew Whiteley (2013), and Wyatt Mills (BFA 2013 Fine Arts) had work in Spring/ Break Art Show, NYC, 5/6 – 5/12/25.

SVA alumni achievements from December 1, 2024, to May 31, 2025.

Lorna Simpson (BFA 1982 Photography) and BFA Fine Arts alumni Mika Rottenberg (2001) and Mirim Yoo (2016) were featured for their work in “New Restaurants in New York City with Standout Design,” The New York Times, 5/7/25.

Notes + Exhibitions

SVA alumni were nominated for or won awards at the 29th Annual Webby Awards, 5/12/25: Aaron Augenblick (BFA 1997 Animation) created City Island (2022 – ), which was nominated in Video and Film, Kids and Family; Joseph Bennett (BFA 2008 Fine Arts), Chris Prynoski (BFA 1994 Animation), and Shannon Prynoski (BFA 1994 Film and Video) worked on Scavenger’s Reign (2023), which was nominated in Video and Film, Animation (Series and Channels); BFA Animation alumni Jonathan Chun (2014), Natalie Labarre (2013), and Dez Stavracos (2008) worked on Balloonerism (2025), which was nominated in Video and Film, Animation; Emily Curran (BFA 2020 Animation) and Jun Zee Myers (BFA 2004 Computer Art) worked on The Land of Boggs (2021 – ), which won the People’s Voice Award in Video and Film, Animation (Series and Channels); Anne Di Lillo (BFA 2012 Graphic Design) co-created Peace Post, which won a Webby Award and People’s Voice Award in Websites and Mobile Sites: Cultural Blog/ Website; and Chris Prynoski and Shannon Prynoski worked on Big Mouth (2017–25), which won in Video and Film, Scripted. Travis Rix (BFA 2014 Photography) co-curated and Hwichan Ko (MFA 2023 Fine Arts), Antonio Pulgarin (BFA 2013 Photography), Lamar Robillard (MFA 2021 Art Practice), Dana Robinson (MFA 2019 Fine Arts), and Kathy Shorr (BFA 1988 Photography) had work in the group exhibition “The People’s Art,” SaveArtSpace 10th anniversary celebration, Satellite Gallery, run by Brian Andrew Whiteley (MFA 2013 Fine Arts), NYC, 5/30 – 6/22/25.

1966

Joann Lieberman (1966 Fine Arts) had work in the group exhibition “108th Annual Juried Open Exhibition,” Bendheim Gallery, Greenwich Arts Council, Greenwich, CT, 5/8 – 6/8/25.

1967

Carole Feuerman (Fine Arts) had a solo exhibition, “Long Island Girl: The Superrealism of Carole Feuerman,” Museum of Sex, NYC, 1/31 – 8/31/25.

1968

Stan Fine (Advertising) was featured in “People to Watch 2025,” GDUSA, 2/20/25.

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Richard Rutner (Media Arts) had a solo exhibition, “Recent Work,” Begegnungsstätte Mehr Mitte, Berlin, 4/29 – 5/20/25.

1972

Linda Stillman (Graphic Design) had work in the group exhibition “Fauna, Flora and Fur,” Geary, Millerton, NY, 1/25 – 3/23/25.

1976

Theresa DeSalvio (BFA Fine Arts) had work in the group exhibition “The 26th Annual WAH Salon Show,” Williamsburg Art & Historical Center, NYC, 2/1 – 3/1/25.

1977

Denise Halpin (BFA Media Arts) had a solo exhibition, “Tea Time,” Almondine Cafe, NYC, until 4/12/25.

INDIVIDUAL NOTES

Ilan Averbuch (BFA 1982 Fine Arts), Even Walls Can Move, 2025, Cor-ten steel and recycled brick. Commissioned by the Macon Arts Alliance for Bicentennial Park, Macon, GA.

1979

John Michael Pelech (BFA Media Arts) had work in the group exhibition “141st Annual Members Exhibition, Part II,” Salmagundi, NYC, 2/18 – 3/14/25.

1980

Wendel White (BFA Photography) had a solo exhibition, “Manifest: Thirteen Colonies,” Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, MA, 5/18/24 – 4/13/25.

1981

Peter Hristoff (BFA Fine Arts) was interviewed in “Layering the Ottoman Past,” Perspectives, The Metropolitan Museum of Art, NYC, 3/11/25. Barbara Kolo (BFA Media Arts) had a solo exhibition, “Elusion,” bG Gallery, Santa Monica, CA, 12/4 – 12/30/24.

Kay Award for Fiction, Atlanta Writers Club, 5/17/25.

1982

Ilan Averbuch (BFA Fine Arts) created a public sculpture, “Even Walls Can Move,” Bicentennial Park, Macon, GA, 2025. Connie Manna (BFA Media Arts) had work in the group exhibition “The Arts Exchange,” ArtsWestchester, White Plains, NY, 2/8 – 4/13/25. Lorna Simpson (BFA Photography) had a solo exhibition, “Lorna Simpson: Source Notes,” The Metropolitan Museum of Art, NYC, 5/19 – 11/2/25. Joey Skaggs (BFA Media Arts) gave the keynote address and screened Art of the Prank (2015), Art and Place Conference, Saarbrücken, Germany, 5/1 – 5/4/25.

Rita Maas (BFA Photography) had work in the group exhibition “Works on Paper 2025,” Long Beach Island Foundation of the Arts & Sciences, Long Beach, NJ, 5/17 – 7/6/25.

1983

Virginia Small (BFA Media Arts) illustrated The Books That You'll Read with Leo the Lion, Your Library Guide (2024), which won a 2025 Book of the Year Award, Kids Story Books category, Creative Child Magazine Awards, 5/4/25.

1984

Gary N. Zaccaria (BFA Media Arts) wrote “The Burnt Orange Dog,” which won the Terry

David Brier published Rich Brand Poor Brand: How to Unleash Your David in a World of Goliaths (2024), DBD International, Ltd.

Lydia Panas (BFA Photography) had a solo exhibition, “All the Dahlias,” Gross McCleaf Gallery, Philadelphia, 2/21 – 3/22/25. Prelli Anthony Williams (BFA Media Arts) had work in the group exhibition “Creating Space and Opportunities: D.C. Black-Owned and

71 FALL/ WINTER 2025–26

Managed Art Galleries and Spaces,” Martin Luther King Jr. Memorial Library, Washington, D.C., 8/28/24 – 4/6/25.

1985

Peter Allen (MFA 1985 Fine Arts) had a solo exhibition, “Peter Allen ’78—Pingry Alumni Art Exhibition,” Hostetter Art Gallery, The Pingry School, Basking Ridge, NJ, 5/1 – 5/23/25. Dana Marshall (BFA Photography) gave a talk, “Expressive Nature: Buddhism, Art, and Nature,” Museum Catharijneconvent, Utrecht, Netherlands, 4/10/25. Alexis Rockman (BFA Fine Arts) had a solo exhibition, “Naples: Course of Empire,” Magenta Plains, NYC, 1/16 – 3/1/25.

1987

Ingrid Andresen Lindfors (BFA Photography) had work in the group exhibition ”The Women Artists of Rivington School from Then to Now: The Contributions of Women Artists to Society,” Mémoire De L’Avenir, Paris, 3/5 – 5/8/25. Aleathia Brown (BFA Media Arts) had a solo exhibition, “Color-Filled Messages: A Black History Journey,” Bronx Library Center, NYC, 2/7 – 2/28/25.

1988

Kathy Shorr (BFA Photography) was featured in “A Limousine Driver Watches Her Passengers Transform,” The New Yorker, 1/7/25.

Notes + Exhibitions

Alexis Trice (BFA 2004 Illustration), Peekaboo 1, 2024, oil on shell. On view at “Deep Sea, Swallow Me,” Long Story Short Gallery, NYC, 1/24 – 3/9/25. Courtesy of the artist.

INDIVIDUAL NOTES

1989

Suzie Baer (BFA Film and Video) screened Warrior: The Life of Leonard Peltier (1991), which she directed and produced, Maysles Documentary Center, NYC, 5/23/25. Margaret Lanzetta (MFA Fine Arts) had work in the group exhibition “Director’s Choice: Celebrating 30 Years,” Kenise Barnes Fine Art, Kent, CT, 3/1 – 4/13/25 Christopher Spinelli (BFA Media Arts) had a solo exhibition, “Brooklyn Dreamland, Land Without Shadows,” Arsenal Gallery, NYC, 1/24 – 3/14/25.

1990

Gina Minichino (BFA Media Arts) painted a trading card for Series 2 of Craniacs, 5/28/25.

1991

Emily Lutzker (BFA Fine Arts) participated in a panel discussion, “International Arrivals:

Kerri Mahoney (Film and Video) was featured in “Dylan, Baez, Greenwich Village: Memphis designer helped bring A Complete Unknown to life,” The Commercial Appeal, 1/28/25.

1996

Alvin Pettit (BFA Illustration) was a finalist in the Sadie T.M. Alexander Statue Public Art Competition, Creative Philadelphia, Philadelphia, 2/19/25.

John von Bergen (BFA Cartooning) was appointed full-time sculpture professor, George Mason University, Fairfax, VA, January 2025.

Paul Piasecki (BFA Film and Video) was featured in “Meet Paul Piasecki,” Bold Journey, 1/7/25.

Raul Manzano (BFA Illustration) had work in the group exhibition “Human Rights Art Exhibition,” College of the Sequoias Art Gallery, Visalia, CA, 1/28 – 3/7/25.

Christine Romanell (BFA Graphic Design) had a solo exhibition, “Cyclical Universe,” Craven Contemporary, Kent, CT, 1/11 – 3/2/25.

1993

R. Gregory Christie (BFA Illustration) was nominated for the Astrid Lindgren Memorial Award, Swedish Arts Council, Stockholm, 4/1/25.

Corinne Jones (BFA Fine Arts) had a solo exhibition, “Drunkard’s Path,” Situations, NYC, 12/14/24 – 2/1/25.

1997

Vickie Pierre (BFA Fine Arts) had a solo exhibition, “The Maiden is the Warrior,” Museum of Contemporary Art North Miami, North Miami, FL, 4/30 – 10/5/25. Sarah Sze (MFA Fine Arts) was the inaugural winner, Meraki Artist Award, Institute of Contemporary Art Boston, Boston, 3/18/25.

Notes + Exhibitions Here and Now,” Abrons Arts Center, NYC, 4/14/25.

1992

Desirée Alvarez (MFA Fine Arts) had work in the Brooklyn Fine Art Print Fair, Powerhouse Arts, NYC, 3/28/25. Carol Fabricatore (MFA Illustration as Visual Essay) was featured in “Carol Fabricatore’s Bookcases,” AI-AP Design Arts Daily, 3/20/25. Johan Grimonprez (MFA Fine Arts) won Best Writing and the ABC News VideoSource Award and was nominated for Best Directing and Best Feature Documentary, Soundtrack to a Coup D’Etat (2024), International Documentary Association Awards, Los Angeles, 12/5/24.

Shawn Martinbrough (BFA Illustration) was featured in “Beyond the Cape: Redefining Comics with Shawn Martinbrough,” The Phillips Collection, 5/23/25. Vanessa Pineda Fox (BFA Graphic Design) had work in the group exhibition “Wonderland,” Maison 10, NYC, 5/18 – 7/26/25.

1995

1998

Madeleine Hope Arthurs (MFA Illustration as Visual Essay; BFA 1996 Illustration) had a solo exhibition, “Making Books,” Bienvenu Steinberg & C. Gallery, NYC, 5/17 – 5/30/25. Brian Finke (BFA Photography) photographed “High-school band contests turn marching into a sport and an art,” The New Yorker, 2/10/25.

PLEASANT, a.k.a. Jalal Pleasant (Fine Arts), was film archivist of The Elaborate Empire of Ache (1996), which screened as part of “Girls to the Front: Nineties and Now,” Museum of Modern Art, NYC, 3/13 – 3/30/25.

Banks Violette (BFA Fine Arts) had a solo exhibition, “Banks Violette: American Standard,” Museum of Contemporary Art Connecticut, Westport, CT, 3/15 – 6/15/25.

Edie Winograde (MFA Photography and Related Media) was an artist-in-residence, Volland Foundation, Alma, KS, 5/6 – 5/20/25.

Kareem Black (BFA Photography) photographed “Jake Gyllenhaal is the inner-demon

72 VISUAL ARTS JOURNAL

1999

INDIVIDUAL NOTES actor of his generation,” The Washington Post, 3/28/25. Alina Bliumis (BFA Computer Art) had a solo exhibition, “Gut Feelings,” Situations, NYC, 3/27 – 5/3/25. Ketta Ioannidou (MFA Illustration as Visual Essay) had work in the group exhibition “En Route,” Rosebud Contemporary, NYC, 4/10 – 5/8/25. Janelle Lynch (MFA Photography and Related Media) had work in the group exhibition “This Gallery Is a Poem: Unearthing Stories from the Collection,” Hudson River Museum, Yonkers, NY, 3/28 – 8/31/25. Andrew Ramsammy (BFA Film and Video) was named president, Vermont College of Fine Arts, Montpelier, VT, 1/3/25.

2002

Michael Alan Alien, a.k.a. Michael Alan, (BFA Fine Arts) performed “The Living Installation: Crazed Doll,” City Maze: A Living Gallery, NYC, 2/28/25. Mariam Ghani (MFA Photography and Related Media) had a solo exhibition, “Counting, Accounting, Recounting,” Ryan Lee Gallery, NYC, 1/9 – 2/15/25. Diana Shpungin (MFA Fine Arts) had a solo exhibition, “The Answer Is Nature,” Salaam Art Temple, Baku, Azerbaijan, opened 5/24/25.

2003

Stephanie Cinelli Celaya (BFA Photography) edited and wrote the introduction to Hunters in High Heels (2025), Akashic Books.

Alexis Trice (BFA Illustration) had a solo exhibition, “Deep Sea, Swallow Me,” Long Story Short Gallery, NYC, 1/24 – 3/9/25.

2005

Loren Abbate (MAT Art Education) wrote the play Ayahuasca Inside Out, which premiered at 2025 NYC Fringe Festival, NYC, 4/14 – 4/20/25. Ali Banisadr (BFA Illustration) had a solo exhibition, “Ali Banisadr: The Alchemist,” Katonah Museum of Art, Katonah, NY, 3/16 – 6/29/25. Andrea Burgay (BFA Fine Arts) had a solo exhibition, “Andrea Burgay,” 68 Prince Street Gallery, Kingston, NY, 4/26 – 6/15/25. Karen Gibbons (MPS Art Therapy) had a solo exhibition, “Allusion (Illusion and Delusion),” 440 Gallery, NYC, 2/13 – 3/16/25. Domingo Milella (BFA Photography) had a solo exhibition, “Astrazione,” Camilla Grimaldi Gallery, Rome, 5/22 – 7/22/25. Joshua Drayzen (BFA Fine Arts) had a solo exhibition, “Spirit Wave,” Massey Klein Gallery, NYC, 2/8 – 4/12/25.

FROM LEFT

Christine Sun Kim (MFA 2006 Fine Arts), The Grid of Prefixed Acousmatics, 2017; Ghost(ed) Notes, 2024; All Day All Night, 2023. Installation view, “Christine Sun Kim: All Day All Night,” Whitney Museum of American Art, NYC, 2/8 – 9/21/25. Photos: David Tufino.

2000

Kevin Cooley (MFA Photography and Related Media) had a solo exhibition, “The Wizard of Awe,” These Days, Los Angeles, 1/18 – 2/1/25.

2001

Danielle Scott (BFA Fine Arts) was nominated for Outstanding Short Form Documentary (Film), Danielle Scott: Ancestral Call (2024), NAACP Image Awards, Los Angeles, 2/22/25. Sarah Silver (MFA Photography and Related Media) hosted a workshop, “Workshop: Powerful Portraits with Sarah Silver,” Apple Fifth Avenue, NYC, 3/27/25.

Lauren Matsumoto (MFA Design) had a solo exhibition, “Lovebirds,” Goetze Art and Design, Memphis, 2/6 – 2/27/25. Yuko Shimizu (MFA Illustration as Visual Essay) illustrated Up, Up, Ever Up! Junko Tabei: A Life in the Mountains (2024), which was named a Caldecott Honor Book, American Library Association, 1/27/25.

2004

Minos Papas (BFA Film and Video) directed Motherwitch (2024), which screened at Frontières Platform, Cannes Film Festival, Cannes, France, 5/17 – 5/18/25.

73 FALL/ WINTER 2025–26

Christine Sun Kim (MFA Fine Arts) had a solo exhibition, “Christine Sun Kim: All Day All Night,” Whitney Museum of American Art, NYC, 2/8 – 9/21/25. Bryan O’Connell (BFA Film and Video) was named vice president of children’s television, The Jim Henson Company, Los Angeles, 4/14/25.

2007

Rachel Burgess (MFA Illustration as Visual Essay) had work in the group exhibition “Nature Reimagined,” Bernay Fine Art, Great Barrington, MA, 5/3 – 6/1/25. Elizabeth Castaldo (BFA Fine Arts) had a solo exhibition, “Patterns of Connection,” New Era Creative Space, Peekskill, NY, 3/1 – 3/28/25. Amy Elkins (BFA Photography) had works acquired into the permanent collections at McNay Art Museum, San Antonio, and Museum of Fine Arts, Houston, 3/5/25.

2008

Jade Doskow (MFA Photography, Video, and Related Media) had work in the group exhibition “Breakdown: The Promise of Decay,” Staten Island Museum, NYC, 1/25 – 4/26/25. Jess Ruliffson (BFA Illustration) was a finalist for her comic series published in The Boston Globe, “True Stories from an ICU,” The Pulitzer Prizes, Columbia University, 5/5/25.

Notes + Exhibitions

2006

INDIVIDUAL NOTES

2009

Jaime Permuth (MPS Digital Photography; MFA 1994 Photography and Related Media) had work in the group exhibition “Expansión 15,” Centro de Arte Contemporáneo Wifredo Lam, Havana, 3/21/25.

Jason Bard Yarmosky (BFA Illustration) had a public solo exhibition, “Timeless Women in New York,” Bergdorf Goodman Fifth Avenue storefront windows, NYC, 5/7 – 5/26/25.

Fran Tamse (BFA Photography) photographed “‘Beautiful, happy, dopamine-injected.’ Louis Vuitton and Takashi Murakami’s frenzied comeback,” Los Angeles Times, 3/14/25.

2011

2014

Notes + Exhibitions

Trish Tillman (MFA Fine Arts) had a solo exhibition, “Tightrope Walker,” Andrew Rafacz, Chicago, 2/28 – 4/12/25.

Bobby Doherty (BFA Photography) created a cover photo illustration of New York City Mayor Eric Adams, The New York Times Magazine, 3/23/25.

Ruby Zarsky (BFA Fine Arts) had a solo exhibition, “Rule 34,” Ceradon Gallery, Los Angeles, 11/23/24 – 1/18/25.

Julie Schenkelberg (MFA Fine Arts) had a solo exhibition, “Shadow Bath,” Matéria Gallery, Detroit, 4/4 – 5/10/25.

2010

2012

Johnny Dombrowski (BFA 2010 Illustration) won the Award of Excellence, MoCCA Arts Festival, Society of Illustrators, NYC, 3/15 – 3/16/25. Bibi Flores (MFA Fine Arts) had a solo exhibition, “I Am, and We as Energy, Rising,” Julia C. Butridge Gallery, Austin, 1/25 – 3/8/25. Hongji, a.k.a. Ji Youn Hong (BFA Fine Arts), had a solo exhibition, “Emoji Art,” Andrew Chang Gallery, Seoul, 1/8 – 2/16/25. Devin Oktar Yalkin (BFA Photography) photographed “The Interview: Tilda Swinton Would Like a Word With Trump About His Mother,” The New York Times, 12/7/24.

Jared D. Weiss (BFA Animation) directed Brazey & D’Bruppy (2024), which screened at Pictoplasma, Berlin, 5/1 – 5/4/25.

2013

Meng Chih Chiang (MFA Computer Art) was creative director for “Bibibibi Taiwan: Taiwan Tourist Train at Tokyo,” which won a TDC71 award, Type Directors Club, 4/24/25.

Kwesi Kwarteng (BFA Fine Arts) had a solo exhibition, “Friendly Paths,” Plato Gallery, NYC, 3/27 – 5/11/25. Molly Matalon (BFA Photography) photographed “Dylan Mulvaney Dreams of Privacy. Really.” The New York Times, 2/18/25. Caroline Tompkins (BFA Photography) photographed “Here’s What It’s Like to Go Camping with Shailene Woodley,” Outside, 12/3/24.

2015

Kathie Halfin (MFA Fine Arts) had work in the group exhibition “Structures: Weaving in Israel, from Functionalism to Fiber Art,” Herzliya Museum of Contemporary Art, Herzliya, Israel, 12/14/24 – 6/28/25.

Tiffany Lambert (MFA Design Criticism) was named Lisa Roberts and David Seltzer Curator of Modern and Contemporary Art, Philadelphia Museum of Art, Philadelphia, 2/25/25.

Christybomb, a.k.a. Christy Lee (MFA Fine Arts) had work in the group exhibition “Toys as Art, Art Inspired by Toys: Mattel’s 80th Anniversary Group Exhibition,” Corey Helford Gallery, Los Angeles, 3/15 – 4/19/25.

Maya Meissner (BFA Photography) was featured in “The 7 Best Photography Books of 2024,” Wired, 12/19/24.

Tali Margolin (BFA Fine Arts) had a solo exhibition, “Navigating Moments,” Duluth Art Institute, Duluth, MN, 1/27 – 4/18/25.

FOR YOUR

BENE BENEFIT SVA Alumni

SVA ALUMNI RECEIVE

➔ Continued access to SVA MyID and @sva.edu email ➔ Subscriptions to the monthly alumni newsletter and the Visual Arts Journal ➔ Access to the SVA Library and its on-site resources ➔ 20% tuition discount on in-person and online SVA Continuing Education courses ➔ Invitations to Career Development workshops and access to the online job board

And more!

Visit sva.edu/alumni for complete details and to update your contact information.

Photo by M.J. O’Toole (MPS 2020 Digital Photography)

Questions? Contact SVA Alumni Affairs at 212.592.2300 or alumni@sva.edu.

Photo by M.J. O'Toole (MPS 2020 Digital Photography)

@svanycalumni

School of Visual Arts Alumni group

BENEFITS • Invitations to alumni events

INDIVIDUAL NOTES Kathryn Mussallem (MPS Digital Photography) was shortlisted in the Lifestyle and Street Photography categories, Sony World Photography Awards, London, 3/11/25.

Jocelyn Tsaih (BFA Design) had a solo exhibition, ”The Garden Is Open,” Hashimoto Contemporary, NYC, 3/15 – 4/5/25. William Warasila (BFA Photography) photographed “‘Buckle Up’: In Montana, Republican Lawmakers Target the Judiciary,” The New York Times, 3/24/25.

2016

Delano Dunn (MFA Fine Arts) had a solo exhibition, “The Thrill Is Gone,” Montague Contemporary, NYC, 3/20 – 4/24/25.

Notes + Exhibitions

Ashley Catharine Smith (MFA Photography, Video, and Related Media) had work in the group exhibition “Object Memory,” 20*20 House, Lansdowne, PA, 2/22 – 4/13/25.

Georgia Lale (MFA Fine Arts) presented “Lola Speak!” and “Birthday,” WOW Athens Festival, Stavros Niarchos Foundation Cultural Center, Athens, 4/4 – 4/7/25. Yaoting Wang (MFA 2023 Illustration as Visual Essay), Let Me Think, 2024, digital. Gold medal winner, Society of Illustrators’ Illustrators 67 Exhibition, NYC. Courtesy of the artist.

Jonathan Schouela (MFA Fine Arts) had work in the group exhibition “Skyscrapers by the Roots,” Musée d’art contemporain de Montréal, Montréal, 3/6 – 8/10/25.

such a special honor.”

Lesley Marroquin and Anna Riva BFA 2025 3D Animation and Visual Effects Alumni Scholarship Award |

SUPPORT

THE TALENT

Help students realize their dreams by donating today. Learn more and make your donation at sva.edu/give. Questions? Email alumnisociety@sva.edu.

@chiquito_thesis

Portrait by Nir Arieli (BFA 2012 Photography).

This award allowed us to execute our artistic vision with excellence and bring to life a film that we are extremely proud of. We couldn’t be more grateful to have received

INDIVIDUAL NOTES Marvin Touré (MFA Fine Arts) had a solo exhibition, “the blood is the water,” The Mattress Factory, Pittsburgh, 3/9/24 – 3/30/25.

2017

Boris Krichevsky (BFA Film) was interviewed about his work as production sound mixer on the Academy Award–winning film Anora, Gotham Sound, 3/5/25. Aya Rodriguez-Izumi (MFA Fine Arts) had a solo exhibition, “Traces of the Last Battle,” A.I.R. Gallery, NYC, 2/15 – 3/16/25. Hiroka Yamashita (BFA Fine Arts) had a solo exhibition, “幽光 The Lights from the Deep Mountains,” Kiang Malingue, NYC, 5/10 – 6/28/25.

Yam Chew Oh (MFA Fine Arts) was featured in “Meet Yam Chew Oh,” CanvasRebel, 1/15/25. Dana Robinson (MFA Fine Arts) had a solo exhibition, “The Middle Distance,” Ivester Contemporary, Austin, 4/19 – 5/24/25. Gyum Youn (BFA Design) worked on branding for Makers Market, Urbanspace Bryant Park, NYC, 4/18 – 6/1/25.

2020

Amina Gingold (BFA Photography and Video) screened Welcome Home (2024), Mono XVIIII Festival of Cinema Arts, NYC, 12/4 – 12/8/24. Tyler Nicole Glenn (BFA Fine Arts) opened Seventh Heaven Bar & Karaoke, NYC.

James Meyer (BFA Fine Arts) had work in the group exhibition “Escaping Time: Art from U.S. Prisons,” Governors Island, opened 5/17/25.

2022

Yirui Jia (MFA Fine Arts) had a solo exhibition, “Naive and Sentimental,” Jupiter, Miami Beach, FL, 3/30 – 6/7/25. Dylan Rose Rheingold (MFA Fine Arts) had a solo exhibition, “Shadow Talk,” T293, Rome, 4/30 – 6/6/25.

2023

Yuli Aloni Primor (MFA Fine Arts) had work in the group exhibition “Figurative Constructs,” Mana Contemporary, Jersey City, NJ, 10/20/24 – 1/31/25. Janine Brown (MFA Art Practice) had work in the group exhibition “The Body Show,” Arts Warehouse, Delray Beach, FL, 2/7 – 4/19/25. Helia Chitsazan (MFA Fine Arts) had a solo exhibition, “Forces of Change and Memory,” Fou Gallery, NYC, 10/12 – 12/22/24.

Notes + Exhibitions

Natália De Matos Oliani (BFA Fine Arts) had a solo exhibition, “A Place Within,” ChaShaMa, NYC, 1/14 – 5/26/25. Davina Hsu (MFA Fine Arts) had a solo exhibition, “Soft Energy,” Artbridge, NYC, 2/20 – 4/10/25. Jingyao Huang (MFA Fine Arts; BFA 2019 Photography and Video) had work in the group exhibition “The Emotional Tapestry of Urban Spaces,” PS122 Gallery, NYC, 2/1 – 2/23/25. Cyle Warner (BFA Photography and Video) had work in the group exhibition “Heartstrings,” MASS Gallery, Austin, 3/8 – 4/12/25.

2024

2018

Vicky Azcoitia (MPS Digital Photography) had work in the group exhibition “Women in the Heights: Hair—Untangling Identity,” Northern Manhattan Arts Alliance, NYC, 3/13 – 7/29/25.

2019

Zeny May Recidoro (MFA Art Writing) published Iridescence: A new wives’ tale (2025), North Meridian Press. Carlos Rosales-Silva (MFA Fine Arts) had a solo exhibition, “Sun Kiss,” Sargent’s Daughters, NYC, 2/28 – 4/5/25.

Hailey Heaton (BFA Photography and Video) had a solo exhibition, “Hissyfit,” Authorized Dealer Gallery, Los Angeles, 2/21 – 4/6/25.

Natcha Wongchanglaw (MPS Digital Photography) was featured in “Home Is Where the Couch Is,” Wired, 12/24/24.

Oxana Kovalchuk (MFA Fine Arts) had a solo exhibition, “There Is No Future Without the Past,” Carlisle Arts Learning Center, Carlisle, PA, 4/25 – 5/31/25.

2021

Kylie Mitchell (BFA Visual and Critical Studies) had work in the group exhibition “God Alone Loves All Things and He Loves Only Himself,” Foreign & Domestic, NYC, 3/5 – 4/6/25.

Handowin He (MFA Visual Narrative) won bronze, ADC 104th Annual Awards, Gotham Hall, NYC, 5/14/25.

Srishti Dass (BFA Fine Arts) was featured in 100 Emerging Artworks: 2024 Women’s Edition, Arts to Hearts Project.

76 VISUAL ARTS JOURNAL

Tina Mitchell (MFA Fine Arts) had a solo exhibition, “As above, so below,” Pratt Munson Gallery, Utica, NY, 3/7 – 3/27/25.

Al Svoboda (MFA Fine Arts) had a solo exhibition, “Lyndon Corners,” April April, Pittsburgh, 4/4 – 5/10/25. Zoe Toscano (MFA Fine Arts) had work in the group exhibition “When It Rains, I Pour,” Rusha & Co, Los Angeles, 11/23/24 – 1/4/25.

To share your recent career news, write to alumni@sva.edu. Due to the volume of information we receive, not all submissions may be included.

Notes + Exhibitions

INDIVIDUAL NOTES

Vivi John (MFA 2024 Illustration as Visual Essay), Grandpa’s Bento Shop, 2024, digital. Silver medal winner, Society of Illustrators’ Illustrators 67 Exhibition, NYC. Courtesy of the artist.

Domingo Milella (BFA 2005 Photography), IMG_7974, 2022. On view at “Astrazione,” Camilla Grimaldi Gallery, Rome, 5/22 – 7/22/25. Courtesy of the artist.

77 FALL/ WINTER 2025–26

SCHOLARSHIPS

STUDENT RECOGNITION

SVA Alumni Society Awards

Honoring Excellence CLOCKWISE FROM TOP LEFT

Petra Kruty, The Affair, 2025, acrylic on cotton; Alex Nagy, Impossible Foods posters, 2024, digital; Jeongyeon Lee, Dreams Come True, 2024, colored pencil and pencil; Becky Baek, Unreal Reality, 2024, jean patches, threads, and AI-generated imagery

ALONG WITH THE ALUMNI

Scholarship Awards for final-year projects, each year the SVA Alumni Society distributes awards honoring current students. Thanks to the generosity of alumni and friends of the College, the awards include the Alumni Society Housing Scholarship, funding up to four years of SVA housing for incoming foundation-year students; Alumni Society Merit Award, for a senior student who demonstrated community building and leadership

excellence while at SVA; Brian Weil Memorial Award, for a BFA Photography and Video senior; Hannah Knighton Holst Award, for a BFA Visual and Critical Studies sophomore or junior; Jack Potter Memorial Award, for two foundation-year students who have demonstrated exceptional drawing skills; Korean Alumni Association Award, for two SVA seniors with South Korean citizenship; Lila Eva Lewental Memorial Award and Rodman Family Scholarship Award,

78 VISUAL ARTS JOURNAL

merit-based awards for SVA sophomores or juniors; Richard Wilde Award and Thomas J. Carnevali, Jr., Memorial Award, for BFA Advertising and BFA Design juniors; Russell J. Efros Memorial Award, for BFA Film seniors; Silas H. Rhodes Memorial Award, established in memory of SVA’s founder, given to BFA Visual and Critical Studies juniors who demonstrate excellence in writing; and the Will Eisner Sequential Art Scholarship, for rising BFA Comics juniors or seniors.

SCHOLARSHIPS / DONORS

Alumni Society Merit Award JASMINE PRATT, BFA 2025 Illustration Brian Weil Memorial Award JACK SIRIANNI , BFA 2025 Photography and Video Hannah Knighton Holst Award PETRA KRUTY, BFA Visual and Critical Studies Jack Potter Memorial Award YOOJIN JUNG , BFA Design JEONGYEON LEE , BFA Design Korean Alumni Association Award BECK Y BAEK , BFA 2025 Design YUNA KIM , BFA 2025 3D Animation and Visual Effects Lila Eva Lewental Memorial Award MICHAEL FRIED , BFA Fine Arts Richard Wilde Award ALEX NAGY, BFA Advertising VALERIE URBAEZ , BFA Design Rodman Family Scholarship Award DELTA BOYER , BFA Comics Russell J. Efros Memorial Award CLEMENTINE NARCISSE , BFA 2025 Film Silas H. Rhodes Memorial Award CELIAN BERMUDEZ , BFA Visual and Critical Studies Thomas J. Carnevali, Jr., Memorial Award GABRIELLE GRIMM , BFA Design Will Eisner Sequential Art Scholarship K ASSIDY YOON , BFA Comics

The Alumni Society gratefully acknowledges these SVA alumni who gave to the society from January 1 through June 30, 2025. Dawn E. Albore

BFA 1981 Media Arts

Anonymous (4) Anney Bonney MFA

Abby Kreh 1962 Illustration Pat Langer BFA

1995 Illustration J.P. Lee MFA 1991 Computer Art Beverly G. and Lee S. Leung BFA

1977 and 1974 Media Arts Charles Lilly

970 Illustration

2008 Computer Art; Missy Longo-Lewis 1979 Film and Video BFA 1984 Media Arts Marguerita Zerillo Brinton 1976 Barbara Browne

1970

Andrew Chang

MFA 1987 Illustration as Visual Essay Michele Clemmer

1968 Media Arts Susan W. Cutter

BFA 1976 Fine Arts

Carla Daeninckx

BFA 1997 Film and Video

Jack Donnelly, Jr.

1972

E. Mercedes Everett

BFA 1986 Media Arts

Kevin J. Farley BFA 1977 Photography Miriam Fishman

BFA 1984 Photography

Bill Giles 1968 John and Lauren* Giuffre BFA 1986

Media Arts

Randall Golden 1971

Graphic Design

Joseph Herzfeld

BFA 1991 Fine Arts Lisa Hirsh-Leventhal

1971 Fine Arts

Tak Hoon Kim

MFA 2005 Computer Art; BFA 1997 Animation Jean B. Kooi BFA 1978 Media Arts

Kenneth P. Wenzel

BFA 1983 Photography

Karen Wolf Leeman

1972

Gary Nicholas Zaccaria BFA 1981

Media Arts

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

American Online Giving Foundation Anonymous Colony Pest Patrick McDonnell* Management, Inc. and Karen O’Connell Ralph Colucci BFA 1978 Media Paul and Sue Cryan Arts EP Engineering Leith M. McLoughlin Flag Waterproofing 1974 Graphic Design and Restoration Brittany M. Neff Allen Bowen Frame BFA 2012 Film Christine Gilchrist, and Video in memory of Dr. Monica Michell Susan Koliadko Jesse and Christine O’Brien BFA 1984 Greene Media Arts Hogan Marren Peter Papulis Babbo & Rose, Ltd. BFA 1977 Fine Arts Innovart Foundation Steven Pullara BFA Ivan Liberman Trust 1979 Fine Arts Arielle Kempler, Linda Saccoccio* and in memory of Dr. Monica Michell Barry Winnick MFA 1991 Fine Arts Soontak Lee Julia Lester Laura Scarola Ferro Paul Milbauer, in 1973 memory of Lawrence Sandy SmithMilbauer (1965) Garcés* and Adam Novartis Strom, in memory of Elizabeth and Coleman Marshall Arisman, O’Donoghue MFA 1990 Illustra- Oz Air Conditioning, tion as Visual Essay Inc. Phyllis Ramirez, in Rena Sokolow / memory of Vincent one2tree BFA 1986 Nicoletti (BFA 1979 Media Arts Photography) Hisao Taya BFA 1982 Patricia E. Smith Film and Video Van Stokes James Trippler 1970 SVA Student Health and Counseling SerConstance Von vices, in memory of Collande 1966 Dr. Monica Michell Tom Wai-Shek 1970 Will & Ann Eisner Advertising Family Foundation Roxanne Lorch Lipman 1984

*Alumnus 79 FALL/ WINTER 2025–26

With Appreciation

Alumni Society Housing Scholarship JUN KIM , BFA 3D Animation and Visual Effects MIA MOORE , BFA Illustration

IN MEMORIAM

FROM LEFT

Tony Bechara, Ohne Title, 2008, acrylic on canvas; and Color in Motion III, 2024, acrylic on wood. © Tony Bechara, courtesy of Lisson Gallery. Nona Faustine, Lincoln Memorial and Jackson Mississippi, 2019, silkscreen. © Nona Faustine, courtesy of the estate of the artist and Two Palms.

Alumni Legacies

CAROLYN BROWN (BFA 1981 Media Arts) died on November 30, 2024. Brown grew up in Staten Island. After SVA, she worked as a designer and art director in New York City and Vermont, where she moved in the late 1980s. She also taught and practiced painting and collage. She is survived by her husband, Douglas; sons Derek and Cooper; half-brother, Christopher Trogan; and many friends. SIDNEY BROWN (1972 Illustra-

tion) died on March 18 at the age of 85. Brown, who was born in New York City, worked as a commercial artist and portrait painter after attending SVA. He was also a New York City Department of Correction officer and a musician in a local Harlem band for over 40 years. He is survived by his son, Douglas Jordan; daughter, Christine Brown; stepson, Robert C. Akrie, Jr.; brother, Frederick Brown II; and grandchildren Senida Jordan, Kristina Jordan, and Maya Francine Brown.

NONA FAUSTINE (BFA 1994

Photography) died on March 20. Faustine grew up in New York City and, after SVA, earned an MFA from the International Center of Photography at Bard College. Her photographic series “White Shoes” was published as a book in 2021 and the subject of a 2024 solo exhibition at the Brooklyn Museum. Her honors included the inaugural BRIC Co-

lene Brown Art Prize; her work is in the collections of institutions such as the Brooklyn Museum and Studio Museum in Harlem. She is survived by her daughter, Queen Ming, and sister, Channon Simmons. RICHARD THOMPSON (1965)

died on April 21 at the age of 77. Thompson, a Staten Island native, worked for three decades at Mack Trucks, Inc., joining as an illustrator and rising to manager of the illustration department. He volunteered for the Easter Seals and United Way of the Lehigh Valley, and the boards of the Boy Scouts of America Minsi Trails Council and the American Diabetes Association’s Pennsylvania affiliate. He is survived by his son, Glenn; daughters Lori Krasnansky and Jennifer (Sean) Ryan; and many grandchildren, nephews, and cousins.

TONY BECHARA (1970 Fine

Arts) died on April 23, his 83rd birthday. Bechara was born in San Juan, Puerto Rico, and studied at Georgetown University, the Sorbonne, and New York University before enrolling at SVA. His grid-based paintings are in the collections of the Metropolitan Museum of Art, New York; and Museo de Arte, San Juan; among other institutions. Bechara served as chairman of the board at El Museo del Barrio and on the boards of the Brooklyn Academy

80 VISUAL ARTS JOURNAL

of Music, The Brooklyn Rail, Instituto Cervantes, and Studio in a School. MARY FADER (1981), a Staten

Island–based artist whose work was exhibited at the Snug Harbor Cultural Center, among other venues, died on May 23 at the age of 74. Fader grew up in Staten Island and in addition to her SVA education held a bachelor’s from Pace University. She is survived by her sisters Patricia Ricco, Joan Fader, and Kathy O’Rourke, and many nieces and nephews.

DAVID NARDIELLO (BFA 1999 Animation) died on May 27 at the age of 48. Nardiello grew up in Queens and Seaford, New York. After SVA, he moved to Japan, earning a black belt in Shorinji Kempo and learning Japanese, which he taught upon returning to the U.S. Nardiello’s time in Japan influenced his art as an animator, sculptor, performer, and musician. He is survived by his parents, Leonard and Mary Ellen, and his sister, Carolyn. ANNA M. JOHNSTON (BFA 1987 Media Arts) died on June 24 at the age of 61. Raised in the Bronx, she later moved to East Windsor and then Jackson, New Jersey, where she taught art and created portraits of both people and pets. She is survived by her brother, Thomas (Patty), nephews Stephen and Sean Forrest, and niece, Deirdre Forrest.

ARNOLD SHAW, Practical Printing Production course announcement (detail), 1965. Image courtesy of the SVA Archives.

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