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Contents

  3 President Interview

The Programs
  7 mfa Art Criticism and Writing
 25 mat Art Education
 43 mfa Art Practice
 61 mps Art Therapy
 81 mps Branding
 95 mfa Computer Art
127 ma Critical Theory and the Arts
139 mfa Design
163 mfa Design Criticism
187 mfa Design for Social Innovation
205 mps Digital Photography
225 mps Fashion Photography
239 mfa Fine Arts
261 mfa Illustration as Visual Essay
279 mfa Interaction Design
301 mps Live Action Short Film
315 mfa Photography, Video and
Related Media
345 mfa Products of Design
371 mfa Social Documentary Film

388 General Information


392 Tuition and Expenses
396 Financial Aid
398 Admission to the Programs
408 Administration
414 Building Directory
and Campus Map
“As an art school in the United States, it is entirely appropriate that we have adopted the American
philosophy of Pragmatism. As a college we have always been willing to experiment and learn from
trial and error. I’m proud that one of the things we’ve made function effectively at sva is a culture
of working professionals who head programs that are deeply connected to current creative work and
evolve over time, taking account of new conditions in the field and the shifting interests of the depart-
ment chairs, faculty and students. With a renewed emphasis on education as central to development
and growth, and an ever deeper appreciation of how much students can (and must) contribute, I believe
the u.s. will continue to grow as a top international destination for graduate-level study.”
What are the challenges of organizing staff and programming in the way that sva does? “There
is a modest tension between faculty members’ professional commitments and their teaching respon-
sibilities,” Mr. Rhodes admits, ‘but I think we’ve solved that here. A typical institution hands faculty
a lot of work that they’re not necessarily expert at. We don’t do that; our faculty is here to teach what
they know, and to impart what they are expert at in their work

David
lives. And since they are actively involved in their professions,

President Interview
what they’re doing is fresh. There may be some virtue to drawing
from plaster casts, but we have found it’s more useful—to make

Rhodes
another Pragmatic point—to be doing something of the moment.
The content of our programs changes almost annually. No one’s
lecturing from yellowed notes made 30 years ago.”
And it’s not just the content of existing departments that
keeps moving: sva continues to introduce new graduate
programs, responding to emerging interest and demand. “For
example,” President Rhodes begins, “an mfa in Art Practice,
developed by curator and former Whitney director David Ross, is beginning in the summer of 2011.
Its mission is two-fold: The continuous development of art-making through extensive studio work, and
a thorough understanding of contemporary art practice, including critical and curatorial endeavors.”
“In the fall of 2011 we’ll welcome our first class to a one-year mps in Fashion Photography.
Chaired by Jimmy Moffat and Stephen Frailey, the program is designed to immerse students in the
narrative, conceptual and cultural subtext of fashion photography, and provide direct engagement
with the leading figures in fashion and fashion photography in New York City.”
“And in 2012,” he continues, “we will launch our first purely research-based degree, an ma
in Critical Theory and the Arts, developed by philosopher Robert Hullot-Kentor, as well as two new
advanced design degrees: mfa Products of Design, a strategic making-based curriculum considering
purposeful artifacts, systems, and design offerings, chaired by Core77 founder Alan Chochinov, and
mfa Design for Social Innovation, which, as Chair Cheryl Heller says, ‘considers the new challenges
of working at the intersection of business, society and the natural world.’”
Recently, the College has expanded physically as well as in its range of programs. One particularly
striking development is the sva Theatre on West 23rd Street. “This is something we had wanted to do
for a long time,” the president reveals. “To create a cultural center for Midtown South. Pedagogically,
it will allow graduate programs to collaborate on some lectures and multimedia presentations.”
In addition to these and other changes, he recognized the College’s longstanding strengths.
“Illustration has been around for a long time, but (the mfa in Illustration as Visual Essay) is actually
an innovative program that turns the discipline on its head. Half of its graduates have published books
and graphic novels and even produced painting series. That’s not what we expected setting it up, but
that program has stayed out ahead of the field.”
“Ultimately,” President Rhodes concludes, smiling, “we are open to supporting and guiding
whichever paths students choose, so long as their work is smart.”

3
Accreditations
the school of visual arts has been authorized by the New
York State Board of Regents (www.highered.nysed.gov) to confer the
degree of Bachelor of Fine Arts on graduates of four-year programs in
Advertising and Graphic Design; Computer Art, Computer Animation
and Visual Effects; Film, Video and Animation; Fine Arts; Illustration and
Cartooning; Interior Design; Photography; Visual and Critical Studies;
and to confer the degree of Master of Arts on graduates of the one-year
program in Critical Theory and the Arts; and to confer the degree of
Master of Fine Arts on graduates of two-year programs in Art Criticism
and Writing; Computer Art; Design; Design Criticism; Design for Social
Innovation; Fine Arts; Illustration as Visual Essay; Interaction Design;
Photography, Video and Related Media; Products of Design; Social
Documentary Film; and to confer the degree of Master of Fine Arts on
graduates of the three-year program in Art Practice; and to confer the
degree of Master of Professional Studies on graduates of the two-year
program in Art Therapy and the one-year programs in Branding; Digital
Photography; Fashion Photography; Live Action Short Film; and to confer
the degree of Master of Arts in Teaching on graduates of the program in
Art Education and to confer the degree of Master of Arts in Teaching on
graduates of the program in Art Education. Data required by the U.S.
Department of Education on “Gainful Employment” for each of the above
programs may be found on each individual program page at sva.edu.

the school of visual arts is accredited by the Commission


on Higher Education of the Middle States Association of Colleges and
Schools (www.msche.org), 3624 Market Street, Philadelphia, PA
19104, 215.662.5606. The Commission on Higher Education is
an institutional accrediting agency recognized by the u.s. Secretary of
Education and the Council on Higher Education Accreditation.

the school of visual arts is an accredited institutional member


of the National Association of Schools of Art and Design (http://nasad.
arts-accredit.org).

the interior design program leading to the Bachelor of Fine

The
Arts in Interior Design is accredited by the Council for Interior Design
Accreditation (formerly FIDER) (www.accredit-id.org), 146 Monroe
Center nw, Suite 1318, Grand Rapids, mi 49503-2822.

the master of professional studies in Art Therapy degree


program is approved by the American Art Therapy Association, Inc., and

Programs
as such meets the Education Standards of the art therapy profession.

the master of arts in teaching in Art Education program


is accredited by the New York State Regents Accreditation of Teacher
Education (rate ).
XX For us, criticism is a way to ask bigger and better questions
XX We want students with wide-ranging curiosity about contemporary culture
XX Emphasis on the history and current transformations of the image

The mfa in Art Criticism and Writing is one of the only graduate writing programs in the country that
focuses specifically on criticism. We honor Walter Benjamin’s desire to “create criticism as a genre,”
unto itself, and that means opening the program to a wide variety of approaches and inquiries. For us,
criticism is an open proposition—a way to ask bigger and better questions.
The practice of criticism involves making finer and finer distinctions among like things, but it is also
a way of asking fundamental questions about art and life. Writing good criticism requires a grounding
in art history and aesthetics, and also a prodigious curiosity and knowledge of contemporary culture.
Critics cannot afford to be specialists, so our curriculum is both finely focused and wide-ranging. In
addition to the foundation seminars Bases of Criticism, three levels of writing practicum, and the thesis
seminar, we offer a broad array of continually changing electives, dealing with everything from the
idealist tradition to artists’ writings. We concentrate on the essay as form, as well as on shorter forms
of review, and learn criticism by doing it. Students’ writing and reviews are published regularly in our
online magazine Degree Critical, and art magazine editors are involved in the program in various
capacities. The thesis that students write at the end of their course of study is intended to be a substantial
work of criticism. We want students to come out of this program and be able to write in the world.
From its inception, this program has also had a special emphasis on the history and current transfor-
mations of the image. We live in an age when images have an inordinate power over us—the power to
influence public opinion, to create and direct desire, to comfort and inflame. The critics of tomorrow must
study images, in all of their manifestations, in order to better understand how we are subject to them.
In addition to our exceptional core faculty, we invite many artists, writers, critics, editors, art his-
torians and philosophers each year to give lectures and meet with our students individually or in small
groups. This will always be a small program, with a good deal of opportunity for one-on-one interaction.
We think it makes sense for a program like this to be situated within a major art college like the School
of Visual Arts, since good things happen when artists and writers get together. It is also obviously a
big advantage to have such a program located in the heart of New York City, amidst the greatest con-
centration of artists and art activity in the world. We will look at a lot of art here, and try to account
for our experience of it in writing. And in all we do, we will be guided by the advice Henry James gave
to writers when he said, “Try to be one of those on whom nothing is lost.”

David Levi Strauss, chair

MFA
Art Criticism
and Writing
www.sva.edu/grad/artcriticism
department site: artcriticism.sva.edu 7
Catching
Up With
the Critics
Alumni Profile: Christine Licata
and Clay Matlin

Clay Matlin (MFA’07) reflected in the windows of the


New Museum on the Bowery in New York City. Ugo
Rondinone’s work “Hell, Yes!” was installed on the
façade of the building for the museum’s opening at
its new location in December 2008.
Students entering the Art Criticism program have their work cut out for them. Not only is the
discipline evolving rapidly, but its educators—often critics themselves—demand a high level of
cultural understanding and a commanding skill of the pen. “The program really re-trained me how
to write,” explains recent grad Clay Matlin. “The experience is bigger than the standard 300 - to
600 -word exhibition review. Instead, the entire spectrum of art writing is encouraged. The program
makes you think about the act of writing, how one exists in the moment of the experience, and to
be thoughtful and careful in the use of words.”
This deeply thorough re-education in the skill of writing was especially demanding for fellow
alumna Christine Licata. “For me, the biggest challenge in art writing was to learn to express the visual
to the verbal. My undergraduate degree is in graphic design, so for many years I had been trained to do
the opposite—to translate language and concepts symbolically and visually,” she says. “Studying art
criticism, I had to learn to reverse the process, to literally extract these ideas in order to communicate.”
Fortunately, both Matlin and Licata can rest easy knowing they were put through their paces by
those that can walk the walk, including Raphael Rubinstein. Rubinstein, a widely published critic
and former senior editor of Art in America for over a decade, teaches the final writing course before
students embark on their thesis. Students are given assignments as if they were critics in the real
world, and have their work openly edited and discussed in class. A large amount of time in Rubin-
stein’s class goes into helping students simply describe what they see with their own eyes. “It’s essential
to giving the readers the evidence they need in order to follow you to their conclusion,” he says.
“It keeps you honest as a writer.” Assignments go through multiple revisions—just as they would
in a magazine—until the piece is perfect. “You can’t separate the importance of good criticism
from good writing,” says Rubinstein. Admits Matlin, “Raphael taught two of my writing courses
and was particularly brutal, which is a great thing to have from a writing teacher. One can’t always
be told how good one is, because it’s simply not true. Writing students are going to produce a lot
of terrible writing. They have to, otherwise they wouldn’t be learning anything.”

Christine Licata (MFA ’08) at El Taller Boricua Gallery


in Spanish Harlem, where she is assistant curator.
The MFA Art Criticism and Writing Department has its own floor
chair interview in a beautiful building in Chelsea, the heart of New York City's bustling art

David Levi Strauss


district. Our department comprises a seminar room and the departmental
library, a room where students can congregate to read, work, have
informal discussions or make use of the shared Internet and word
“This is a program for the present,” says David Levi Strauss, “a time when there’s some confusion processing workstations. The departmental library expands almost daily,
about what criticism is. In my teaching, I’ve noticed the rise of ‘curatorial rhetoric,’ writing that as we are constantly adding new books of art criticism, philosophy, art
borrows from specialized languages in which the author lacks a background, which often obscures history and critical theory, and also includes subscriptions to a broad and
more than it reveals. For me, chairing this program represents a chance to counter that tendency.” diverse array of art magazines and newspapers.
What are the program’s concentrations? “There’s an emphasis on the history and transformation
“Our program is unique.
of the image,” Strauss responds, “but there’s also a philosophical base. My model for it is the Poetics
It’s a small, seminar- and
Program that Robert Duncan ran in San Francisco during the early ’80s. Duncan and the other poets
discussion-based program
who taught there conceived of poetics in its largest sense, as the study of how things are made, so it
in which students learn

On any
can be applied to anything made.”
as much from each other
“Students in the sva program come from a variety of fields,” Strauss observes. “Some have diff­
as from the teachers.”
erent kinds of writing backgrounds, others have training in art history, but most have been working

given day...
for some time. They might have been publishing criticism professionally but found themselves looking
for a way to go to the next stage.”
“Our program is unique. It’s a small, seminar- and discussion-based program in which students
learn as much from each other as from the teachers. Students here write every week, in a variety of
formats, and attend workshops with working writers and editors. It’s direct and intense.”
The program incorporates electives that change from year to year. “Virtual Curating has been a
popular course,” Strauss observes. “Students do everything required to make an exhibition short of noon  First year students meet in Chelsea to do a round of gallery visits 6pm  Students take a break in the departmental library, making use of the
actually mounting it, and that includes writing a catalog. Another elective, The History of Reading, and look at art from newly opened shows. After an informal walking tour kitchen area to grab a quick bite.
is based on the idea that, as literacy is becoming a cult activity, questions are emerging about what read- of half a dozen galleries, students reconvene at a café to have an informal
ing is, how it works, and the influence of technological changes. Artists’ Writings is another interesting discussion about the shows, in preparation for writing reviews. 7pm  The department hosts a public lecture by writer and art historian

track, looking at the history of the form, from Kandinsky, Moholy-Nagy and Breton to the present. T.J. Clark at the SVA Theatre on Picasso’s Guernica. After the lecture,
1pm  First- and second-year students convene at the home of artist Clark joins our students for a meal and discussion on the talk.
We also had a great series by Jeffrey Kastner that looked at contemporary art history through the lens
Nancy Goldring for an intimate conversation with Leo Steinberg
of the art magazine.”
about works such as Pontormo's Capponi Chapel, that the art historian 9pm  Students head downtown to a Cabinet Magazine launch party, to
As is the case with sva in general, the program takes full advantage of its New York base. “There
has written extensively about over decades. mingle with writers and editors including Jeff Kastner, senior editor and
are so many people here that we can draw on.” Strauss enthuses. “Leo Steinberg did a special session
faculty member.
with all of my students that was incredible.” 2pm Chair David Levi Strauss has a studio visit with artist Terry
As to the thesis toward which students work, Strauss explains that “from the beginning, the idea has Winters in preparation for an upcoming piece for the Brooklyn Rail.
been that it should be a work of criticism, but that can include many different approaches.” He pulls out
a stack of examples. “Alyssa Timin wrote one called ‘The Eye of the Storm: Regarding Waiting for Godot 3pm  Second-year students meet with Susan Bee for their required thesis
in New Orleans,’ while Sophie Landres wrote a comparison of artists who used language in the Concep- seminar, to discuss research issues in long-form critical writing. Writer
tual art of the ’60s and ’70s with contemporary artists who use it in connection with digital states.” Bonnie Marranca visits the class to talk with students about writing
“Ultimately,” Strauss concludes, “our hope is for people to be able to write real criticism in the real strategies.
world, and the pathways to that are many and complex.”
4pm Chair Levi Strauss meets with a second-year student to discuss a
writing opportunity that has come up for a CUE Art Foundation catalog
for an upcoming show.

Art Criticism & Writing 12 13 www.sva.edu/grad/artcriticism


(above) T.J. Clark speaking at the SVA Theatre about
Picasso’s Guernica. Afterwards, (left) Clark joined
Chair Strauss and students at El Quijote, one of New
York City’s oldest Spanish restaurants.
The Program  The mfa Art Criticism and Writing program provides a broad spectrum of courses taught
by experts in their respective disciplines. Course work both informs and guides students toward their personal and Course Descriptions
professional goals in art criticism and its writing. ¶ The curriculum assists students in the development of both
a professional engagement with the visual arts and a professional body of work. These objectives are achieved
through training in and exposure to contemporary critical practices, and the simultaneous development of a solid
foundation in cultural histories and philosophies, both ancient and modern. The second year concentrates on the
refinement of critique and writing skills to enable each student to achieve a personal style of commentary. ¶ Bases
of Criticism I and II; Writing I, II and III; Thesis Seminar and Thesis are all required courses. The curriculum is also
designed to accommodate specific areas of interest through the elective courses, which relate to major issues in Required Courses Elective Courses
contemporary art criticism. Students work with their academic advisor to create a course schedule that is tailored to Bases of CRITICISM I & II Against Interpretation
their individual academic objectives. ¶ In addition to the core faculty, the program includes visiting lecturers from Required of all first-year students, these courses provide background for A subjective overview of strategies for resisting criticism, this class
the history, theory and criticism offered through the elective courses. will look at the perennial efforts artists have undertaken to resist the
around the world. These lecturers will both discuss the backgrounds of their traditions as they relate to creative Foundational texts will create a base for further studies during the two- authority, and the conventional formats, of criticism. From Dada,
expression and share their perspectives on the relationships between the artistic practices of their cultures and the year program. These courses will assist students in understanding the Fluxus, and Conceptualism, to the Bruce High Quality Foundation
prominent theoretical positions of art criticism—past and present—and and other collectives dedicated to rewriting art history’s curriculum (or
global significance of these practices. ¶ Degree candidates must successfully complete 60 credits, including all their sources, and will concentrate especially on the history and theory pedagogical practice), usurping the critical role has been a recurrent
required courses, and maintain a 3.0 grade point average. A residency of two academic years is required. In the of the image. motive. Because the subject is so broad, this course will be organized
in part around examples of particular interest to the students who
final semester, each student completes a thesis, which must be reviewed and approved by the thesis advisor and Writing I, II & III enroll. Susan Sontag’s essay will be one starting point; Sol LeWitt’s
the department chair in order for the student to be eligible for degree conferral. These courses will lead to the writing of the thesis in the final semester sentences and paragraphs on Conceptual art will be another.
of the program. Students will read examples from different styles
of critical writing. Brief texts, in the nature of reviews of current THE ART OF THE INTERVIEW
exhibitions, will be assigned. In conjunction with writing and revising An important tool of the art writer is the interview. Yet it is often
Sample Program exhibition reviews for possible publication in the program’s online regarded as a kind of blank-faced question-and-answer followed by the
journal Degree Critical, instructors will consult on thesis issues. As publication of a mechanically edited transcript. In this course, we will
the process advances, students are encouraged to dig more deeply discuss and practice what it means to conduct a successful interview.
first year into ideas without ever losing sight of the value of clarity. Students will learn how to prepare properly, how to read a person
and use dialogue as a creative form, and how to fashion the interview
FALL Semester Credits SPRING Semester Credits
Thesis Seminar material after the fact. Students will interview one another, and use
Bases of Criticism I 4 Bases of Criticism II 4 Students will begin thesis preparation by formulating the central ideas New York City as a laboratory of artists, dealers, gallery directors,
Writing I 4 Writing II 4 that will become the thesis, and will consider appropriate strategies for editors, writers, academics and other representatives of the art world
Electives (2) 8 Electives (2) 8 the research, form, presentation and distribution of their ideas. Thesis to interview and profile.
Seminar will give students the opportunity to meet as a group with a
faculty member and discuss issues related to the development of their Artists in the Present
theses, and read portions of their work in class. Guest lecturers from Instead of concentrating on the conventional modes of interview,
second year various fields will discuss what is important about a thesis. which rely on sets of questions that apply to everyone, this course
will explore different preparations and methods congenial to a wide
FALL Semester Credits SPRING Semester Credits
Thesis variety of practices and approaches that artists have adapted in order
Writing III 4 Thesis Seminar 4 Each student will meet with his or her thesis advisor and work to differentiate themselves. Critics need to be able to talk with artists.
Electives (3) 12 Thesis8 on a one-to-one basis throughout the semester. Meetings are used We’ll prepare interviews that uncover working methods and ideas. The
for the instructor to respond to drafts of the thesis and discuss course includes studio visits.
Note: Each elective course is four credits. its development.
Artists’ Writings
The significant interventions that visual artists have made through art
writing into the art criticism of their time are the focus of this course. It
will examine artists’ writings, including journals, art criticism, manifes-
tos, theoretical writings, letters and artist-run publications. Artists such
as Wassily Kandinsky, László Moholy-Nagy, Kasimir Malevich, André
Breton, Marsden Hartley, Barnett Newman, Ad Reinhardt, Robert
Motherwell, Louise Bourgeois, Allan Kaprow, Robert Smithson, Donald
Judd, Robert Morris, Adrian Piper, Mary Kelly and Carolee Schnee-
mann, among others, have bridged the gap between art practice,
artwork and critical theory, and invigorated the language of art criti-
cism. We will concentrate on some of the key artists’ writings from
Russian constructivism to the Bauhaus, surrealism, abstract expression-
ism, Fluxus, feminism, conceptual art and minimalism.

Art Criticism & Writing 16 17 www.sva.edu/grad/artcriticism


Criticism and Risk Phaedrus, Republic 3, Philebus; selections from Plotinus’ Enneads; work of Marxism. Readings include works by Trotsky, Plekhanov, A SHORT HISTORY OF READING
I suspect that for most everyone seriously involved with art, risk is an Kant’s Critique of Judgment and selected essays; Hegel’s Philosophy Raymond Williams, Simmel, Georg Lukacs, Ernst Fischer, Jameson, Reading is a skill that has shaped society and the human brain in a
essential and uneasy word. The best artists, critics, curators, collec- of History and Philosophy of Fine Art; Clive Bell’s Art; Roger Frye’s Althusser, Marcuse and Adorno. manner we are just beginning to understand. It has developed from
tors and dealers may approach risk differently, but in order to meet Transformations; Clement Greenberg’s Art and Culture, and selected the 15th century as an elaborate and varied practice within very
the challenges of art, they all know that risk is required. Without essays of Fried and Nodelman. Motion Capture specific historical and cultural contexts. But what is it to read? We
risk, there can be neither knowledge nor transformation. Uncertainty, This course will track the course of movement as depicted in still will learn about the impact of the printing press, the book, the novel
disturbance, otherness and shock have been part of the fabric of In the Process: Thinking about how Art Is Made images via some of the oldest and newest forms of animation. From and the Internet. Of primary importance, we will use the history of
modernity, of which each incarnation of The Contemporary, no mat- Through reading essays by artists, critics and historians about the ancient traditions of animism and the talismanic characteristics of reading to explore whether reading is “dead” or simply ap­proach­ed
ter how distinct, is itself part. But what a difficult word risk is! Risk process of making art, this class will consider the importance of close inanimate objects to the newest motion capture technologies and mili- differently in contemporary society. Students will read literature,
what? Risk how? For what? For whom? With what objective? For a attention to any given work’s material as well as conceptual quali- tary surveillance, we will examine how we represent movement, and poetry, historical and theoretical texts from John Donne, Gertrude
critic, the potential for risk is shaped by the publishing outlet. Risk is ties. Subjects will range from traditional studio practices resulting in to what ends. We’ll read Aby Warburg and Roland Barthes, look at Stein and Roland Barthes, to Proust and the Squid: The Story and
encouraged or suffocated by strategies of writing—including style. It discrete paintings and sculptures to the development of work based Muybridge and Marey, and move into ideas of montage in Eisenstein Science of the Reading Brain by Maryanne Wolf.
goes without saying that its energies and stakes are also shaped by per- in ideas and realized as ephemera or in time-based media. The goal and Godard. We’ll talk about the accumulation of images as material,
sonality and history. This course will not fetishize or commodify risk. of the class will be a broader understanding of how process shapes drones and infrared heat sensor goggles, and speculative motion cap- The Sublime and the Beautiful
Through writings by artists, critics, curators and others—including not only physical outcome but also meaning. We will begin with two ture, in an attempt to get closer to the future of images. This course will conduct a literary and visual examination of the con-
you, the students—it will consider questions such as: What are risk’s texts on Alberto Giacometti, by James Lord (A Giacometti Portrait) cepts of the sublime and the beautiful, as one of the great dichotomies
forms? How do we recognize them? How does risk happen within and David Sylvester (Looking at Giacometti). Further assigned authors The Poet as Critic in Western theory and criticism. We will examine the sublime (Burke,
overt and internalized systems of authorization? What role does risk will include artists Donald Judd, Robert Smithson, Robert Morris, Eva In this class, we will examine the various ways in which poets have Kant, Turner, Newman) and the beautiful (Bell, Greenberg, Heidegger,
play in the experience of art and writing? Hesse, Yvonne Rainer, Rackstraw Downes, Carroll Dunham, David responded to visual art in the modern Western tradition. Our pri- Habermas), as well as some of the images on which their theories are
Humphrey, Andrea Fraser and Frances Stark, and writers Robert Storr, mary focus will be Paris in the nineteenth and early twentieth century based. In addition, recent works, including Dave Hickey’s The Invisible
Developing a Voice: From Jacques Derrida to Don DeLillo Richard Sennett, David Levi Strauss and Patricia Phillips. and New York from the mid-twentieth century to the present. Our Dragon and essays by Peter Schjeldahl, will be discussed.
This course takes ekphrasis—art writing, the art of visual descrip- trajectory will reveal a rich tradition, beginning with Baudelaire,
tion—as its topic. Art writing exists in many forms and is a mutable The Language of Color continuing with Apollinaire, and concentrating especially on the New VIRTUAL CURATING
and creative act. Often, the least interesting writing on art is done by What language do we use to write about color in art? This course will York School, with writings by Frank O’Hara, Edwin Denby, and Bill The premise of this course is for students to conceive a thematic, bien-
art historians. We will spend the semester studying the writings of explore the descriptive, critical and poetic terms that signify color, Berkson, and continuing to the present with such writers as Eileen nial-style exhibition, and select the artists and works for the show.
poets (including Baudelaire), novelists (including DeLillo), filmmakers from prehistory to the present day. Through observation, reading, Myles, Carter Ratcliff, Raphael Rubinstein, and John Yau. We will During the semester, the class will write all texts required for such an
(including Pier Paolo Pasolini), philosophers (including Derrida), and discussion and writing, we will examine the science and philosophy of also touch on writers who had and have deep involvements with exhibition, includ­ing letters of invitation, press releases, catalog essays/
artists (including Robert Smithson). The goal of the course is two-fold: color, the historical and literary development of color language, and poetry, many of them artists themselves: Rudy Burckhardt, Nicolas entries and wall text. Theoretical texts on curating as well as exem-
for students to be exposed to a variety of writing styles, and to experi- the cultural and political significance of color in modern and contem- Calas, Rackstraw Downes, Merlin James, and Fairfield Porter. We plary catalog essays will be discussed and analyzed. All aspects of
ment with and develop a unique voice outside the bounds of academic porary art. Museum and studio visits, discussions with artists and crit- will read pieces that have become touchstones in contemporary think- curating (short of an actual physical installation) will be covered, with
writing or journalism. There will be weekly writings and in-class cri- ics, experiments in color identification and mixing, and regular writing ing about art, such as Baudelaire’s “The Painter of Modern Life” and an emphasis on writing.
tiques as well as a final paper. workshops will be included. Readings will range from scientific and Denby’s account of New York in the 1930s. Our goal is to introduce
philosophical texts (Aristotle, Isaac Newton, Goethe, Michel-Eugène participants to diverse ways of thinking about the visual arts, to notice The Work of Art in the Age of Information
Form and Function Chevreul, Ludwig Wittgenstein, Josef Albers) to fiction/memoir and how language can be energized to discuss visual arts, to examine “The immense size of modern databases gives us a feeling of
From the Bauhaus and de Stijl to Donald Judd and Scott Burton to poetry (Rainer Maria Rilke, William S. Burroughs, Barbara Guest, effects of collaborations between poets and visual artists, and to learn meaninglessness.” —Freeman Dyson.
Mary Heilmann and Franz West, the commitment to abstraction has Frank O’Hara, William Gass, Maggie Nelson) to contemporary criti- new ways of writing and thinking about works of art. In this course we will discuss some of the following questions: What
coincided, with striking frequency, with an impulse to create functional cism (David Batchelor, Yve-Alain Bois, Esther Leslie and Kathryn is the work—the task—of art in a world given over to the near instan-
form. Seemingly contradictory, the two inclinations have also inter- Tuma). Students will develop a language of color through descriptive SCIENCE AND ART CRITICISM taneous flow of data across all boundaries of self and state? Is it still
sected with others, including, variously, utopianism, asceticism and writing, response to critical texts and subjective encounters with color From atomic theory to the decipherment of the human genome, sci- useful to think of the artist as a singular figure whose work captures
iconoclasm. This class will look at the conceptual, social and politi- in art. ence has spilled out of the laboratory and into our lives. When we add a present reality, when history itself seems to be a rapidly shifting,
cal agendas associated with such hybrid work. Artists whose work to this mix the invention of the Internet and its global perspectives in tractionless field? How can we distinguish between subjective and
engages these paradigms critically or ironically (Andrea Zittel and Live Art Criticism: History and Practice cyberspace, a revolution is upon us. As scientists engage in molecular objective reasons for aesthetic judgment (and is it important to do so)?
Jorge Pardo, among many others) will also be considered. Problems of This course will explore strategies for writing about live art, and study- makeovers, plastic surgery and nanotechnology, the corporeal body Can critical thinking/writing reinscribe the criteria of meaning into
engaging sympathetically with the various historical contexts in which ing innovators in dance, theater and the visual arts, mostly through the has become a topic of public and aesthetic discourse in itself. This the art experience without disavowing the work of theory or reject-
these varied expressions of idealism (or nihilism) have arisen will be intrepid critics who have long, if sporadically, provided a context for course will examine the ways in which artists are addressing genetic ing the ubiquity of information and opinion? Is there a new relation
addressed. category-defying works. The performing and visual arts have always engineering, new anatomical models, reproductive technologies and to be found between critical authority and cultural/social resonance?
borrowed from one another, but this mutual interest is too rarely cloning as part of the emergent “sci-art” movement that is taking Readings from a range of thinkers, artists and writers. Weekly short
THE IDEALIST TRADITION accompanied by critical understanding or comfort, both of which can place in the United States and abroad. Other topics include: genetically papers and one term paper.
The idealist tradition begins with Plato, migrates to the Neoplatonists, only be achieved by looking and writing. That’s what we will do here. modified food, the commodification of bio-matter, lab residencies for
the Renaissance Platonists, the Cam­bridge Platon­ists and Kant. After artists and ecological initiatives. In addition, new imaging technologies
Kant, the tradition adapts through various stages—Hegelian histori- MARXISM AND ART CRITICISM and their relationship to science, art, design and architecture will be
cism, the critical historians, the British formalists (especially Bell and This course aims to acquaint students with significant figures and texts conceptually explored. Visiting speakers will complement the course
Frye), and lands finally with Clement Greenberg. Greenberg popular- in the tradition of Marxist art theory and criticism, beginning with an material.
ized and reinvigorated the idealist tradition for about a generation essay from Marx himself and concluding with work by T. J. Clark, the
and then it lost force, at least for a time. Readings include Plato’s Ion, most eminent contemporary art historian working within the frame-

Art Criticism & Writing 18 19 www.sva.edu/grad/artcriticism


Faculty

David Levi Strauss, chair Michael Brenson Phong Bui Tom Huhn
Writer, critic Critic, scholar Publisher, editor, Brooklyn Rail; visual artist; curator Chair, Art History Department and BFA Visual and Critical Studies
Education: BA, Goddard College; graduate work in the Poetics Education: BA, Rutgers University; MA, PhD, Johns Hopkins Education: BFA, Philadelphia College of Art; Department, School of Visual Arts; coordinator, Honors Program,
Program, New College of California University New York Studio School School of Visual Arts; philosopher; critic
Books include: Between the Eyes: Essays on Photography and Professional experience includes: Art reporter, art critic, Professional experience includes: Curatorial advisor, Education: BA, Sarah Lawrence College; MA, PhD,
Politics; Between Dog and Wolf: Essays on Art & Politics; Leon The New York Times; art critic, New York magazine P.S.1 Contemporary Art Center. Host, “Off the Rail Hour,” Art Boston University
Golub and Nancy Spero: The Fighting Is a Dance, Too; From Head Books include: Visionaries and Outcasts: The NEA, Congress, International Radio. Board member: Marie Walsh Sharpe Foundation, Books include: Imitation and Society: The Persistence of Mimesis
to Hand: Art and the Manual and the Place of the Visual Artist in America; Acts of Engagement: International Association of Art Critics in the Aesthetics of Burke, Hogarth, and Kant; The Cambridge
Contributing editor: Aperture; The Brooklyn Rail; founding Writings on Art, Criticism, and Institutions, 1993-2002. Co-author, Publications include: The New York Times, Wall Street Journal, Companion to Adorno; The Wake of Art: Criticism, Philosophy, and
editor, ACTS: A Journal of New Writing. Other publications include: co-editor, Culture in Action: A Public Art Program of Sculpture New York Sun, Sculpture, Hudson Review, Art in America, New York the Ends of Taste; The Semblance of Subjectivity: Essays in Adorno’s
Artforum, Art in America, The Nation, Art Journal, Cabinet Chicago. Co-editor, Conversations at the Castle: Changing Audiences Observer, The Village Voice, San Francisco Chronicle, Art Monthly Aesthetic Theory
Awards and honors include: John Simon Guggenheim Memorial and Contemporary Art; Witness to Her Art: Art and Writings by Australia, Matador, Art & Auction, Brooklyn Rail, Metro, The New Publications include: Oxford Art Journal, British Journal of
Foundation Fellowship; Artspace Grant for New Writing in Art Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Yorker, NY Arts, art.net Aesthetics, New German Critique, Art & Text, Eighteenth-Century
Criticism; Logan Award, Boston University, Infinity Award for Writing Walker, Daniela Rossell and Eau de Cologne One-person exhibitions include: Leslie Heller Gallery, Wooster Studies, The Oxford Encyclopedia of Aesthetics, Art Criticism,
Publications include: Art & Auction; Art Journal; Art in America; Arts Space, Sarah Bowen Gallery, Sideshow Gallery Telos, Journal of Aesthetics and Art Criticism, Philosophy and
Suzanne Anker Sculpture; Journal of the Clark Art Institute; American Theatre; The Group exhibitions include: Lohin Geduld Gallery; Norte Maar; Social Criticism
Chair, BFA Fine Arts Department, School of Visual Arts; New York Times Magazine; Connaissance des Arts; Association Vaudeville Park; Janet Kurnatowski Gallery; Gallery Satori; Cité du CURATORIAL WORKS INCLUDE: “Ornament and Landscape,”
fine artist; critic Internationale des Critiques d’Art; Washington Post; Joel Shapiro: Livre, Aix-en-Provence, France; Today Art Museum, Beijing; Pierogi Apex Gallery; “Still Missing: Beauty Absent Social Life,” Visual Arts
Education: BA, Brooklyn College; MFA, University of Colorado Sculpture and Drawings 2000; Brooklyn Museum Museum and Westport Arts Center, CT
at Boulder Presentations include: Distinguished Critic’s Lecture, Awards and honors include: Eric Isenburger Annual Prize, Awards include: Getty Scholar; Fulbright Scholar; First Prize,
Publications include: Art Journal; Tema Celeste; Seed; M/E/A/ International Association of Art Critics, New School University; National Academy Museum; American Academy of Arts and Letters; American Society for Aesthetics Essay Contest; New York State
N/I/N/G; Leonardo; Nature Reviews Genetics; Update: New York Samuel P. Harn Museum of Art, University of Florida; Denver Pollock-Krasner Foundation; NURTUREart; Arcadia Fellowship; Council for the Humanities
Academy of Sciences magazine; co-author, The Molecular Gaze: Art Art Museum; Princeton University; Yale University Art Gallery; Hohenberg Award for European Travel, New York Studio School;
in the Genetic Age Hirshhorn Museum and Sculpture Garden; Museum of Modern Art; Charles H. Revson Foundation Vincent Katz
Group Exhibitions include: Walker Art Center, Minneapolis; Weatherspoon Art Museum; Storm King Art Center; Albright-Knox Writer, curator
Smithsonian Institution, Washington, DC; P.S.1 Contemporary Art Gallery Munro Galloway Education: BA, University of Chicago; BA, MA, Oxford University
Art Center; J.Paul Getty Museum, Los Angeles; Museum of Modern Awards and honors include: John Simon Guggenheim Memorial Visual artist Books include: Pleasure Palaces: The Art and Homes of Hunt Slonem;
Art, Japan Foundation Fellowship; Bogliasco Fellowship; visiting scholar, Getty Education: BA, Brown University; MFA, Bard College Janet Fish: Paintings; Alcuni Telefonini; Judge; Rapid Departures;
Research Institute; Board of Trustees, Fondation Alberto et Annette One-person exhibitions include: Murray Guy; Ohio State Understanding Objects. Editor, Black Mountain College: Experiment in
Susan Bee Giacometti. Commencement speaker: School of the Art Institute of University, Columbus Art. Co-author, co-editor, Kiki Smith: The Venice Story. Contributor,
Editor; writer; fine artist; co-editor, M/E/A/N/I/N/G Online. Chicago; New York Studio School Group exhibitions include: Redux Contemporary Art Center, Cy Twombly: Photographs; Francesco Clemente: New Works
Formerly, editor, special issues, New Observations, Artkrush; Charleston, SC; University of Tennessee, Knoxville; Hudson Frank- Publications include: Apollo, Art in America, ARTnews, Art on
co-editor, M/E/A/N/I/N/G: A Journal of Contemporary Art lin Gallery; Galerie Thaddaeus Ropac, Salzburg Paper, House & Garden, Parkett, The World of Interiors, Tate Etc.,
Issues and M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Artists’ books include: Drawings After Bacon, Vessel States, Jacket magazine, Bomb, Brooklyn Rail, Esopus, Evergreen Review
Theory, and Criticism The Weeds Curatorial projects include: “Street Dance: the New York
Education: BA, Barnard College; MA, Hunter College Publications include: Artforum, The New Yorker, Time Out Photographs of Rudy Burckhardt,” Museum of the City of New York;
Artist’s books include: Talespin, Bed Hangings, Log Rhythms, New York, Flash Art, Knoxville News Sentinel “Black Mountain College: Una Aventura Americana,” Museo Nacional
A Girl’s Life, Little Orphan Anagram, The Burning Babe and Awards include: Farpath Foundation; Arnold-Watson Centro de Arte, Reina Sofia, Madrid. Co-curator, “Rudy Burckhardt
Other Poems Fellowship, Paris; Fergus Fellowship, Ohio State University & Friends: New York Artists of the 1950s and 60s,” Grey Art Gallery,
Awards and honors include: New York State Council on the New York University
Arts, National Endowment for the Arts, Virginia Center for the Thyrza Nichols Goodeve Awards and honors include: Rome Prize Fellowship, American
Creative Arts, Yaddo Fellowship Producer, writer. Formerly, research associate, Whitney Museum Academy in Rome; National Translation Award, American Literary
of American Art Translators Association
Education: BA, Sarah Lawrence College; MA, New York University;
PhD, University of California, Santa Cruz
Books and Anthologies include: How Like a Leaf; Ellen
Gallagher, A Painter in III Acts; Peter Halley; Louise Bourgeois;
The Monster’s Progress: The Art of James Barsness
Publications include: Artforum, Parkett, Art in America,
The Village Voice, Guggenheim magazine

Art Criticism & Writing 20 21 www.sva.edu/grad/artcriticism


Guest Lecturers

Nancy Princenthal Claudia La Rocco Bill Berkson Nancy Princenthal


Critic; senior editor, Art in America. Formerly, assistant manager, Writer, The New York Times; cultural critic, WNYC; contributing poet, critic critic; senior editor, Art in America
Printed Matter; exhibitions director, Creative Time editor, Brooklyn Rail
Education: BA, magna cum laude, University of Pennsylvania; Education: BA, summa cum laude, Bowdoin College Susan Buck-Morss Avital Ronell
MA, Hunter College Professional experience includes: Writer, online editor, writer, theorist author
Contributing editor: Artforum, ARTnews, Parkett, The New Associated Press; creator, “Performance Club” blog, WNYC
York Times Publications include: Artforum, Musical America, Art on Paper, T. J. Clark Peter Schjeldahl
Co-author: After the Revolution: Women Who Transformed Art & Auction, failbetter.com art historian, writer critic, The New Yorker
Contemporary Art Group exhibitions include: High Desert Test Sites, Joshua Tree,
CA; Janet Kurnatowski Gallery Arthur Danto Katy Siegel
Lucy Raven Honor: Phi Beta Kappa critic, author critic; art historian; editor, Art Journal
Visual artist, filmmaker
Education: BA, BFA, University of Arizona; MFA, with honors, Raphael Rubinstein Boris Groys Leo Steinberg
Bard College Contributing editor, Art in America. Formerly, managing editor, critic, theorist writer, art historian
Professional experience includes: Managing editor, Bomb, Flash Art
Bidoun; co-founder, co-editor, The Relay Project; contributing editor, Education: BA, Bennington College Dave Hickey Michael Taussig
A Public Space; guest editor, Journal of Short Film Books include: The Afterglow of Minor Pop Masterpieces; critic, writer writer, anthropologist
Co-curator: “Nachleben,” Goethe-Institut; “The Marfa Sessions: Polychrome Profusion: Selected Art Criticism 1990-2002; The
Sounds Across Town,” Marfa, TX Basement of the Cafe Rilke; Postcards from Alphaville. Editor, Critical Ann Lauterbach Lynne Tillman
Exhibitions and screenings include: P.S.1 Contemporary Art Mess: Art Critics on the State of Their Practice poet, essayist writer
Center; Museum of Modern Art; MASS MoCA, North Adams, MA; Publications include: Grand Street, American Poetry Review,
Storefront for Art and Architecture; Overgaden, Copenhagen; Nevada Oulipo Compendium Lucy Lippard Peter Lamborn Wilson
Museum of Art, Reno; Princeton University Art Museum, NJ; Dallas Award: Chevalier dans l’Order des Arts et des Lettres writer, critic writer
Contemporary
Publications include: Artforum; Triple Canopy; Bidoun; Bomb; Sylvère Lotringer John Yau
contributor, The Road to Reno: Inge Morath writer, theorist poet; critic; art editor,
Awards and honors include: Best of 2009, Artforum, Frieze; Art
Cuauhtémoc Medina The Brooklyn Rail
Matters; Phi Beta Kappa. Artist residencies include: Wexner Center for
the Arts, Atlantic Center for the Arts critic, curator
website: www.lucyraven.com

Tel: 212.592.2408

Contact Us
Fax: 212.989.3516
E-mail: artcrit@sva.edu
www.sva.edu/grad/artcriticism
department site: artcriticism.sva.edu
We strongly encourage applicants to submit application materials as early as possible. The chair
is always available to meet with interested candidates to discuss the program and its philosophy.

Come to our Departmental Information Session, or contact us directly to schedule a tour.

Departmental Information Session: Saturday, October 22, 2011.


All times and locations will be announced online: www.sva.edu/grad/visit.

To register for a departmental information session, please visit our website or contact the Office of
Graduate Admissions at: gradadmissions@sva.edu.

Art Criticism & Writing 22 23 www.sva.edu/grad/artcriticism


XX Develop an educational philosophy while continuing to create personal artwork

MAT
XX Gain specialized teaching experience through the School of Visual Arts’ innovative
children’s programs within the New York City community
XX Start teaching next fall with our one-year intensive program, or attend part-time

Art with our two-year program

Education The art classroom is a place where children are given the opportunity to explore and develop their per-
sonal dreams and goals, and to think independently. The Master of Arts in Teaching (mat) provides a
hands-on learning environment where student teachers investigate educational issues and techniques,

www.sva.edu/grad/arteducation develop their own educational philosophy and continue creating personal artwork. The program takes
a child-centered approach to art education that emphasizes collaboration and community and address-
es the needs of diverse populations, including those with special needs.
Designed for students who have completed an undergraduate major in studio art, the mat Art
Education program can be completed either as a full-time, one-year intensive or as a two-year, part-time
program, ideal for those who want to continue working while they complete the coursework required
to qualify for the New York State Initial Certification in Visual Art.
Our faculty is comprised of professional artist/teachers who are experts at training artists to apply
their creative skills to teaching art to children in pre-kindergarten through grade 12. The program
provides the foundations and psychology of education as they are applied to diverse elementary
and secondary populations. Seminar courses investigate age-appropriate materials, methods and
educational concepts, which student teachers then apply directly to classroom practice in public school
placements. Courses like Curriculum for Special Populations, that includes faculty-led practica
at a homeless shelter; Museum Studies: Theory and Practice; Technology in Art Education; and
Curriculum: Arts Integrated, provide students with further training in varied approaches to teaching
art. The program culminates with the completion of a teaching portfolio, master’s thesis and an
exhibition of mat student artwork.
Individualized student teaching placements are made at carefully selected public schools through-
out the City. Our students have the opportunity to gain specialized teaching experience through sva’s
innovative children’s programs: Art Program for the Homeless and Art for Kids.
sva offers its students state-of-the-art facilities and studios. In addition, as our campus, the City
provides unparalleled resources—for field trips to museums and galleries and for classes held at the
Whitney Museum of American Art, The Metropolitan Museum of Art, the Museum of Modern Art,
the Solomon R. Guggenheim Museum and the Rubin Museum of Art. mat students may also audit
two courses from sva’s extensive continuing education offerings.
At sva we believe that to teach art, you should first be an artist who can use the power of art to
open the minds, as well as the eyes, of the young to new experiences and individual fulfillment. One
person—a gifted and caring teacher—can make a difference in a young person’s life. Our program is
for artists who want to become teachers and make that difference.

Rose Viggiano, chair

25
Miller spends most of his time with school groups.
Here he overlooks the Panorama of the City of New
York, a massive miniature of the City. It’s the pride of
the Queens Museum, where he’s an educator.

An Artist
Teaches
Alumni Profile: Tim Miller
The Panorama was built for the 1964 New York
World’s Fair. It was called the world’s largest
scale model at the time. It encompasses 9,335
square feet and includes all 320 square miles
of New York City’s five boroughs.
Sometimes learning from the faculty at SVA inspires students to give back and become teachers
themselves. In the early nineties, Tim Miller left the small town of Snohomish, Washington—where
wintry, bucolic tv shows like Northern Exposure and Twin Peaks were filmed—for sva, with dreams
of becoming a great illustrator, chasing his childhood passion for the comic book industry. Miller
graduated in 1994 from the undergraduate illustration and cartooning program, but his mentors at
sva, including artists Jack Potter and John Ruggeri, turned him on to the fine arts. They sparked
a passion for painting that continues to this day.
In the late nineties, he worked in galleries and other day jobs to support his painting until, yet again,
his mentors turned him on to something new: teaching. Miller entered the Art Education program in
2002, its inaugural year. “It was clear from the start that this was an intensive commitment,” says
Miller, “and that for one year of your life everything else was on hold. In a lot of ways, the fact that you
had to step up to the plate like that benefited me, in that it emboldened me to tackle the fundamental
challenge of teaching.” Miller was especially interested in discovering places to apply his degree outside
the traditional classroom and a class in museum education captured his imagination. “To be honest,
public speaking scared the hell out of me,” he recalls, referencing his current day-to-day life. “But the
program taught me to deal with that and find my footing.” Six months after graduating in 2003, he
began freelancing for New York’s Queens Museum of Art, which eventually led to his staff position as a
school and family educator.
Now 36, Miller teaches a wide variety of programs, in both the museum and after-school programs
for students of all ages. At the Queens Museum, he interacts directly with the kids and the institution’s
unique collection, most notably its prized possession, the Panorama of the City of New York, a 9,335
square foot architectural model of the Big Apple, originally built for the 1964 World’s Fair. He also
works in a program called Queens Teens once a week, where he mentors youth to explore the many
careers in the art world. The program was recognized last year in Washington, D.C., with a Coming Up
Taller Award, which is given by the President’s Committee on the Arts and the Humanities. “You see
the kids responding, living in what they’re doing and opening up before you,” he says. “I’m privileged to
have an opportunity to witness that.”

(Left) Miller stands in front of


“Chupacabra,” a sumi-ink mural by
Lisa Iglesias that was included in the
museum’s latest biennial, Queens
International 4. (Right) “Like, A
Conversation” by Karolyn Hatton,
another piece in the exhibition.
“We run the school groups through all these
exhibitions, exploring the artworks with them,
engaging them in a way that asks them about
what they see, what’s going on, why did the
artist do this, etc.,” explains Miller. “The aim is
to navigate the content, but at the same time
empower them to read the work through their
own means.” (Left) An installation titled “Fast
Forward” by Ryan Humphry. (Right) Outside
a window of the museum sits the Unisphere, a
12-story icon of the World’s Fair, whose theme
was “peace through understanding.”
Located at 132 West 21st Street in Chelsea, the MAT Art Education Department
chair interview occupies the entire 4th floor—most of which is dedicated to a loft-like studio area with two

Rose Viggiano
bays of windows. The studio was designed to be a flexible art and teaching space that is left
open for lectures and for public events, such as exhibitions of children’s artwork. For
meetings of MAT and Art for Kids classes, a soundproof partition divides the studio into two
Rose Viggiano has been at sva for 30 years and her passion for teaching and enthusiasm and affection classrooms, each with its own materials closet, sink and entryway. Included in the depart-
for sva remain strong. “My background is in sculpture so my schooling was creative… but disorga- ment’s facilities are an ever-expanding library of books and periodicals on art and education
nized. In order to run the department, I had to get my doctorate, but I was happy to do it because I really topics as well as access to a secure Wi-Fi network. A lounge area, kitchenette and storage
love and believe in teaching. And I have a great faculty. They’re superb. I sit in on their classes because shelves for personal items are available for student use. The MAT Art Education Department
I learn so much from their techniques.” is within walking distance of Chelsea art galleries, art supply stores and the Photo District.
“…the program is
Students in Viggiano’s Art Education program are encouraged to keep making their own work, Other SVA facilities are close by including the Writing Resource Center and West Side
about taking artists Gallery, located just across the street.
though she admits this can be a challenge. “They do find it difficult, but they make it work with the
and shaping them into
help of studio classes and electives. And I look at portfolios and suggest what they might need to brush
something else. We

On any
up on. Really, though, the program is about taking artists and shaping them into something else. We
get people who want
get people who want to change careers, to do something more humanitarian. They’re all smart, but
to change careers, to
they may not have had hands-on experience with teaching, so we add a lot of that! It’s a challenge but
do something more

given day...
it’s a lot of fun.”
humanitarian.”
“Students teach a range of ages,” Viggiano explains, “so we include a detailed class in educational
psychology. They have to know what happens at what age, developmentally, which is a big undertaking
in one or two years, but vitally important. Teaching art has a cognitive dimension, a physical dimen-
sion, an emotional dimension…. You come here, you really get your head turned around!”
“We work with theater techniques in the first week or two,” Viggiano continues. “The time when
the students first arrive is very important. We try to get them to bond as a group. It’s not like the fine 8:30am – 2:30pm  Students report to student-teaching placement 6 – 9pm  The class travels to a homeless shelter for mothers and their
arts department where they’re looking primarily at work; we’re looking at people. And if students don’t sites where they work with cooperating teachers on class assignments, children, located on the Lower East Side, where they meet with Sandra
have the right people skills, they’re not going to make it as teachers. So we make sure to start with a development of lesson plans and classroom management techniques. Edmonds for Curriculum: Special Populations class, where student
dynamic group, then have them work through acting scenarios involving teaching and related situa- teams develop population-appropriate lesson plans and art activities.

tions. That immediately kills any lingering shyness. It isn’t exactly ‘therapeutic’ though, it forces you to Mike Filan and Lynn Seeney, Student Teaching Supervisors, conduct Class assignment example — Shelter students are shown a number of
daily site visits where they assess the progress of MAT student teachers collage portraits done by Eric Carle, Romare Bearden and Henri
question and test your purpose.”
as they lead a classroom lesson. Matisse. They discuss the visual and sensory qualities such as surface,
“Some feel really strongly about having their students develop a curriculum according to an exclusive
color, shape, size, texture and volume. Next they are introduced to the
pedagogical philosophy or emphasis, but I don’t believe in that. I believe that what really needs to be
3:30pm  Students report to the MAT department where they study, materials—paper, glue sticks, scissors and a variety of embellishments
encouraged is outreach: How do you connect with your community? That’s why we’ve been do­ing things
take a break or work on group projects in the lounge and classrooms. such as fabric and buttons—and through a demonstration are shown how
like working with a shelter for homeless mothers and kids. It’s important because it allows students to to begin their own self-portraits. Students receive individualized
work with a population they otherwise might not.” Barbara Salander, faculty member and thesis advisor, conducts instruction by SVA students and overlapping is emphasized. After
“A teacher,” Viggiano concludes, thoughtfully, “is someone who wants to be a student, because he individualized meetings with students to discuss thesis topics and completing the collages, students are given strips of paper and asked to
or she is always in a learning situation. Education is not ‘top-down.’ It’s very reflective and you have to research methods. use them to frame their collage self-portraits. The work is displayed so that
be able to take criticism.” each student can explain one aspect of his or her piece. This reflection
She grins. “It’s a real art!” Mike Filan, faculty member and Student Teaching Supervisor, conducts serves as an assessment of the project in which it is determined that every
individualized meetings with students to review their student teaching student has met the criteria of creating a collage self-portrait.
site work progress.

4 – 5pm  Students meet with Barbara Salander for Special Study, a


thesis advisement course. A guest lecturer, Dr. Michael Bitz, discusses
the Comic Book Project.

4 – 6pm  Art for Kids After School Portfolio Preparation class for
students in seventh and eighth grades. Class is taught by a master artist/
teacher. Seventh and eighth graders expand their knowledge of art ideas
and techniques while exploring a variety of materials, including charcoal,
pencils, cray-pas, watercolor, ink and acrylic paints.

Art Education 34 35 www.sva.edu/grad/arteducation


The Program  The Master of Arts in Teaching program provides the course work and student Sample Program
teaching required for the New York State Initial Certification in Art, pre-K through grade 12. We concentrate
on teaching students with diverse backgrounds and needs, and the gifted and talented. The uses of computer one-year program
technology in art education and integrated curricula are included. The program is also geared to teach FALL Semester Credits spring Semester Credits

effective collaboration with school administrators, parents and caregivers, members of the community, and Curriculum for Special Populations 3 Curriculum: Arts Integrated 3
Educational Foundations 3 Materials and Methods: Secondary 2
staff members of relevant agencies and cultural institutions. ¶ Course work relates directly to fieldwork
Materials and Methods: Elementary 2 Museum Studies: Theory and Practice 3
and student teaching through discussion of course development, classroom management and age-appropriate
New York State Teacher Certification 0 New York State Teacher Certification 0
application of educational theory. mat students will complete 100 hours of fieldwork and 40 days of student Exam (NYSTCE) Preparation Exam (NYSTCE) Preparation
teaching in public elementary, middle and high school placements under sva faculty supervision. Students Psychology of Special Populations 3 Special Topics Seminar 2 1
can choose to do additional fieldwork and thesis case studies in the following sva programs: Special Topics Seminar 1 1 Student Teaching in Public Secondary Schools 2
Student Teaching in Public Elementary 2 Technology in Art Education 3
XX Art Program for the Homeless: Students teach art to elementary-age children housed at a shelter for and Middle Schools Thesis: Data Collection and Presentation 1
homeless mothers and children. Thesis: Research and Observation 1

XX Weekend Art for Kids Program: Students provide art instruction to children from kindergarten summer Semester Credits

through ninth grade. Advanced Studio Art  3


Thesis: Compilation and Presentation 3
Degree candidates must successfully complete 36 credits, including all required courses, with a cumulative
grade point average of 3.0. Course work can be completed in a three-semester program, or in a part-time,
two-year program. In the final semester, each student is required to complete a thesis project, which must be two-year program
reviewed and approved by the thesis director and the department chair in order for the student to be eligible First Year
FALL Semester Credits SPRING Semester Credits
for degree conferral.
Curriculum for Special Populations 3 Museum Studies: Theory and Practice 3
New York State Teacher Certification 0 New York State Teacher Certification 0
Exam (NYSTCE) Preparation Exam (NYSTCE) Preparation
Psychology of Special Populations 3 Special Topics Seminar 2 1
Special Topics Seminar 1 1 Technology in Art Education 3

New York State Teacher Certification Examinations Second Year


FALL Semester Credits SPRING Semester Credits
Annual Institution Report Program Year: 2009– 2010
Educational Foundations 3 Curriculum: Arts Integrated 3
Materials and Methods: Elementary 2 Materials and Methods: Secondary 2
Test Field Number Tested Number Passed Pass Rate: Institution Pass Rate: Statewide
Student Teaching in Public Elementary 2 Student Teaching in Public Secondary Schools 2
and Middle Schools Thesis: Data Collection and Presentation 1
Assesment of Teaching Skills–Written 17 17 100% 100%
Thesis: Research and Observation 1
summer Semester Credits
Visual Arts Content Specialty Test 17 17 100% 93%
Advanced Studio Art 3
Liberal Arts and Sciences Test 17 17 100% 99% Thesis: Compilation and Presentation 3

Summary Totals and Pass Rate 17 17 100% 99%

Art Education 36 37 www.sva.edu/grad/arteducation


Course Descriptions Faculty

Advanced Studio Art Museum Studies: Theory and Practice Technology in Art Education Rose Viggiano, chair
This course will offer MAT candidates an opportunity to reconnect This course will examine and explore the theory and practice of The digital revolution has brought about a tidal wave of technical Fine artist, art educator
with their art-making practice and develop works of art. We will dis- museum education. We will focus on how to talk about art with innovation, and produced an essential shift in human perception. This Education: BFA, Philadelphia College of Art; MA, SUNY Albany;
cuss the relationship between teaching art and art-making, and develop elementary- and secondary-school students, including discussion course will explore the wide-ranging communities of thought, action EdD, Columbia University
a theme for an exhibition of students’ work at SVA’s Westside Gallery. of contemporary art from other cultures and genres such as abstract and expression that permeate the Web, as well as some of the issues, One-Person Exhibitions include: SOHO20 Gallery; Museo del
Group and one-on-one critiques, presentations on contemporary artists art. Guest lectures by museum educators and field trips to museums concerns and possibilities they present for educators. During the course Pueblo de Guanajuato, Mexico
and visits to galleries in Chelsea will be included. and galleries are included. of the semester, students will develop multimedia projects that involve Group Exhibitions include: Whitney Museum of American
video, sound and still images as a means of exploring how new tech- Art, Downtown Branch; 80 Washington Square; Port Authority Bus
Curriculum: Arts Integrated NYSTCE Preparation nologies available to students—in particular the smartphone—can Terminal; Henry Street Settlement; Hudson River Museum; Benton
The purpose of this course is to create educators who will be compe- This course prepares students to take the New York State Teacher provide a rich outlet for creative exploration and interface in the glo- Gallery
tent in the numerous new demands that educational reform is making Certification exams. The Liberal Arts and Sciences Test, Content balized world. Awards and honors include: CAPS, New Jersey State Council on
of the learning community. Areas addressed will include: the New Specialty Test in Visual Art and Assessment of Teaching Skills– the Arts, Skowhegan School of Painting and Sculpture
York State Education Depart­ment’s learning and performance stan- Written, required for New York State art teacher certification, will be Thesis: Compilation and Presentation
dards in social studies, science and English language arts; cross-cultural included. Test-taking strategies will be discussed, and several sample This seminar gives students the opportunity to synthesize and docu- Sandra Edmonds
issues and curriculum; integration of the visual arts with other subject exams will be given. ment their completed research, particularly in AEG-5080, Thesis: Fine artist, fashion/costume designer, art educator
areas; and how to develop the listening, speaking, reading and writing Research and Observation, and AEG-5085, Thesis: Data Collection Education: BA, MA, College of New Rochelle; EdD, Columbia
skills of all students, including English-language learners. Psychology of Special Populations and Presentation. We will meet as a group to discuss progress of thesis University
This course will provide students with the psychological foundations projects. Each student will make a final presentation to the department Exhibitions include: Macy Gallery, Teachers College, Columbia
Curriculum for Special Populations and implications for practice of teaching special needs populations. It chair and faculty. University; ABC No Rio; Lumen Gallery, New Rochelle Library, NY
Understanding the needs of special populations and how disabilities, will address learning, development, motivation, intelligence research honors include: Kappa Delta Pi
home situations and socioeconomic levels affect learning will be and effective instruction with a range of students with special needs Thesis: Data Collection and Presentation
the focus of this course. Students will hold workshops for elementary who require accommodations and modifications in the classroom. Methodologies for conducting action-based research in classroom Michael Filan
school-age children at a shelter that houses displaced mothers and Populations with learning, physical and developmental disabilities, situations and data collection will be introduced in this course, and Painter, printmaker, art educator
their small children. The role of art activities in fostering self-esteem including autism spectrum disorder will be discussed. We will also students will finalize their thesis proposals. Research techniques and Education: BFA, MPS, Pratt Institute
and confidence in children will be explored, with emphasis on group cover the Response to Intervention (RTI), pre-referral strategies, and compilation will provide the necessary background for thesis projects Group Exhibitions include: Virginia Center for the Creative Arts,
management, discipline and development of population-appropriate collaborative models of planning and instruction with other teach- to be completed during the summer semester. Sweetbriar; Lehman College Art Gallery; SUNY Fredonia; Food Stamp
lessons. A special education component will focus on individualized ers (including inclusion models). The areas of instructional strategies, Gallery
instruction, legal responsibilities and ethical considerations for formal and informal assessment, assisted technology and classroom Thesis: Research and Observation Collections include: Heinz Corporation
students with disabilities. management as pertaining to the psychological well-being of children Weekly meetings to assist students in the development of the thesis Awards and honors include: Virginia Center Fellowship, Studio
will be stressed. project will be held throughout the semester. Students will conduct lit- in a School Association, Bronx Council on the Arts
Educational Foundations erature searches, prepare a literature review and conduct field research
Art education will be explored through an examination of its cultural, Special Topics Seminar 1 & 2 in SVA’s children’s programs or other placements and develop their Valerie Foster-Adam
social, psychological, environmental and aesthetic foundations. Art and Lectures will provide information on substance abuse for use in ideas for a thesis topic. Art instructor, Poughkeepsie Day School
its teaching will be situated within the contexts of psychosocial, cogni- curricula that promote health and physical fitness to students from Education: BFA, University of North Texas; MA, Brooklyn College;
tive and artistic development of children and adolescents. Research pre-kindergarten through 12th grade. How to identify and report School of Visual Arts
methodologies will also be introduced. suspected child abuse (or maltreatment), the prevention of child
Jerry M. James
Materials and Methods: Elementary
abduction and violence, and instruction in fire and arson will be
included. In the second semester, we will address the use of art to Professional Opportunities Fine artist, Lincoln Center Institute
The methods and materials appropriate for art experiences suitable support student learning in reading and literacy. The MAT Art Education Department offers its students Education: BFA, Old Dominion University; MFA, Yale University;
for pre-kindergarten through middle school will be examined, including EdD, Columbia University
research opportunities as well as experience in the application
problem-solving approaches to various teaching situations, classroom Student Teaching in Public Elementary and Middle SchoolS Exhibitions include: Searles Spicer Gallery, Macy Gallery, National
of educational theory and practice. Teaching sites provide
management and discipline. Based on cumulative, developmental learn- Student teachers will be placed at elementary- and middle-school sites Arts Club
resources for the development of a personal teaching philosophy
ing experiences in the visual arts, students will develop strategies and to observe classes, prepare lesson plans and teach their lessons. After Publications include: Rulers in the Land of Imagination, Art
and the thesis project. These sites have included: SVA’s Art for
procedures for teaching art, including sequential lesson plans that they two weeks of fieldwork, participants will work with an art teacher for and Cognition, Teaching Artists Journal
may use in their student teaching. 20 full days of student teaching. Observation and evaluation by School Kids Programs , a shelter for homeless mothers and children, Awards and honors include: Teachers College Merit Scholarship;
of Visual Arts faculty and cooperating teachers will be given on an and New York City public schools and museums. Virginia Center for the Creative Arts; Ely Harwood Schless Memorial
Materials and Methods: Secondary ongoing basis. Fund Prize, Yale University
The objectives and practical methodology involved in teaching art on
the secondary level is the focus of this course. Topics include devel- Student Teaching in Public Secondary Schools
opment and organization of appropriate content and design for a Student teachers will be placed at secondary-school sites to observe
secondary-school curriculum, classroom management and discipline. classes, prepare lesson plans and teach their lessons. After two weeks
Sequential lesson plans for the development of age-appropriate skills of fieldwork, participants will work with an art teacher for 20 full
may be devised and implemented at the student teaching sites. days of student teaching. Observation and evaluation by School
of Visual Arts faculty and cooperating teachers will be given on an
ongoing basis.

Art Education 38 39 www.sva.edu/grad/arteducation


Guest Lecturers

Jaime Permuth Lynn Seeney Gary Bates Peter Mason Mary Sullivan
Visual artist, art educator Fine artist; arts administrator; lecturer, Museum of Modern Art. past president, The New York NYC Board of Education artist
Education: BA, Hebrew University, Jerusalem; Formerly, executive director, Collaborative Projects, Inc. State Art Teachers Association Wayne Miyamoto Bruce Wands
MPS, School of Visual Arts Education: BA, Tyler School of Art; MA, New York University
One-person exhibitions: Instituto Guatemalteco Americano, One-Person Exhibitions include: Asyl Gallery Michael Bitz artist, art educator chair, MFA Computer Arts,
Guatemala; Palacio Nacional, Guatemala Group Exhibitions include: VIA #7 International Arts Festival, founder, director, Eva Pataki School of Visual Arts
Group exhibitions: Mary Barone Gallery, New York; Centro Cultural Paris; Musée de la Poste, Paris; P.S.1 Contemporary Art Center
Metropolitano, Guatemala; Museum of Modern Art, New York Publications include: The New York Times, New York,
The Comic Book Project art educator, New York State Ejay Weiss
Publications: Forty Cent Tip: Stories of New York City Immigrant Newsday, Art/World John Broughton Board of Education artist
Workers, New American Photography, Los Angeles Times Curatorial works include: “Monumental Vision: Abstraction
Awards: Artist-in-residence, Centro Cultural Metropolitano, Today,” “Gods of the Modern Age: Art and Technology,” Bronx
educator Joyce Raimondo Nancy Wells
Guatemala; Paula Rhodes Award, School of Visual Arts; Texas River Art Center and Gallery Judith Burton author, artist artist
Commission on the Arts Grant
Devin Thornburg
art educator David Sandlin Susan Edmonds Wiggins
Barbara Salander Psychologist; director, childhood education, educational leadership, Dan Cemeron artist director of special education,
Fine artist; thesis director, MAT Art Education Department, Adelphi University
School of Visual Arts Education: BS, cum laude, Tulane University; M.Ed., Harvard
curator, artistic director Lonnie Saunderson Sherman School, CT
Education: BA, Barnard College; MA, EdD, Columbia University University; PhD, New York University Sandra Carey teacher, recruitment manager,
Exhibitions include: Lori Bookstein Fine Arts; Mana Fine Art, Publications include: Pathway to Inclusion: Voices from the Field;
Jersey City; Munson-Williams-Proctor Arts Institute, Utica, NY; Projects in After Schools: Diverse Learners and School Achievement
communications instructor NYC Department of Education
Peters Gallery, Houston Awards and honors include: U.S. Department of Education, Jennifer Carroll Natalie J. Schifano
Publications include: The Mirror and Adolescent Identity Greentree Foundation, New York City Department of Education, After
Formation: Adolescents’ Reflections on Reproductions of School Corporation, Booth Ferris Foundation
actor art educator
Paintings with Mirrors; Watching Yourself Teach: A Teaching Antonia Demas Graeme Sullivan
and Learning Experience
Awards and honors include: Kappa Delta Pi
founder, Food Studies Institute art educator
Barbara Ellmann
artist
Joan Goodman
art educator
Joel Handorff
Tel: 212.592.2445

Contact Us
artist
Dorothee King Fax: 646.336.7702
architect
Phyllis Kornfeld
E-mail: matarted@sva.edu
artist www.sva.edu/grad/arteducation
Kimberly Lane
elementary art teacher We encourage applicants to visit our department prior to submitting
application materials.
Rick Lasher
past president, Minorities are strongly encouraged to apply.
Art Educators of New Jersey Come to our Departmental Information Sessions, or contact us directly to schedule a tour.
Tara Maceyak Departmental Information Sessions: October 25, 2011 and November 5, 2011.
curriculum specialist All times and locations will be announced online: www.sva.edu/grad/visit

To register for a departmental information session, please visit our website or contact the
Office of Graduate Admissions at: gradadmissions@sva.edu.

Art Education 40 41 www.sva.edu/grad/arteducation


XX Multidisciplinary program that addresses the intellectual, aesthetic,
technical and practical concerns of the artist
XX Three-year low-residency format combines online coursework with
three summers of studio practice in NYC
XX Students will engage with artists, designers, curators and others from
New York’s art world and beyond

The Art Practice program offers a fully interdisciplinary approach to an mfa degree. Artists in
the program are not defined or separated by medium or discipline. In this post-conceptual, post-studio
era, artists pursue their practice by engaging an idea first, and then developing a plan that may involve
a combination of media, technologies and techniques, some of which are linked to traditional art
media, and some of which find the artist working with technologies and industries not usually associ-
ated with art-making.
We aim to prepare artists to feel secure in their ability to produce works of art using traditional
and nontraditional media in both traditional and nontraditional settings. To accomplish this, we bring
together a carefully selected, small group of mfa candidates who will devote three successive
summers and the two intervening years to a program in which they will engage with artists, designers,
art historians and museum curators, including Vito Acconci, Suzanne Anker, Cory Arcangel, Roger
Black, Maurice Berger, Dara Birnbaum, Kathy Brew, Mel Chin, Liz Diller, Liam Gillick, Susan
Hefuna, Lee Mingwei, James Harithas, Glenn Ligon, Steven Henry Madoff, Douglas Nickel, Martha
Rosler, Tim Rollins, Gary Simmons, Philippe Vergne, Carrie Mae Weems, Lawrence Weiner, Robin
Winters and Terry Winters.
Like the nature of the work we hope to help students produce, this program itself is work in progress,
and will be continuously refined as a function of the experience of all its participants. This is an exciting
time for us, and another example of why SVA is seen as an art college for the 21st century.

David A. Ross, chair

MFA
Art
Practice
www.sva.edu/grad/artpractice
43
department site: artpractice.sva.edu
Dara Birnbaum’s
apartment in Soho
is both her home
and studio.

An Artist
at Work
at Home
Faculty Profile: Dara Birnbaum
Some music from Birnbaum’s
home collection. Birnbaum,
most known for her video and
installation art, has collaborated
Imagine having to break the law in order to acquire and manipulate footage from a popular TV with numerous musicians
show. It seems absurd: the idea of having to break the law to, say, slow a scene down, or repeat a throughout her career. She will
be mentoring students in their
scene a few times, or re-assemble scenes in a way that reveals something new or possibly latent in the studio work where they will be
show. But Dara Birnbaum did just this in 1978, with Technology Transformation: Wonder Woman, encouraged to experiment with
in order to execute her idea: which was to pull out the show’s latent gender stereotypes. She had a different art mediums.

degree in painting, but she knew that painting wouldn’t articulate what she wanted as effectively as
going into the source material and changing it. So that’s just what she did, with the help of friends
in the industry, none of whom likely knew they were aiding and abetting Birnbaum in her inspired
production of what many consider to be the original “scratch video.”
An architect by training, Birnbaum has produced many acclaimed art works since she began
working as an artist more than 35 years ago, varying in form from single to multi-channel videos that
re-contextualize pop cultural figures and TV genres, to operatic, un-appropriated installation works.
A crucial thread that connects all her formally and thematically disparate work is her thinking, her
ideas – which makes her a great fit as pilot core member of SVA’s innovative MFA Art Practice program.
Like Birnbaum, the Art Practice program has no prejudice toward any one medium. It’s designed
instead to help artists identify the medium best equipped to realize their ideas, and then to match
them up with state-of-the-art studio facilities where they can work those ideas out.
Birnbaum has frequently worked with video, so she’ll be conducting weekly media seminars, but
her participation in all the changes that have electrified the art world the last 35 years makes her
invaluable also as an instructor who can speak from experience. It’s no surprise that she’s also a fre-
quent international lecturer, collaborator, a former SVA instructor, (Film and Video), and the recent
subject of a major retrospective and beautiful companion monograph titled, Dara Birnbaum:
The Dark Matter of Media Light.
“For me it’s a thought process that, after a while, builds up enough to where I can finally enter a post-
production house, or go into a studio, and work,” Birnbaum says. SVA is pleased, and lucky, to have her
in a program designed to help other artists trace that same exciting but tricky line from idea to artifact.
Birnbaum works both day and night on her
art, while also corresponds with students
as well as various art professionals. For
the summer session of the Art Practice
program students are encouraged to work
on their art some six hours per day.
chair interview

David A. Ross
“SVA is a remarkable institution,” says David A. Ross, “in many ways it represents a nearly perfect
school for the teaching of art, design, and interrelated areas of art education. The College is blessed with
ambitious students, an enthusiastic (and energized) faculty, and an administration that seems to have
figured out what it takes to keep this kind of institution lively and relevant. But what impresses me most
about the College is that it refuses to rest on its laurels, and continues to consider ways in which the
“(The program) will
idea of an art school can be improved—reinvented if necessary.”
function both as a
“Starting last year with the Digital Photography program,” Ross continues, “SVA began exploring the
laboratory for the
ways in which it could use an Internet-based low-residency framework to deliver a highly technical course
exploration of new

On any
in state-of-the-art digital imaging. Now we are taking the next step, with a full MFA program that will
directions in art
make use of both online courses and a series of intensive six-week studio, seminar and workshop sessions.”
practice, as well as
Ross is enthusiastic about the possibilities, “The program welcomes self-motivated students who have
a program that will

given day...
completed undergraduate degrees in any discipline and who have already spent some time out of school
engage students and
exploring their professional options and opportunities. It will function both as a laboratory for the
faculty in an intense
exploration of new directions in art practice, as well as a program that will engage students and faculty
give and take.”
in an intense give and take. A working premise of the program is that students and faculty should, to
the extent possible, work within a non-hierarchical framework in which the blur between teacher and
student becomes increasingly apparent as the program progresses through its three-summer structure.”
“One feature that I feel will be quite useful and valued is our mentor program. Each student will select
one core faculty member as his/her mentor, and over the three summers and two intervening years of 8am  Though the morning seminar begins at 9 am, students will meet 7pm  Two evenings each week, all students and faculty meet for a group
for coffee before class starts, to compare notes and prepare for the day. critique with a visiting critic or curator. Tonight Dia director Philippe
the program, those relationships should become increasingly important to both student and faculty alike.”
Some will engage in yoga or stretching exercises in neighborhood gyms. Vergne, and artist and filmmaker Shirin Neshat join in the discussion.
“I suspect that our students will be artists who may have already found work teaching, or in some
allied creative field, and who now feel ready to re-engage the educational process—albeit with some real-
9am  Today’s seminar guest speaker is the artist-designer Vito Acconci 10pm  Exhausted but energized, some students go home, some head
world experience in addition to their undergraduate degrees.”
who will talk about his career as a poet, performance artist, sculptor and back to their studios, while some head out into the warm New York City
“We have a fantastic faculty and a group of distinguished guest lecturers and mentors from all
architect/designer. Students will engage in a three-hour give and take summer night.
areas of the visual arts,” continues Ross, “Such notables as the video art pioneer Dara Birnbaum, who with Acconci and with MFA Art Practice chair David A. Ross and seminar
specializes in complex narrative video installations, and Gary Simmons, who produces large-scale leader Gary Simmons.
wall drawings and sculptural installations exploring the profound social and psychological nuances of
American culture. In addition to core seminar faculty, visiting critics, curators and art historians—in- 1pm  Studio time begins after the morning seminar. Studio Practice men-
cluding Thomas Crow, Elisabeth Sussman and Robert Pincus-Witten—will share their perspectives and tor Dara Birnbaum will meet one-on-one with students in their individual
experiences with students.” studio space.

Art Practice 50 51 www.sva.edu/grad/artpractice


The Program  As the nature of the mfa in Art Practice assumes students are seeking a fully
interdisciplinary program, the course of study addresses a wide range of intellectual, aesthetic, technical Course Descriptions
and practical concerns. An underlying thread running through the three-year low residency program is the
ability to situate one’s creative practice within a thoroughly considered social context, and the ability to
remain open to the revision of one’s operating premises. In addition to enhancing communication skills, the
program seeks to refine and enhance critically necessary technical skills, and encourages experimentation
without fear of failure. ¶ As the program makes use of a low-residency framework, students participate in
six weeks of nyc-based coursework and studio practice for three successive summers. During the intervening
academic semesters, participants engage in rich-media online coursework carefully supervised using sva’s ADVANCED DIGITAL IMAGING WORKSHOP ART BUSINESS PRIMER
Imagery technology is advancing at a rapid pace, and it is important It is critically important that artists have a firm grasp of the basic busi-
“Moodle” virtual learning environment. ¶ Degree candidates must successfully complete 66 credits, including to master the techniques necessary to the production of digital work, ness principles and procedures necessary to managing and maintaining
all required courses, and must maintain a 3.0 grade point average. In the final summer session, degree and to have a thorough understanding of the technology itself. Each an independent artist’s studio practice. An overview of studio manage-
student will shoot video footage prior the start of the workshop, and ment, budget-making and cash-flow, and a basic understanding of the
candidates complete a thesis project, which will usually take the form of a thesis exhibition, but, upon prior then edit the material using Adobe Photoshop and a variety of digital ins and outs of buying real estate, will be covered in this workshop.
approval, can be presented in other formats. All candidates must have their thesis project approved by the imaging postproduction tools. Advanced audio and video editing struc-
tures and processes will be covered. While this workshop will be held ART LAW PRIMER
department chair and thesis committee before the start of the third and final summer residency period. in SVA’s state-of-the-art digital photography studios, additional train- Artists must comprehend the complex nature of changes in intellectual
ing and support for the production of prints and for the use of images property law. In addition, it is increasingly necessary for artists to have
online, and in interactive telecommunications is included. a strong professional overview of the legal and basic business practices
central to independent art practice. This workshop will provide an
Sample Programs ADVANCED VIDEO AND SOUND EDITING WORKSHOP overview of current art law, with an emphasis on intellectual property
The production of single-channel videos or multiple channel video rights and basic contract law.
installations first requires an ability to master a range of postproduc-
first year tion strategies and techniques. Assuming basic video production ARTISTS’ WRITING
and postproduction skills as a prerequisite, this workshop will assist The significant interventions that visual artists have made through
summer Semester Credits fall Semester (online) Credits
students in mastering advanced video and audio editing techniques. their own writing into the art criticism of their time will be the focus
Advanced Video and Sound Editing Workshop 3 Art History I: Exploring the Interdisciplinary 3 Each student will shoot footage prior the start of the workshop, of this course. We will also explore a range of artists’ writing forms
Graduate Seminar I 3 Autobiography of a Place I 3 and then script and complete the postproduction of a finished video such as journalism, manifestos, poetry, theoretical writing, letters,
Studio Practice I 6 Studio Practice Review I 1.5 work–of any type–during this workshop. Apple Final Cut Pro and artists’ books and artist-run publications. The course will also examine
a variety of video and audio postproduction tools will be covered. some key artists’ writings from Russian constructivism to the Bauhaus,
Training and support for the production of a video installation will surrealism, abstract expressionism, minimalism, conceptual art and
spring Semester (online) Credits
also be provided. feminism. Assigned readings, writings and online group discussions
Autobiography of a Place II 3 are included. The role of social engagement in the production of indi-
Foundations of Criticism I: Becoming the Image 3 ART HISTORY I: EXPLORING THE INTERDISCIPLINARY vidual (or collective) practice will be emphasized, and students will
Studio Practice Review II 1.5 To better understand the role of art history in preparing and develop- acquire an understanding of the influence of artists’ writings on
ing one’s own artistic direction, this course will explore and critique various forms of art criticism. A deeper understanding of one’s own
the conventional masterpiece-based notion of art history, from several writing in relation to the development of one’s practice will be under-
perspectives. We will trace the history of modernism in relation to the scored throughout the semester.
second year notion of interdisciplinary art. Starting in the mid-19th century with
examples of gesamtkunstwerk, the course examines the impact of this AUTOBIOGRAPHY OF A PLACE I & II
summer Semester Credits fall Semester (online) Credits
kind of thinking through an exploration of key examples of contem- Where and how we live, how we connect to the communities in which
Art Business Primer 0 Art History II: Challenging Conventions 3 porary interdisciplinary art. In response to a wide range of primary we live and work, and how we situate creative practice into our every-
Graduate Seminar II 3 Artists’ Writings 3 source readings, audiotapes, video and film, students will write a series day lives are the subjects to be explored in this course. During the
Performance Workshop 3 Studio Practice Review III 1.5 of critical responses to the readings, and participate in online group summer session, students will share works in process with faculty,
sessions and discussions. mentors and fellow students, and will continue to gather material for a
Studio Practice II 6 rich, multimedia self-portrait/autobiography. In this online workshop,
ART HISTORY II: CHALLENGING THE CONVENTIONAL students will script and gather and prepare material using video, film,
spring Semester (online) Credits
Looking at the history of modern art from a non-Western perspective still photographs and audio recording, and plan the manner in which
Foundations of Criticism II 3 requires the complete suspension of several commonly held assump- the work will be edited and presented.
The Journal: A Writing Workshop 3 tions about art history. That would not make any more sense than a
Studio Practice Review IV: Thesis Preparation 1.5 blind acceptance of the prevailing historical paradigm. This course will
contrast the canonical history of modernism with the emerging histo-
ries that rely upon a very different reading of the social and political
third year context in which art history is conventionally taught. In response to
a wide range of primary source readings, audiotapes, video and film,
summer Semester Credits
students will write a series of critical responses to the readings, and
participate in online group sessions and discussions.
Advanced Digital Imaging Workshop 3
Art Law Primer 0
Graduate Seminar III 3
Studio Practice III 3
Thesis  3

Art Practice 52 53 www.sva.edu/grad/artpractice


Faculty

FOUNDATIONS OF CRITICISM I & II using new media, including blog writing, video journals, and hybrid David A. Ross Kathy Brew
Understanding prominent theoretical positions within art criticism— forms. The intent of the course is to reach a full understanding of the Chair, MFA Art Practice Department, School of Visual Arts; writer, Producer, video maker, media arts curator
past and present—is the focus of these two online courses. Part I, ways in which maintaining a journal allows for the ongoing self-exam- curator Education: BA, cum laude, Middlebury College
explores theories of the image from cave paintings to advertising, ination of each student’s creative practice supporting the continual Education: BS, Syracuse University Professional experience includes: Co-director, Margaret Mead
film theory to the comic strip, video to the digital image, and cur- refinement and integration of one’s work and life. Professional experience includes: director, San Francisco Film & Video Festival, American Museum of Natural History; direc-
rent debates in animation studies. Students will read classical writ- Museum of Modern Art; director, Whitney Museum of American tor, Thundergulch/Lower Manhattan Cultural Council; senior associ-
ings from philosophy (e.g., Plato), art history (Panofsky, Greenberg, PERFORMANCE WORKSHOP Art; director, Institute of Contemporary Art, Boston; associate direc- ate producer, City Arts, WNET
W.J.T. Mitchell) and film theory (Eisenstein, Bazin), as well as writers As performance has become central to the contemporary definition of tor, chief curator, University Art Museum, Berkeley; deputy director, Video projects include: ID/entity: Portraits in the 21st Century;
such as Apollinaire and Delillo. We will also cover semiotics, feminist sculptural practice, this workshop will help to refine students’ capabili- curator of video art, Long Beach Museum of Art; curator of video art, Paradise Now: Picturing the Genetic Revolution; Penetration and
theory and institutional critique reading key theorists such as Barthes, ties to plan and execute performance and performance-based instal- Everson Museum of Art Transparency: Morphed; Mixed Messages; Regret to Inform
Benjamin, Baudrillard, and Debord among others. In the second part lation works. Students will explore and master the technical aspects Curatorial projects include : “Tomorrow,” Kumho Museum, Curatorial consultant: “Engaging Characters,” Art Interactive,
of this course, the focus will be upon interdisciplinary concerns, par- of gallery-based (as opposed to theatrical) performance art, and study Artsonje Center, Seoul and Long March Space, Beijing; “Peter Cambridge, MA; Reel New York, WNET; Reframe, Tribeca Film
ticularly the intersection of art and music history, art and the history historic performance works. The history and various theories of per- Campus: A Survey,” Antico Collegio de San Ildefonso, Mexico Institute; Scanners: The New York Video Festival
of science, and the relationship of critical theory to changes in technol- formance and theater will be examined. Students will develop and City; “Lorna Simpson: 31,” Claustro Sor Juana, Mexico City; Publications include: Women, Art, and Technology; Shift;
ogy and evolving concepts of authorship, originality, and ownership. hone performance skills, including planning, production and the per- “Quotidiana,” Museum of Contemporary Art, Castello di Rivoli, Italy; Documentary; Civilization; High Performance; San Francisco Bay
Assigned readings and writings, as well as weekly Web-based group formance itself. The workshop will conclude with the presentation of a “KoreAmericaKorea,” Sonje Museum, Seoul; “Bill Viola: a 25 Year Guardian; San Francisco Focus; Artcoast
discussions are required. performance or performance-based installation work. Survey,” Whitney Museum of American Art, traveling exhibition: Awards and honors include: Emmy Award, CEC ArtsLink
Los Angeles County Museum of Art, Stedelijk Museum, Amsterdam;
GRADUATE SEMINAR I & II STUDIO PRACTICE I, II, & III Museum für Moderne Kunst, Frankfurt; San Francisco Museum of Katrin Eismann
The cognate areas of art and relevant issues that have lead to a blur- The core of the summer sessions is studio practice. Studios are Modern Art; Art Institute of Chicago Chair, MPS Digital Photography Department, School
ring of the boundaries between formerly discrete aspects of the art available twenty-four hours a day, seven days a week. Students of Visual Arts; photographer; author
world are examined in these seminars. As the program supports a view are required to spend six hours a day at minimum working in Suzanne Anker Education: BFA, Rochester Institute of Technology; MFA, School of
of contemporary practice that combines a conventional approach to the studio. The objective is to produce original, advanced work Chair, BFA Fine Arts Department, School of Visual Arts; fine artist, Visual Arts
visual art-making, criticism and curatorial work, the series consid- with instruction and support from faculty and under the specific theorist Author: Photoshop Masking & Compositing, Photoshop Restoration
ers the shifts in contemporary society that underlie these profound guidance of an individual mentor, who will offer ongoing Education: BA, Brooklyn College; MFA, University of Colorado, and Retouching. Co-author, The Creative Digital Darkroom, Real
changes. Topics of central concern will include government and com- critical evaluation. While studios are available at all times, reviews Boulder World Digital Photography
mercial censorship, the continuing impact of technological innovation, will take place Monday through Friday, with weekly group critiques One-person exhibitions include : Medizinhistorisches Museum Clients include: Apple Computer, Eastman Kodak, Adobe Systems,
changing social relations as a function of the politics of identity and in the evening. Studio Practice is the central element and primary der Charité, Berlin; Center for Cultural Inquiry, Berlin; Universal Fuji Film, U.S. Navy, Nikon, PMA, PPA, ASMP
ways in which power relationships within the art world have been requirement of the program. As such, it is expected that students will Concepts Unlimited; Greenberg Wilson Gallery; Richard Gray Gallery; Publications include: Photo District News, American Photo,
transformed. Assigned readings form the basis of discussions and will make notable progress in their individual practice. Walker Art Center, Minneapolis, MN Popular Photography, Step by Step Graphics
relate to ongoing work in studio production. The second seminar will Group exhibitions include : J. Paul Getty Museum, Los Award: Photoshop Hall of Fame
include focused conversations concerned with the nature of the chang- STUDIO PRACTICE REVIEW I, II, & III Angeles; Basel Art Fair; Albright-Knox Art Gallery, Buffalo, NY; Website: www.katrineismann.com
ing world of art and ideas. Working in rich-media (multimedia) par- During the fall and spring semesters, online study sessions will take P.S.1 Contemporary Art Center; Pera Museum, Istanbul; National
ticipants will generate an extended essay on a topic to be determined place, and students are expected to continue their studio work from Museum of Modern Art, Kyoto; Phillips Collection, Washington D.C.; Thyrza Nichols Goodeve
during the second summer session. their home location. Students and mentors will remain in contact Kunsthaus Merano, Italy; Museo de Arte Extremeño e Iberoamericano Critic, writer. Formerly, research associate, Whitney Museum of
online. At least one on-site review of work-in-progress during the fall or de Arte Contemporáneo, Badajoz, Spain American Art
GRADUATE SEMINAR III spring semester will take place. In the second year, students will begin Collections include: Santa Barbara Museum of Art, Cleveland Education: BA, Sarah Lawrence College; MA, New York University;
A continuation of the readings, writings and discussion that formed work on their thesis projects under the supervision of their mentor. Museum of Art, Oakland Art Museum, New York Public Library, The PhD, University of California, Santa Cruz
the intellectual core of years I and II, Seminar III adds a discussion New School, Denver Art Museum, St. Louis Art Museum Publications include: How Like A Leaf; The Monster’s Progress:
of the ways in which private and public patronage have affected the STUDIO PRACTICE REVIEW IV: THESIS PREPARATION Publications include: Artforum, Art in America, ARTnews, Flash The Art of James Barsness; When Pain Strikes; The American Art
history of art, the current status of the schism between public and During the second spring semester, online study sessions will take Art, The New York Times, Art Journal, Newsweek, The Economist, Book; catalog essays for Tony Oursler Retrospective, Hanover Gallery,
private sculpture, the nature and function of art collecting (both public place, and students will continue their studio work from their home Nature, Tema Celeste, M/E/A/N/I/N/G Germany; “PUPPY,” Guggenheim Magazine
and private), and the ways in which the institutions of art (including location. Students and mentors will remain in contact online. At least Awards and honors include: New York Foundation for the Arts,
schools) function in this blurring art world. Students will begin to one on-site review of work-in-progress during the semester will take Artists Space, Zentrum für Literatur- und Kulturforschung
conceptually frame their final thesis projects. Topics will address the place. Students will begin work on their thesis projects under the
differences in conception of artistic practice, including historical devel- supervision of their mentor. Dara Birnbaum
opments and basic philosophical formulations, the rhetoric of contem- Visual artist
porary art practice, and the social and ideological shifts in contributing THESIS Education: B.Arch., Carnegie Mellon University;
to changing ideas of artistic practice. Each student will produce a complete body of new work with guid- BFA, San Francisco Art Institute
ance and support from faculty and under the specific guidance of Represented by : Marian Goodman Gallery
THE JOURNAL: A WRITING WORKSHOP an individual mentor. The thesis exhibition represents the culmination One-person exhibitions include : S.M.A.K. Stedelijk Museum
Using the skills developed in the first year of study, this workshop of the program, and is a central requirement for the successful comple- voor Actuele Kunst, Ghent, Belgium; Museum of Modern Art
explores the production of the individual artist’s journal. Students will tion of the degree. Group exhibitions include : Kunsthalle Düsseldorf; Museum of
produce a daily journal employing a conventional written form or Malmö, Sweden; P.S.1 Contemporary Art Center; Whitney Museum
of American Art

Art Practice 54 55 www.sva.edu/grad/artpractice


Susan Hefuna Ernesto Pujol Gary Simmons Robin Winters
Visual artist Performance artist Visual artist Multimedia artist
One-person exhibitions include: Galerie Grita Insam, Vienna; Education: BA, magna cum laude, Universidad de Puerto Rico, San Education: BFA, School of Visual Arts; California Institute of the Arts One-person exhibitions include: Berkeley Art Museum and
Rose Issa Projects, London; Third Line Gallery, Dubai; Albion Juan; MFA, School of the Art Institute of Chicago One-person exhibitions include: Metro Pictures; Museum of Pacific Film Archive, CA; Mary Boone Gallery; The Renaissance
Gallery, London and New York; Townhouse Gallery, Cairo; Bluecoat, One-person exhibitions and performances include: Salina Contemporary Art, Chicago; Studio Museum in Harlem; Jan Weiner Society at the University of Chicago
Liverpool; South African National Gallery, Cape Town; Paul Kasmin Art Center, Kansas; Chicago Cultural Center; Galeria Ramis Barquet; Gallery, Kansas City, MO; Margo Leavin Gallery, Los Angeles; Group exhibitions include: De Appel, Amsterdam; Dinter Fine
Gallery; Museum Moderner Kunst Stiftung Ludwig, Vienna; Sigmund Institute of Contemporary Art, Boston; McNay Art Museum, San Anthony Meier Fine Arts, San Francisco; SITE Santa Fe, NM Art; Arizona State University Art Museum, Tempe; Paula Cooper
Freud Museum, Vienna Antonio, TX Group exhibitions include: Center for Art and Visual Culture, Gallery; Witte de With Center for Contemporary Art, Rotterdam;
Group exhibitions include: Museum of Modern Art; Venice Group exhibitions and performances include: Magnan Metz University of Maryland, Baltimore; Krannert Art Museum, New Museum of Contemporary Art; Contemporary Arts Museum,
Biennale; Victoria & Albert Museum, London; Seville Biennial; Gallery; P.S.1 Contemporary Art Center; Miami Art Museum; Exit Champaign, IL; San Francisco Museum of Modern Art; Museum Villa Houston; Museum of Modern Art; Silverstein Gallery; Plus Ultra
Sharjah Biennial; New Museum of Contemporary Art; Modern Art Art; Instituto de Cultura Puertorriqueña, San Juan; Kunstmuseum Stuck, Munich Gallery; Queens Museum of Art
Museum of Algiers; Haus der Kulturen der Welt, Berlin Ahlen, Germany; Herzliya Biennial for Contemporary Art, Israel; Van Collections include: Portland Art Museum, OR; Saint Louis Collections include: San Francisco Museum of Modern Art;
Collections include: British Museum; Institut du Monde Arabe; Abbemuseum, The Netherlands Art Museum; Hirshhorn Museum and Sculpture Garden; Walker Art The Fabric Workshop and Museum, Philadelphia; Netherlands Media
Sharjah Art Museum; University of Colorado, Boulder; Victoria and Collections include: Bronx Museum of the Arts; Museum of Center; Museum of Modern Art; Whitney Museum of American Art Art Institute Montevideo
Albert Museum Art, Rhode Island School of Design; Museo del Barrio; Museo Rufino Awards and honors include: USA Gund Foundation Fellowship; Publications include: Art in America, The New York Times,
Awards and honors include: ZKM Center for Art and Media Tamayo, Mexico City; Museum of Contemporary Art, Los Angeles Penny McCall Foundation Grant; Interarts Grant, National The Village Voice, The New Yorker, Miami Herald, Art International,
Grant, Kunststiftung Baden-Württemberg, Akademie Schloss Solitude Publications include: Art in America, Time Out New York, NY Endowment for the Arts Artforum
Fellowship Arts, The Village Voice, The New York Times, San Juan Star, Art Awards and honors include: New York Foundation for the Arts,
Website: www.susanhefuna.com Nexus, Artforum, Michigan Quarterly Review, Atlantica International, Jovana Stokic John Simon Guggenheim Memorial Foundation Fellowship, National
El Nuevo Herald, Sculpture, Art Journal, El Diario, La Prensa, Art historian, curator Endowment for the Arts, New York State Council on the Arts
Daniel Kunitz ARTnews Education: BA, Belgrade University; MA University of California,
Executive editor, Modern Painters; contributing editor, The Paris Awards and honors include: Art Matters Inc.; New York Riverside; PhD, New York University Linda Yablonsky
Review Foundation for the Arts; Joan Mitchell Foundation; Pollock-Krasner Professional experience includes: Researcher, Whitney Writer; art critic; columnist, Artforum, T: The New York Times Style
Education: DEUG, University of Paris, Sorbonne; BA, cum laude, Foundation; International Association of Art Critics; Distinguished Museum of American Art; curator, video selection, Montehermoso Magazine; contributing editor, ARTnews
University of Wisconsin, Madison; MFA, Columbia University Fellow, Interdisciplinary Art Practice, School of the Art Institute Cultural Center; curator, Kimmel Galleries, New York University Education: BA, New York University
Professional experience includes: Editor-in-chief, Mediabistro; of Chicago; Cuban Artists Fund; Mid-Atlantic Arts Foundation Curatorial projects include: “Off Center Femininities: Regards Author: The Story of Junk: A Novel. Co-author, Face Addict
managing editor, The Paris Review; U.S. editor, ArtReview; art critic, Fellowship; Artist in the Marketplace, Bronx Museum of the Arts from Serbia and Montenegro,” Robert Else Gallery, California State Books include: Contributor, The Concert I Can’t Forget; The
The Village Voice, New York Sun; travel editor, literary editor, Details Website: www.ernestopujol.org University, Sacramento; “New York as an Open Market: Individual in Creative Time Book; Okay You Mugs: Writers on Movie Actors;
Publications include: Modern Painters, The Village Voice, The Global Spectacle,” Ozone Gallery, Belgrade Curve: The Nude in Contemporary Art; Time Out Book of New
Paris Review, Wall Street Journal, ArtReview, Details, Vanity Fair, Sarah G. Sharp Publications include: La Fabrica, ARTMargins. Catalog essays York Walks: 23 Walks Around the Big Apple; Bomb! Speak Fiction
Harper’s, ARTnews, New York magazine, Slate, Salon, Bookforum, Visual artist; video consultant include: “Leaving the Balkans, Entering the Other Side,” Marina and Poetry; Low Rent: A Decade of Prose and Photographs from the
Art & Antiques, New York Observer, Los Angeles Times Book Education: BA, Evergreen State College; MA, MFA, SUNY Purchase Abramovic: The Artist is Present; “Forbidden Games: Marina Portable Lower East Side
Review, London Times Literary Supplement. Catalog essays for: One-person exhibitions include: Gallery 1724, Houston; Shine Abramovic’s 8 Lessons on Emptiness with a Happy End,” Galerie Publications include: The New York Times, W, Bloomberg News,
“Zhang Huan: Blessings,” PaceWildenstein; “Kirstine Roepstorff,” The Studio, East Hampton, NY; Richard & Dolly Maass Gallery, Purchase Guy Bärtschi Time Out New York, Art & Auction, Elle Decor, Art on Paper, Art in
Drawing Center; “John Dubrow,” Salander-O’Reilly Gallery; “Caio College, NY; Red Mill Gallery, Johnson, VT America, The Village Voice, Art Newspaper
Fonseca,” Instituto Valenciano de Arte Moderno Group exhibitions include: Aldrich Museum of Contemporary Mark Tribe Awards and honors include: Peter S. Reed Foundation. Artist
Art, Ridgefield, CT; Real Art Ways, Hartford, CT; Stephan Stoyanov Visual artist; founding director, Rhizome residencies include: Yaddo, MacDowell Colony
Steven Henry Madoff Gallery; Frederieke Taylor Gallery; Broadway Gallery; Homestead Education: BA, Brown University; MFA, University of California,
Art critic, poet, curator. Formerly, executive editor, ARTnews Gallery; 55 Mercer Street Gallery San Diego
Education: BA, Columbia University; MA, Stanford University Publications include: The New York Times, Hartford Courant, Co-author: New Media Art
Books and catalogs include: Modern Melancholia: Thoughts On Jan Greenwich Time Projects include: The Port Huron Project, StarryNight
Hafstrom’s Art; Y. Z. Kami. Co-author, Marina Abramovic: Balkan Awards and honors include: Art Connects New York, BRIC Exhibitions include: DeCordova Museum and Sculpture Park,
Epic; Christopher Wilmarth: Light and Gravity; Rebecca Horn: Moon Media Arts Fellowship, Getty Research Institute Library Grant. Artist Lincoln, MA; Los Angeles Contemporary Exhibitions; Trinity Square
Mirror; James Drake. Editor, Art School (Propositions for the 21st residencies include: Kimmel Harding Nelson Center for the Arts, Video, Toronto; Arlington Arts Center, VA; Cranbrook Art Museum,
Century); Pop Art: A Critical History Vermont Studio Center Bloomfield Hills, MI; Park Avenue Armory; National Center for
Publications include: Time, The New York Times, Artforum, Art Website: www.sarahgsharp.net Contemporary Art, Moscow
& Auction, Modern Painters, ARTnews, Vogue, Christian Science Publications include: Artscope, Now Toronto, Los Angeles
Monitor, Tate Etc., The Nation Times, Washington Post, Art Papers, Frieze, The New York Times,
Awards include: Access to Artistic Excellence Grant, National Atopia, Artforum, Zing
Endowment for the Arts; Best Scholarly Art Book of the Year Award, Awards and honors include: Silver Award, I.D. Interactive
Association of American Publishers Media Design Review; New York Foundation for the Arts; Elizabeth
Foundation; Creative Capital; New York State Council on the Arts;
Greenwall Foundation; Jerome Foundation; Rockefeller Foundation;
Andy Warhol Foundation for the Visual Arts; CEC ArtsLink
Website: www.marktribe.net

Art Practice 56 57 www.sva.edu/grad/artpractice


Visiting Artists,
Studio Mentors and
Guest Lecturers
For an up-to-date roster of individuals who will serve the MFA Art Practice program, please visit our department online at www.sva.edu

Vito Acconci Charles T. Danziger Izhar Patkin Elisabeth Sussman


visual artist, writer and designer, Partner, Danziger, Danziger & Muro, assistant visual artist
 curator, Whitney Museum of American Art
principal Acconci Studio general counsel, The Museum of Modern Art Adriano Pedrosa Andras Szanto
Cory Arcangel Thomas Danziger curator, director writer, Senior lecturer in Arts Business,
visual artist
 partner, Danziger, Istanbul Biennial Sothebys Institute of Art, New York
John Baldessari Danziger & Muro Christopher Phillips Philippe Vergne
visual artist
 Liam Gillick curator, International Center for Photography (ICP)
 director, Dia Center
Lynda Benglis visual artist
 Robert Pincus-Witten for the Arts

sculptor
 George Gittoes art historian, critic
 Carrie Mae Weems
Maurice Berger painter, filmmaker, Tim Rollins visual artist

art historian photographer
 visual artist
 Lawrence Weiner
Roger Black Martin von Haselberg (Harry Kipper) Martha Rosler visual artist

graphic designer performance artist, visual artist
 Terry Winters
photographer
 visual artist

AA Bronson David Rothenberg
fine artist, director, Glenn Ligon composer, musician,
Printed Matter
 visual artist
 philosopher
Eric and Heather Chanschatz Terence Koh
visual artists visual artist


Thomas Crow Lee Mingwei


art historian visual artist


Contact Us
Tel: 212.592.2781
Fax: 212.493.5405
E-mail: artpractice@sva.edu
www.sva.edu/grad/artpractice
department site: artpractice.sva.edu
We strongly encourage applicants to visit SVA prior to submitting application materials.

Come to our Departmental Information Session, or contact us directly to schedule a tour.

Departmental Information Session: October 29, 2011


All times and locations will be announced online: www.sva.edu/grad/visit

To register for a departmental information session, please visit our website or contact
the Office of Graduate Admissions at: gradadmissions@sva.edu.

Art Practice 58 59 www.sva.edu/grad/artpractice


XX The MPS Art Therapy program is committed to developing students into working
professionals, via coursework and a clinical internship program, and to serving the
community locally, nationally and internationally.
XX In addition to writing a thesis that is clinical in scope, second-year students choose
from two unique specialization tracks—Challenged Populations (physical, emotional
or mental challenges) or Addictionology (substance abuse and non-drug addictions).
XX The program offers numerous opportunities to work with a variety of populations on a
short-term basis through a unique Special Programs & Projects component, allowing
students to enhance clinical skills and to supplement their training and experience.

Artists intuitively understand the inherently beneficial aspects of the creative process. Art therapy is an
innovative profession that provides a valuable contribution to the care of people living with psychologi-
cal and physical challenges. The mission of the mps Art Therapy program at sva is to offer students
this avenue of helping others through creative expression. Students are trained within a humanistic
framework, coupled with the theory and practice of art therapy. The program offers coursework taught
by working professionals, innovative internship opportunities and workshops, lectures and special
projects reflective of current trends within the profession.
The internship requirement is a significant part of the training, giving students the opportunity
to work directly with clients on an ongoing basis, in both individual and group settings. Students are
supervised by registered and licensed art therapists as well as members of the mps Art Therapy faculty,
and begin internships in the first semester of study, ensuring that theory and practice are integrated
from the start. The program’s full-time Internship Coordinator meets individually with students to choose
a placement from a wide array of settings, including treatment centers, schools, hospitals and shelters.
Community outreach via Special Programs & Projects affords students additional opportunities to work
with clients outside of their internship experience.
The diversity and density of New York City’s population make it a unique location for cutting-edge
treatment, technology and technique. The thousands of working professionals, including art therapists,
psychiatrists, psychologists, social workers, educators and artists, provide the program a remarkable pool
of talent and experience from which to select faculty, internships and guest lecturers. The mps Art
Therapy program, an educational provider fully approved by the American Art Therapy Association, is
committed to serving the community and to training students to work and thrive within this demanding
profession, as well as aiding alumni in their post-graduation growth. The program looks forward to
seeing the accomplishments of its alumni, and the role they will play in promoting and developing the field
in the years and decades to come.

Deborah Farber, chair

MPS Art Therapy


www.sva.edu/grad/arttherapy
department site: arttherapyblog.sva.edu

61
Lesley Achitoff was a decorative
painter for over a decade before
studying Art Therapy at SVA. She

Making a
is photographed at her school in
Manhattan, where she works with
court-involved teenage girls.

Difference
One Student
at a Time
Alumni Profile: Lesley Achitoff
The field of art therapy enables artists to combine art and psychology as a vehicle for healing,
communication, self-expression and personal development. Lesley Achitoff, a 2004 graduate who
changed careers after being a decorative painter for 15 years, is now the only art therapist on staff
at Community Prep High School in Manhattan, a transitional high school for court-involved adoles-
cents. The school was created to help the students raise their grade levels and address the behavior
issues that impede their academic achievement so that they will succeed in diploma-bearing high schools
or ged programs.
Lesley teaches a daily group advisory class with an art therapy focus for girls ages 14 to 18.
Female students make up just 25% of the school’s population. “Art gives these students an opportunity
to express themselves in a non-verbal way,” she explains. “Therapy helps counter their resistance
and builds trust. Art therapy helps them to discover their creativity and raises their self-esteem, which
in turn helps them do better in school.”
Achitoff believes that in this line of work, small victories make all the difference. One student,
who struggles with the effects of trauma, has made significant progress in her schooling and therapy.
“She is leaving the program with patience and focus and even wants to go to college.” Achitoff
emphasizes that she is not trying to change the students but to help them recognize their own strengths
through the art therapy process. But just like any artist, her work is never truly done.

Art therapy helps at-risk youth communicate their


emotions without words. This mask was made
by a student to express what she thought others
saw when they met her.
Achitoff holds up a roll
of paper that students
worked on together
that blends collage,
drawings and poetry.

Achitoff also works with her students on personal journals.


“The girls put down their thoughts, experiences, poems and
photographs. Some of them draw,” says Achitoff. “There are
times I give them the freedom to do anything they want in
the books. Other times I’ll ask specific questions which they
can answer in any medium they choose.”
The MPS Art Therapy Department is housed in an expansive space
chair interview that includes an open studio with an observation area for hands-on training

Deborah Farber
of students working with clients in the creative art therapies. The open studio,
as well as two classrooms, are designed and operated based on the humanistic
philosophy that art therapy and art therapy training should be a collaboration
What ideas guided you in creating the mps Art Therapy program at sva? “From the beginning of the mediated by artistic processes and human interactions. It is modeled after
program,” recalls Deborah Farber, “I was interested in community outreach. And I had the idea that an “enabling space,” or sanctuary, in which the connection between creativity and
it should be multidisciplinary. I thought students should hear from different members of treatment teams, healing can be made. This environment, and all that happens within it, reinforces
not only art therapists, but other people in the hierarchy. So we have psychologists who are also artists the notion that by treating clients with respect and dignity and introducing them
teaching as one way to vary the approach, learning style and material. And we look for a totally hetero- to art as a special language for self-expression, the power of the creative process
“Internships are a
geneous mix of students,” Farber stresses, “because in group therapy, that’s the ideal situation.” can be utilized as a form of therapeutic treatment.
key element of the
Why did you add the addictionology track to the curriculum? “We arrived at the twin-track struc-
program. We have
ture of the program by thinking about the usefulness of a substance abuse counseling certification.
over a hundred

On any
I wanted the equivalent of that qualification to be incorporated into the program because I thought it
placements in
would enhance the training’s practicality. And sure enough, we quickly began to find that our gradu-
the New York
ates had a huge advantage when trying to get art therapy jobs in addictions facilities.”
metropolitan area.”
Can your students balance their artistic development with the demands of graduate study? “Stu-

given day...
dents are encouraged to maintain their own art practices.” Farber explains. “We have an open studio
all day on Friday, and we incorporate a lot of art-making into classes, so they’re always using art
materials. Creation is universal, and the creative process is a healing process. Students need to be fluent
in two languages, clinical language and the language of creativity. Whether or not their clients
are ‘talented’ has nothing to do with it.”
How is the internship component structured? “Internships are a key element of the program. We
have over a hundred placements in the New York metropolitan area. When someone is accepted into First-Year Student: Second-Year Student:
the program, they meet with our internship coordinator, who works full-time to set up legal contracts
9 – noon  Raquel Stephenson’s Adult Development & Aging class, 9 – noon  Students meet with thesis instructors Eileen McGann and
with our affiliates and to assist students in their placement. We work with every type of population such
students discuss “Creativity & Aging” and Rudolf Arnheim’s essay Raquel Stephenson for Thesis Project class and discuss putting finishing
as therapeutic nursery schools, day treatment programs for substance abusers, assisted living programs
“On the Late Style.” touches on their theses as well as upcoming thesis presentations.
for the elderly, and everything in between.”
What are students working toward? “The thesis is a culmination of everything they’ve learned.
noon – 3pm  Rebecca DiSunno’s Expressive Therapies class covers noon – 3pm  Break. Students catch up on paperwork from internship
They come up with a clinical question, something that involves research and a hypothesis. It’s done
“Film & Photography.” The documentary Born into Brothels is screened. sites; some work on submissions for In Touch, the Art Therapy Depart-
in measurable steps and they discuss their research with instructors as well as with the entire group.” ment’s online newsletter; some attend a planning meeting for an upcoming
How do mps Art Therapy alumni contribute to the field? “I have one student,” Farber enthuses, 3 – 6pm  Break. Students conduct research at the Visual Arts Library; Special Project with coordinator Val Sereno; some meet with clients in
“who worked with abused children and wrote her thesis on adolescents with attachment disorders. some catch up on paperwork from their internship sites; some work on the MPS Art Therapy Department’s Counseling Center.
It was recently published in the American Art Therapy Journal. Another student was an animator their watercolor technique for an upcoming Visiting Artist Workshop
who wanted to go into art therapy. He started his own nonprofit and works all over the metropolitan given by watercolorist Judi Betts. 3 – 6pm  Community Access Through the Arts class. Students
area, hiring art therapists to work using animation with at-risk adolescents. He’s got all kinds of participate in a collaborative art therapy/museum education project at
grants already, and he’s only been out of the program for two years!” 6 –9pm  Supervision Class: students hand in process notes from the Whitney Museum of American Art.
internship sites and conduct case presentations.
6 – 9pm  Clinical Topics in Challenged Populations class for students
in the Challenged Populations track, guest lecturer Marcia Cohen-
Liebman discusses Forensic Art Therapy.

Art Therapy 68 69 www.sva.edu/grad/arttherapy


The Program  The mps in Art Therapy curriculum is interdisciplinary in approach, drawing from art,
clinical and educational applications, and the social sciences. The first year of study covers the general theory and
practice of art therapy and is designed to help students understand the relationship between cognition, emotion
and behavior as well as how these areas relate to art diagnosis and treatment. In the second year, students choose
between two areas of specialization: addictionology and challenged populations. ¶ Degree candidates must
successfully complete 60 credits, including all required courses, with a cumulative grade point average of 3.0.
A residency of two academic years is required, but there is a three-year and four-year part time option for students
unable to attend the program on a full time basis. In the final semester, each student is required to complete a
thesis project, which must be reviewed and approved by the thesis committee and the department chair in order
for the student to be eligible for degree conferral. ¶ In exceptional instances, students may be allowed to transfer
up to 15 credits from other accredited graduate programs. Decisions concerning transfer of credit and course
exemptions are made by the committee on graduate admissions.

Specialization
Addictionology:   The addictionology track focuses on both Challenged Populations:   The challenged populations track
substance abuse and non-drug addictions. Students will learn about focuses on the uses of art therapy in a variety of settings, including
diagnosis and treatment, and gain a thorough knowledge of the physical, mental and emotional challenges. Counseling methods
physiology of addictions and of how to work with affected families. and the impact of disability on the family are among the subjects
addressed.

Sample Programs
first year
FALL Semester Credits SPRING Semester Credits

Child Art Development 3 Adolescent Art Development 3


Internship/Supervision in the Studio I 3 Adult Development and Aging 3
Interviewing and Counseling Skills for 3 Group Therapy and Practice 3
Challenged and Addicted Populations Internship/Supervision in the Studio II 3
Methods and Materials in Art Therapy 3 Psychiatric Populations and the 3
Theoretical Foundations of Art Therapy 3 Diagnostic and Statistical Manual (DSM IV)

second year: addictionology


FALL Semester Credits SPRING Semester Credits

Art Assessment and Diagnosis 3 Community Access Through the Arts 3


Clinical Topics in Addictionology 3 Family Art Therapy: The Impact of 3
Internship/Supervision in the Studio III 3 Disability and Addiction
Multicultural Issues in Art Therapy 3 Internship/Supervision in the Studio IV 3
Thesis Project I 3 Physiology of Addictions 3
Thesis Project II 3

second year: challenged populations


FALL Semester Credits SPRING Semester Credits

Art Assessment and Diagnosis 3 Clinical Topics in Challenged Populations 3


Art Therapy in Disabilities 3 Community Access Through the Arts 3
Internship/Supervision in the Studio III 3 Family Art Therapy: The Impact of 3
Multicultural Issues in Art Therapy 3 Disability and Addiction
Thesis Project I 3 Internship/Supervision in the Studio IV 3
Thesis Project II 3

A grading rubric for Leslie Achitoff’s class: “The students


are graded on a point system to help them to be more
Art Therapy 70 aware of their behavior and contribution to the class.”
Course Descriptions Internship Opportunities
The Art Therapy Department has developed internship affiliations
with hospitals and agencies in the metropolitan area. Internships
provide students with the opportunity to integrate theory with
art therapy practice and to gain professional skills. Internship
sites include, but are not limited to: New York Foundling Hospital,
Refrew Center, Gay Men’s Health Crisis, HeartShare Human
Services, Coalition for Hispanic Families, NYC Public Schools,
St. Mary’s Children’s Hospital, Lutheran Medical Center, Interfaith
Adolescent Art Development Art Therapy in Disabilities COMMUNITY ACCESS THROUGH THE ARTS Medical Center, New York Presbyterian Hospital, North Bronx
As art therapists, it is essential that we have an understanding of the This course will examine the relationship of art therapy intervention The professional role as an art therapist, with regard to function and and Jacobi Hospitals, NYU Medical Center, and Queens Children’s
individuals with whom we may work. This course will provide a in persons with physical and emotional challenges. Emphasis will be relationships with other mental health providers, including knowledge Psychiatric Center.
theoretical framework in which to examine adolescence in terms of placed on the facilitation of coping strategies. Case presentations, slide of professional organizations, credentialing and licensure, public pol- The Department employs a full-time internship coordinator
developmental processes in art expression, cognition, intra-psychic and video illustrations, readings, research and clinical implications for icy, advocating for the profession and client advocacy will be explored. who works with students in their clinical placement, and
dynamics, external environmental influences and the interrelation- treatment will be offered. Students will learn how to create an in-service presentation, which communicates with on-site and faculty supervisors in assessing
ship between the two. Attention will be given to increasing the stu- will include didactic materials and client work, to appeal to various each student’s progress.
dent’s understanding of the role and impact family, society, culture CHILD ART DEVELOPMENT audiences. Alternatives to traditional methods of psychotherapeutic
and trauma have upon adolescent development and functioning. The course will focus on the behavior of children from birth through treatment will be explored, such as psychosocial clubs, peer-led sup-
Establishing a safe arena and therapeutic alliance in order to effectively pre-adolescence. Through case presentations, readings and discussion, port groups and consumer-run centers. Field visits will be included for
implement art therapy as assessment, intervention and in ongoing students will examine the physical, emotional and intellectual growth observation and presentation purposes. Students will receive instruc- internship/supervision in the studio I, II, III & IV
treatment with the adolescent will be a continual area of discussion. of children, and explore the psychological and physiological factors tion in preparing to enter the job market, including practice in resume The SVA Art Therapy Department has developed numerous affilia-
involved in learning, creativity and personality development. Normal writing and professional interviewing skills. Occupational counseling, tions with a wide variety of institutions in and around New York City.
ADULT DEVELOPMENT and AGING development, psycho­pathology and art therapy treatment approaches career development theory, information and resources, diversity fac- Working with the field placement coordinator, each student will be
Students will examine the physical and emotional growth of adults will be included. tors, supervision and ethical and legal issues, and the development placed in a supervised internship that corresponds with his or her area
and will explore the psychological and physiological factors involved. of art therapy-based career counseling will be covered, along with of specialization. Students are required to spend 16 hours per week
Specific emphasis will be placed on the variations of the aging process CLINICAL TOPICS IN ADDICTIONOLOGY knowledge and skills considered essential in enabling individuals and at an internship site each semester. Small-group supervision will also
and how these manifest themselves in behavior and creative expres- A broad overview of the changing and expanding field of addictions organizations to positively affect career development and aptitude. be provided by SVA faculty members through a unique studio-based
sion. Normal development, psychopathology and art therapy treatment will be presented. Topics will focus on the psychological nature of component of this course. This will give students a regular opportunity
approaches will be included. substance abuse (including the so-called “para-addictions”), the vari- FAMILY ART THERAPY: THE IMPACT OF DISABILITY AND ADDICTION to reflect on their work with clients and to further their own artis-
ous theories that attempt to explain it, and how we, as clinicians, can Systems theory will provide the theoretical foundation for this course; tic development as they explore the challenges of artist-as-therapist.
ART ASSESSMENT and DIAGNOSIS begin to have an impact. Special emphasis will be placed on ways in family art therapy and strategic learning will be explored and experi- Students will explore professional identity, professional ethics and the
Art assessment and diagnostic materials will be explored through expe- which art therapy can begin to address difficult treatment issues. enced. To conceptualize the emotional phenomena within the family ethical practice of art therapy and the proper application of ethical
riential sessions, didactic learning and casework. Students will learn the of origin offers practitioners the skills to maneuver in complex waters. and legal principles of art therapy practice, and gain familiarity with
fundamentals of art therapy assessment, statistical concepts including CLINICAL TOPICS IN CHALLENGED POPULATIONS When addiction, mental illness and physical disabilities exist within the the ethical standards of the American Art Therapy Association and Art
reliability and validity, selection of the assessment tool and familiarity This course will offer a range of art therapy applications and issues, system, every member is impacted with a life-altering experience. To Therapy Credentials Board as well as other related fields.
with a variety of specific art therapy instruments and procedures used presented by a series of clinicians with specific areas of expertise. restore a functional adjustment and balance is the goal of the family
in appraisal and evaluation, and will gain an understanding of develop- Client populations, treatment approaches and related professional art therapist. Research, genograms, case studies and literature will be INTERVIEWING and COUNSELING SKILLS FOR Challenged and
mental levels, cultural factors, psychopathology and psychological health aspects in isolation, trauma and chronic disease will be examined. part of the learning experience. addicted populations
manifested in artwork and art-making. Additional topics to be discussed Phenomena within the treatment setting explored will include inter- Students will be introduced to assessment and evaluation techniques
include, administration and documentation of art therapy assessment; disciplinary collaboration, co-treating, contributing to the treatment GROUP THERAPY and PRACTICE for the treatment of challenged populations, chemically dependent
formulation of treatment goals; objectives and strategies related to assess- record, ethics and standards of practice. Students will explore the This course will assist in the development of clinical skills through clients and their families. Intake strategies for both short- and long-
ment and evaluation, including historical perspectives of assessment; basic potential of the therapeutic arts discipline within the treatment milieu. an exploration of techniques and practices. Topics will include stan- term settings, and how to develop counseling skills will be the primary
concepts of standardized and non-standardized testing and assessment, dards and methods of documentation, treatment planning, treatment focus. Students will learn the historical development of counseling and
fundamentals of psychological testing; biopsychosocial assessment; statisti- team reports (oral and written) and case presentation. Emphasis will psychological theories, understanding of systems perspective, applica-
cal concepts including reliability and validity; strategies for selection of be placed on theoretical and experiential understanding of group art tion to case material and critical thinking with regard to similarities
the assessment tool and familiarity with a variety of specific instruments therapy techniques: group dynamics and process, counseling methods, and differences between art therapy intervention and counseling inter-
and procedures used in appraisal and evaluation. Projective tests such as leadership styles and approaches, member roles and behaviors, selec- vention. Case material and presentations, role-playing, videotaping,
the Diagnostic Drawing Series (DDS), Levick Emotional and Cognitive tion criteria, short- and long-term group process, therapeutic factors contemporary theories such as the Minnesota Model for treatment of
Art Therapy Assessment (LECATA), Mandala Assessment Research and stages of group development. Contemporary theorists will also be substance abuse, behavioral, cognitive, educational, creative arts, lec-
Instrument (MARI), Silver Drawing Test of Cognition and Emotion, critically surveyed. In addition, research methodologies and design will ture and experiential work will be offered.
Ulman Personality Assessment Procedure (UPAP) and other psychometric be explored for thesis/special project preparation.
instruments will be explored.

Art Therapy 72 73 www.sva.edu/grad/arttherapy


Methods and Materials in Art Therapy
This course will enable students to examine the use of paints, inks,
organic art processes, sculpture materials and other traditional and
Psychiatric Populations and the Diagnostic and
Statistical Manual (DSM IV)
Psychopathology, as determined by the DSM multi-axial system, will
Special Projects
non-traditional art media and their uses with particular client popula- be examined in depth. Case material will be presented for each diag- Special Projects are a distinctive element of the MPS Art Therapy program, as
tions. Salient features of particular materials and expressive dimen- nostic category, and the clinical implications for the art therapist will they afford students additional opportunities to work with clients outside of
sions will be explored. Discussion of computer applications relevant be explored. Treatment approaches will be considered, as will indica-
to art therapy will be included. Students will explore the impact of tors of functional and organic disorders in behavior and artwork of their internship setting. Special Projects are innovative short-term art therapy
art processes and materials through ongoing participation in personal clients. Types of psychopharmacological medications will be covered. experiences facilitated by students and a board certified art therapist. Students learn
art-making. By strengthening their connection to the creative process,
students will gain an understanding of personal symbolic language- THEORETICAL FOUNDATIONS OF ART THERAPY to create client-specific directives, encourage community partnership and assess
and arts-based learning, allowing for the opportunity to integrate intel- The history of the theoretical aspects of art therapy will be explored. project objectives and results. Special Projects are facilitated with a wide range of
lectual, emotional, artistic and interpersonal knowledge. Analytic, behavioral, cognitive, interpersonal and humanistic
approaches, important events, practitioners and the development of client populations, in such venues as social service agencies, healthcare facilities,
MULTICULTURAL ISSUES IN ART THERAPY art therapy as a distinct therapeutic practice will be reviewed through community centers, schools, corporations and alternative sites.
The effect of ethnicity and culture in the therapeutic process will be readings and didactic and experiential sessions. Ethical and legal issues
examined through case material, slide illustrations and didactic and of art therapy practice, including certification, values, malpractice and
experiential sessions. This course will explore cultural determinants confidentiality, and an overview of psychotherapy theories relevant to
of problems encountered in the field of art therapy, and provide a
foundation of knowledge in cultural diversity theory and competency
models applied to an understanding of diversity of artistic language,
art therapy will also be included in discussions and examined through
case presentations and lectures. Mandated Reporter
Training Seminar
symbolism and meaning in artwork and art-making across cultures THESIS PROJECT I & II
and within a diverse society. Students will investigate the role of the Students will be supervised by members of the art therapy faculty in
art therapist in social justice, advocacy and conflict resolution, includ- the development of a thesis topic. Each project must be clinical in
ing theories of counseling and development of competencies essential scope, present an original point of view and include supporting docu- Students are required to receive training in the identification and reporting of child
for a culturally responsive therapist with regard to age, gender, sexual mentation of its concepts and findings. In addition, students may opt
orientation, ethnicity, nationality, socio-economic status, develop- to explore grant-writing opportunities. Structured methods and formats
abuse offered by a New York State approved provider. Students are instructed in
mental disability, education, family values and religious and spiritual such as quantitative and qualitative research, formal case studies and how to effectively report child abuse or maltreatment/neglect to the NYS Child
values. Cultural self-awareness through self-assessment, strategies for arts-based research will be discussed. Students are required to present
working with diverse communities and critical thinking with regard to their thesis projects to peers and faculty. The department chair will
Abuse and Maltreatment Register, evaluate situations to determine whether there is
attitudes, beliefs and competent practice will be explored. Students will oversee all projects. reasonable cause to suspect child abuse or maltreatment, and identify the physical
be encouraged to share their own cultural beliefs and attitudes in rela-
tion to the practice of art therapy.
and behavioral indicators commonly associated with child abuse. This seminar is
offered at the beginning of each academic year.
PHYSIOLOGY OF ADDICTIONS
A consideration of contemporary neurochemical theories of addictions.
Neuroanatomy and physiology, and the use of psychotropic medica-
tion in the treatment of substance abuse will be examined. An in-depth
look at theories regarding the genetic etiology of substance abuse will
be reviewed.

Art Therapy 74 75 www.sva.edu/grad/arttherapy


Faculty

Deborah Farber, chair Rebecca Di Sunno Robert Abel Grant Renee Obstfeld
Art therapist, ATR-BC, LCAT Art therapist, ATR-BC, LCAT; clinical nurse specialist Art therapist, ATR-BC, LCAT Art therapist, ATR-BC, LCAT
Education: BA, Herbert H. Lehman College; MPS, Pratt Institute; Education: MA, PhD, New York University Education: BA, Long Island University; MPS, Pratt Institute Education: BA, Sarah Lawrence College; MA, New York University
Substance Abuse Counseling Certificate, Marymount Manhattan College professional experience: Art therapist, East End Hospice; art professional experience: Art therapist, clinical supervisor, PROFESSIONAL EXPERIENCE: Art therapist, Robert Mapplethorpe
professional experience: Art therapist, Holliswood Hospital; therapy program coordinator, International Child Art Foundation, Family Service Programs; post-adoption coordinator, HeartShare Residential Treatment Facility
alcoholism psychotherapist, Freedom Institute; activities director, World Children’s Festival Human Services; art therapist, Graham Windham Services to Children Publication: American Journal of Art Therapy
High Point Hospital; activities therapist, Association for the Help of Publications include: American Journal of Art Therapy, East and Families; consultant, New York Urban League: Manhattan Branch
Retarded Children; curator, “Annual Art Therapy Exhibition,” School Hampton Star Family Redirection Program Meagan O’Connell
of Visual Arts exhibitions include: Baca Downtown Theater and Gallery, Long Art therapist, ATR-BC, LCAT; director, therapeutic services &
publications and presentations include: “Rebuilding Hope Michael Fisher Island University, New York Art Therapy Association, Art in General creative arts therapies, Incarnation Children’s Center
One Block at a Time: Collective Art in New York City,” American Senior psychologist and outpatient program coordinator, Education: BA, Manhattanville College; MA, New York University
Art Therapy Association Annual Conference; “Child Art Therapy,” Comprehensive Addiction Treatment Center, Jacobi Medical Center; Markus J. Kraebber PROFESSIONAL EXPERIENCE: Senior child life specialist, Mount Sinai
Montclair Art Museum; panelist, Arts and Humanities Confer­ence, associate director, The Mimesis Institute; private practice Psychiatrist Medical Center; advisory board, Splashes of Hope
School of Visual Arts; “Art Therapy and Literacy with Children,” Education: BA, SUNY Binghamton; MA, Yeshiva University; Education: BA, Harvard University; MD, Jefferson Medical College Presentations include: “The New Psychosocial Morbidity: A
International Reading Conference; Encyclopedia of Disability and PhD, Long Island University; postgraduate training, Eastern Group professional experience: Attending psychiatrist, pediatric con- View from the 21st Century,” Mount Sinai Pediatric Grand Rounds;
Rehabilitation; Ferguson’s Careers in Focus: Art Psychotherapy Society; New York Milton Erickson Society for sultant, New York Presbyterian Hospital; Massachusetts General “Weaving Creative Arts Modalities into Child Life Practice,” Bank
Psychotherapy and Hypnosis Hospital/Chelsea; Eric Lindemann Mental Health Center; Volunteers Street College of Education; “Weaving Creative Arts Processes
Claudia Bader presentations include: “Unconscious at Play: Utilizing the of America, Inc.; ACI, Inc.; Lenox Hill Hospital; Bellevue Hospital Into Child Life Programming,” Child Life of Greater New York
Art therapist, ATR-BC, LCAT; psychoanalyst; executive director, Mimesis Process,” Institute for Expressive Analysis; “Chemical CPEP; research assistant, Diabetes Research Center, University of Professional Development Conference; “Child Art Therapy,”
Institute for Expressive Analysis. Formerly, art therapist, Manhattan Dependency in the Workplace: Establishing a Chemical Dependency Pennsylvania Medical School; corporate finance analyst, Smith Barney New School University
Psychiatric Center Program,” Lenox Hill Hospital publications include: “Blood Pressure Changes, Evaluation
Education: BA, University of California San Diego; MPS, Pratt of Fever,” On Call Psychiatry; “Validation and Utility of a Self- Valerie Sereno
Institute Lisa Furman Report Version of Prime-MD,” Journal of the American Medical Art therapist, ATR-BC, LCAT; coordinator, special programs and
Art therapist, ATR-BC, LCAT Association; “Effect of the Hypoglycemic drug AZ DF 265 on ATP- projects, MPS Art Therapy Department, School of Visual Arts
Irene Rosner David Education: BFA, Rhode Island School of Design; MA, New York Sensitive Potassium Channels in Rat Pancreatic beta cells,” British Education: BA, Marymount Manhattan College; MA, New
Art therapist, ATR-BC, LCAT University Journal of Pharmacology York University
Education: BA, City College of New York; MA, New York professional experience: Clinical psychotherapist, New York Professional experience: Art therapist, 9/11 School Recovery
University; PhD, Union Institute Foundling Hospital; Danbury Hospital for Children and Adolescent Carol Greiff Lagstein Program, PS 89, PS 124; Memorial Sloan-Kettering Cancer Center;
professional experience: Board of directors, Ameri­can Treatment Services; Long Island College Hospital; New York Institute Art therapist, ATR-BC, LCAT Montessori Manhattan School, St. Luke’s Hospital
Art Therapy Association; director, Therapeu­tic Arts, Bellevue for Special Education Education: BFA, California College of the Arts; MPS, Pratt Institute; Presentations include: “The Creative Arts Therapies’ Response
Hospital Center presentations include: “When a Scribble Is Not Just a Scribble: MSW, Columbia University to 9/11,” New York University; American Art Therapy Association
publications include: Art Therapy: Journal of the American Art Diagnostic Implications of the Content and Process of Art,” Department Professional experience: Private practice; student assistance Conference; Psycho-Oncology Conference, Heidelberg
Therapy Association; American Journal of Art Therapy; Time Out of Psychiatry, Harlem Hospital Center; “Using Art Therapy with counselor, Clarkstown Central School District, NY; co-founder, facili-
New York; Photo District News; New York Newsday Children in Foster Care,” Council of Family and Child Caring Agencies tator, Teen Power Raquel Chapin Stephenson
awards and honors include: Distinguished Service Award, (COFCCA); “A Touching Sight: Art Therapy with Blind Children,” Presentations include: “Creative Genograms,” American Art Art therapist, ATR-BC, LCAT
Clinician Award, American Art Therapy Association; Honorary Life Annual Conference, American Art Therapy Association Therapy Association Education: BFA, University of Michigan; MA, New York University
Member Award, Dis­ting­uish­ed Service Award, New York Art Therapy Publication: The Whole Mind: The Definitive Guide to PROFESSIONAL EXPERIENCE: Program coordinator, clinical supervi-
Associa­tion Stephanie Gorski Complementary Treatments for Mind, Mood, and Emotion sor, New York University Creative Aging Therapeutic Services; art
Art therapist, ATR-BC, LCAT therapist, St. Luke’s Hospital
Elizabeth DelliCarpini Education: BA, SUNY Geneseo; MPS, Pratt Institute Eileen P. McGann publications include: The Older Learner, Generations
Art therapist, ATR-BC, LCAT; internship coordinator, MPS professional experience: Clinical coordinator, New York Art therapist, ATR-BC, LCAT
Art Therapy Department, School of Visual Arts Foundling Hospital; social worker, South Brooklyn Prevention Education: BFA, Manhattanville College; MA, New York University
education: BFA College of New Rochelle; MAAT, School of the Program; art therapist, Blueberry Treatment Center; adoption social professional experience: Senior art therapist, Jewish Board of
Art Institute of Chicago worker, New York Spaulding for Children Family and Children’s Services
PROFESSIONAL EXPERIENCE: Art therapist, Community Prep HS for publications include: Pratt Institute Creative Arts Therapy Review One-person exhibition: Molloy College Art Gallery
court-involved adolescents; Brooklyn Community Counseling Center Award: Sr. Teresa Vincent McCrystal Excellence Award group exhibitions: New York University, Rye Art League,
9/11 Outreach; Catholic Charities homelesss adult employment pro- Manhattanville College, Kean Mason Gallery
gram; child welfare coordinator, Jamal Place residential program publications include: American Journal of Art Therapy, Art
PRESENTATIONS INCLUDE: “Boys: Art & Destruction,” American Art Therapy with Older Adults, The Arts in Psycho­therapy, Journal of
Therapy Association; “Working with Young People in Challenging the American Art Therapy Association, Journal of Emotional Abuse,
Situations,” Fund for the City of New York; “Working with Girls in Racism and Racial Identity
the Juvenile Justice System,” Legal Aid Society

Art Therapy 76 77 www.sva.edu/grad/arttherapy


Guest Lecturers

Bonnie Allie Lawrence Brown Barbara Fish Scott Green Marilyn LaMonica Shaun McNiff Joan Phillips Daniel Siegel
art therapist physician art therapist, director, Art head of Fine Arts, art therapist, psychoanalyst art therapist, founder, art therapist psychiatrist, executive
Therapy Associates University of Derby Institute for the Arts and director, Mindsight Institute
Corinne Arles Ani Buk Carol Lark Shirley Riley
expressive arts therapist, art therapist Linda Gantt Ellen Horovitz art therapist, psycho- Human Development art therapist Ellen Speert
Free Arts NYC art therapist art therapist therapist, director, The Art Nancy McWilliams art therapist; founder,
Marcia Cohen-Liebman Diane Rode
Brian Austin art therapist Natalia Gomez Joseph Jaworek Therapy Center psychotherapist art therapist, Kravis California Center for
art therapist art therapist art therapist Laura Loumeau-May Rebecca Beers Miller Children’s Hospital at Creative Renewal
Barbara Cooper
Liz Baring art therapist, SuperKids David Gonzalez David Read Johnson art therapist art therapist Mount Sinai Bobbi Stoll
art therapist, psychoanalyst music therapist director, Institute for the Paola Luzzatto Bruce Moon Judith Aron Rubin art therapist
Margaret Hills de Zárate
Arts in Psychotherapy; co- art therapist art therapist art therapist Brian Tepper
Ted E. Becker Jr. art therapist Robin Goodman
director, Post Traumatic art therapist
psychiatrist Ashley Dorr art therapist and clinical Linda Levine Madori Cathy Moon Andree Salom
Stress Center
Chris Belkofer art therapist psychologist; Director of art therapist art therapist art therapist Nicolas Touron
the Bereavement Center Lynn Kapitan sculptor, ceramist
art therapist Gail Elkin-Scott Cathy Malchiodi Thomas Moore Brenda Seckerson
at A Caring Hand, Billy art therapist
Judi Betts art therapist art therapist, Director of the author expressive arts therapist, Annette Vaccaro
Esposito Foundation Gussie Klorer Institute for the Arts and Free Arts NYC art therapist, social worker
watercolorist Mimi Farrelly-Hansen Bereavement Center Larry Norton
art therapist, social worker Health
Elaine Breiger art therapist deputy physician-in-chief Karen Seeley Bessel van der Kolk
Christina Grosso Judith Kuspit Shannon McGinn and director of breast can- psychologist psychiatrist
printmaker Kimberly Faulkner art therapist psychologist, psychoanalyst art therapist; staff attorney, cer programs at Memorial
art therapist Laura Seftel Judy Weiser
Prisoner Reentry Project, Sloan-Kettering Cancer art therapist psychologist, phototherapist
Legal Services of Center
New Jersey Suellen Semekoski Stephanie Wise
Peggy Papp art therapist art therapist
Carole McNamee social worker, Ackerman
marital and family therapist Institute Katherine Shargo Gaelyn Wolf-Bordonaro
art therapist, New Jersey art therapist
Sojung Park Department of Corrections Irvin D. Yalom
Tel: 212.592.2610 art therapist
Contact Us

psychiatrist
Saadia Parvez
Fax: 917.606.0461 art therapist
E-mail: arttherapy@sva.edu
www.sva.edu/grad/arttherapy
department site: arttherapyblog.sva.edu
We strongly encourage applicants to contact our Department to schedule an informational
meeting and receive a tour of our facilities prior to submitting application materials.

Departmental Information Session: November 5, 2011.


All times and locations will be announced online: www.sva.edu/grad/visit

To register for a departmental information session, please visit our website or contact
the Office of Graduate Admissions at: gradadmissions@sva.edu.

Art Therapy 78 79 www.sva.edu/grad/arttherapy


MPS XX Create frameworks to guide brand, design and business development
XX Critically evaluate brand, business, marketing and design strategies

Branding XX Master the intellectual link between leadership and creativity

The Master of Professional Studies in Branding is a one-year degree program that examines
www.sva.edu/grad/branding the relationship between design and strategy, and the power of design thinking as a way to

department site: branding.sva.edu combine creative skills with the problem-solving and decision-making processes of design and
business. Students graduating from this program will be able to take advantage of new market
opportunities, and to deliver innovative, successful and sustainable project outcomes in the worlds
of design, advertising, marketing and business.
During the year, students develop an understanding of diverse branding strategies, brand
valuation, and brand development life cycle. We’ll explore important themes in behavioral science
and relevant cultural themes as they relate to branding. We’ll investigate marketing challenges
involved in creating and sustaining brands and gain an understanding of and experience with
senior corporate management discourse.
The thesis is a critical part of the mps in Branding that is developed and completed in the summer
semester. Students will develop their thesis, formulating and developing the central idea that will
become their thesis, and will consider appropriate strategies for the research, form, presentation
and distribution of their ideas. The thesis class will provide students the opportunity to meet
as a group and with a faculty member to discuss issues related to the development of their theses,
as well as review portions of each other’s work. Students should emerge from this process with
a significant body of work.

Debbie Millman, chair

81
Designing
Smartly:
Bringing
30 Years of
Experience
to theFaculty Profile:
Dan Formosa, PhD

Classroom
Smart Design’s studio in NYC. Dan
Formosa is a founding member of Smart
Design, a group based on the idea the
design should be about people, not things.
A wall shows current projects being
worked on. Their clients include the
Guggenheim Museum, MoMA and the
Whitney Museum of American Art.
“I try to give students an overview of every topic that is of the bowl validated the research they built into the design, and
represented by design: biomechanics, physiology, psychology, sta- paved the way for the next Corning product: sunglasses whose de-
tistics, information, and happiness, to name some. I also discuss the sign was, essentially, a crystallization of fresh anthropometric data
differences between design research and market research, because about the face and cognitive psychological data about perception.
the two often get confused – especially by marketing people, who often The sunglasses were a hit, too – doubling the number of consumers
don’t have an exposure to design. But the techniques and the ground satisfied with Corning’s previous line.
rules of design research and market research are quite different.”  His designs work because he designs for everyone on the con-
This is mps Branding instructor Dan Formosa’s perspective sumer spectrum—not just the “average consumer”—and so more
today. It’s also been his perspective for the past 30 years. When he people actually respond to them. Smart Design has continued to
was starting out in the late 70s, it was common, he says, for market- grow under Dan’s vision, scoring major hits with the first ibm pc,
ing research to limit a designer’s focus to the appearance of the best-selling kitchen tools for Oxo, syringes that insure safe and
object. But Dan thought a designer’s focus should be on the person, regular use in home users, and SmartGauge, a digital interface
not the object, and that research shouldn’t come from the market- designed for the award-winning Ford hybrid, the Fusion, which tells
place, but from behavioral sciences like ergonomics, biomechanics, drivers when to modify and/or sustain their driving behaviors in
and psychology. order to optimize the car’s performance.
This approach tended to rankle marketers early on in his career. This is maybe where Dan’s value as a thinker and designer (and
He co-founded Smart Design to create products from research that new faculty member at sva) truly lies: he not only makes the rela-
drew subsequent skepticism: A Pyrex bowl with a finger-tab, for tionships between people and objects more personal and functional,
example, that could go from the freezer to the stovetop without he also creates successful commercial products that originate from
cracking. The bowl failed in the marketing studies, but Corning the idea that design can improve people as people improve design.
pushed it through anyway, and it became a best seller. The success We’re excited to have Dan share his vision at sva.

Dan’s product design work has always relied on physical


models as opposed to sketches. An extensive shop allows ideas
to go from rough mockups (or “three-dimensional sketches”) to
final working prototypes, as various concepts are explored and
continuously “reality-checked.”
Dan’s design career began with a degree in product With clients worldwide, Smart Design has offices in
design. Studies soon reached to biomechanics and New York City, San Francisco and Barcelona.
ergonomics, while work expanded to include information
design, interaction, service design and design strategy.
The Branding Studio is located on West 21st Street in Chelsea,
chair interview where classes are conducted. The following is a typical day in the life

Debbie Millman
of the MPS Branding Department at SVA.

“Human beings have a need to make things and to mark them—we’ve been doing it throughout
our history, marking ourselves as part of something bigger than just the individual,” reflects Debbie
Millman from her office at influential midtown agency Sterling Brands. “Branding is an interesting
discipline in that it involves a slew of other fields,” she continues. “You need to have an expertise in
cultural anthropology, behavioral psychology, and supply chain management as well as in marketing
“I’m hoping that our and design. In the program at SVA, we teach a sort of unified theory of branding, looking at real-life
graduates will be brands, their history, evolution, and sustainability within the business models they embody. We’ll look
able to change our at how and why certain brands stumble and fail—or stumble and recover—and use that knowledge
world, because they

On any
to analyze in depth how brands contribute to the way we live.”
will understand what “Branding has always been about the man behind the curtain,” Millman concedes with a smile.
the tactics are to “This program is about pulling the curtain away and focusing on things that have been, for the most
make that change.” part, either taught in business school or learned on the job. Our approach takes the world as a case

given day...
study. There are other graduate programs that have an aspect of branding to them, but they tend to
couple it with either advertising, strategy, or what’s called ‘design thinking.’ This MPS gives students
the vocabulary they need to participate in the conversation around branding in a much more significant
and meaningful way, by applying an understanding of the language of business to whatever they’re
passionate about. I’m hoping that our graduates will be able to change our world, because they will
understand what the tactics are to make that change.”
Millman is thrilled by the many new opportunities that the program offers. “Everything was built 9am Chair Debbie Millman meets with Steve Ginsberg at M&M Mars 5pm  Graduate advisor J’aime Cohen meets with publisher to go over
from scratch,” she says excitedly, “the curriculum, the materials, the space, everything. And it uses to discuss student mentorship program book about the program
progressive technology throughout. We have a podcast space and every lecture is documented on video.
We anticipate having an online program in the future, and a summer workshop. There’ll be a lot going 10am  Millman speaks with Ric Grefé at AIGA Headquarters to arrange 7pm  Guest lecture with cultural anthropologist Grant McCracken
on! We’re positioning the department like a think-tank, a place where brands can be researched and for students to tour the AIGA Archives

analyzed, built and developed outside the realm of corporate culture and
11am  Josh Liberson meets with Malcolm Gladwell to plan his
commercial pressure.”
guest lecture
How will participants gain both practical experience and theoretical insight? “Students work on
building a brand as part of their thesis. And it isn’t a brand in a box that no one sees; it is sustainable in-
12pm  Lunch with students at the Cooper Hewitt Design Museum, and
side and outside the classroom. Brands are used to project an image to an audience, and we’re interested
tour of the latest exhibit
in examining the management of that projection.” Millman stresses that branding has political and
ethical as well as commercial power. “Whether we’re talking about brand or anti-brand, Democrat or 3pm  Millman’s “Design Matters” podcast taping with Dan Pink
Republican, pro-life or pro-choice, many of the same tools are used. We’re looking at branding as both
a science and an art, and we’ll be able to speak honestly and truthfully about its powers and its perils.”

Branding 88 89 www.sva.edu/grad/branding
The Program  The required coursework for this degree program is organized into five progressive
segments: Culture, Behavior, Business, Commerce and Creative. Each discipline works both independently and Course Descriptions
cohesively with the others, but rigorous attention will be paid to each field to determine and define the modern
practice of branding. Degree candidates must successfully complete 36 credits, including all required courses, with
a cumulative grade point average of 3.0. A residency of one academic year is required. ¶ There is a mandatory
Guest Speaker Lecture Series bringing exposure, interaction and inspiration from esteemed practitioners in the
branding and business community. ¶ The summer semester is dedicated to the thesis. The outcome of the Master
of Professional Studies in Branding is a comprehensive conference and exhibit that allows students to show,
display, articulate and defend the premise of their new brand and showcase their work to the design, business Analysis, Insight and Forecasting identification, idea generation, design, testing, launch. The goal is
Cultural change is neither unpredictable nor random. The seeds of to develop and/or create a brand with an existing organization or
and branding communities. Ultimately, the thesis must be reviewed and approved by the thesis committee and the next are buried in the now, in the psyche of the individual and in to as a solo proprietor.
the department chair in order for the student to be eligible for degree conferral. the collective mind called “culture.” In this course, students will learn
to read deeply and carefully the cultural signs that surround them in The Evolution of CPG Brands and Package Design
order to recognize underlying patterns and learn to translate these pat- Consumer brands, and the retail marketplace that supports them,
terns into actionable human and cultural insights, valuable throughout have evolved through several stages in the last 150 years. Each has
Sample Program the lifecycle of any product or brand. We will also explore how to been strongly influenced by culture, events and the changes of the
leverage trend analysis to forecast paradigmatic shifts in human behav- retail markets of which they are a part. The first three stages, from the
ior and culture as well as in the marketplace. Students will complete 1850s through the 1990s, can be described as the era of the retailer,
FALL Semester Credits SPRING Semester Credits
the course with the means to identify and leverage the patterns under- the era of the manufacturer and the era of the brand. The last decade
Business Strategies  3 Analysis, Insight and Forecasting  3 lying the most powerful and beloved cultural artifacts and brands. has seen an evolution of brand activity toward a focus on consumer
Foundation of Visual Branding and Strategy 3 Brand Design Leadership  3 experience and lifestyle. Where does the CPG brand stand today and
The Meaning of Branded Objects  3 The Evolution of CPG Brands and Package Design  3 Brand Design Leadership what is its future? This course will review the historical evolution
Every day, from the moment we wake up to the sound of our iPhone of CPG brand identities though the lens of retail brand identity and
A Unified Theory of Branding  3 Practices in Design and Market Research  3 alarm and drink our first sip of Starbucks, to the second we put down package design. We will review, decade by decade, the relatively brief
Lecture Series I 3 Lecture Series II 3 our Crest and crawl into bed, we interact with brands. Great brands history of CPG brand identities, and the aesthetic and cultural influ-
have been passionately, holistically, reverently and thoughtfully created ences that have shaped their path. While reviewing these historical
and nurtured by managers within corporations with the support of precedents, students will develop an informed judgment on where CPG
SUMMER Semester Credits consumers, researchers, trends experts, designers, engineers, anthro- brand identities are today and where they may be headed.
Creating Brands, Identity and Experiences 6 pologists and strategists, to name a few. But how is design designed?
How does a branded image transform from a business need to a tan- Foundation of Visual Branding and Strategy
gible identity? This course will unravel the pieces of the brand design Beginning with the history and underlying ideas of branding, this
process, and transport you from market-driven need to fully realized course will examine the development of classic brands such as Bass
brand. We will begin with the mechanics of a corporation and a need Ale and Coca-Cola, as well as seminal identity designers and design
as a business defines it, through the scenarios that occur as design studios, including William Morris, Paul Rand, Landor Associates and
managers and brand design firms respond, convince and create a brand Pentagram. We will examine contemporary examples that highlight
identity. We will use actual business examples and work individually the challenges of brand and identity creation in specific contexts: retail
and in teams to create methodologies, develop guidelines, present and experiences; the arts and the nonprofit sector; the branding of loca-
critique design and hone the art and science of creating a point of view tions, politicians and political ideas. A look at the future of brands
worthy of a creative partnership. and identity design will be given. The second half of the course will
explore brand strategy: how an audience perceives a brand and how
Business Strategies that perception might evolve. Students will work on projects that aim
From developing a brand personality to discovering invisible brand to visually address the strategic concerns of several brands. Reducing
assets, this multidisciplinary course is about creating brand value, a visual identity to its most elemental parts and then incorporating
strategy and business literacy. We’ll review core branding disciplines material to create a visual context will be addressed, and students will
such as developing brand positioning, mission statement, brand char- create matrices to determine what audience a brand addresses. We
acter, naming and brand architecture. We’ll take a look at financial will also mine a brand’s history for new opportunities, and conduct
valuation models, as well as creative methods for discovery and ide- SWOT-style analyses that define innovation opportunities and chart a
ation, and why a strong brand strategy is like an organization’s DNA, course for future growth. Guest lectures by contemporary practitioners
serving as a blueprint for strategy and informing other activities such will complement course work.
as leadership, marketing, product development, communication, design
and advertising. Discussions based on case studies and readings will Lecture Series I and II
also use worksheets as a lens, and provide a platform to examine The aim of the lecture series is to bring students in contact with a
forces and dynamics that shape brands from traditional corporate to wide variety of professional perspectives and to introduce them to
entrepreneurial startups. We’ll touch on globalization, technology, experts in the field. Some lecturers will discuss practical aspects of
critical thinking, culture and lifestyle. their critical endeavors and others will focus on intellectual issues.
Topics to be addressed include: practices in market research; mass
Creating Brands, Identities and Experiences vs. class brands; practices in cultural anthropology; why we shop:
The summer semester will be entirely focused on the development marketing, economics and brands; understanding consumer behav-
and creation of a real-world brand. We will continue to investigate ior; nomenclature and visual language development; branding,
the challenges of bringing elegant, innovative and efficient solu- cognition and culture.
tions to market targeted to strong customer needs. The course is
structured around the following innovation process: opportunity

Branding 90 91 www.sva.edu/grad/branding
Faculty Guest Lecturers

The Meaning of Branded Objects Debbie Millman, chair Virginia Postrel Malcolm Gladwell Daniel H. Pink
Brands transform objects into meaning-bearers. This course will President, Design Division, Sterling Brands; radio show host, Author; editor-in-chief, Deep Glamour writer, The New Yorker; entrepreneur; speaker;
explore the collective and individual history of this transformation. Design Matters with Debbie Millman. Formerly, senior vice Education: Princeton University author, The Tipping Point, author, A Whole New Mind,
As we have evolved from hunter-gatherers into robustly cultural president, Interbrand Professional experience includes: Contributing editor, Culture
beings, objects themselves have also evolved: from disposable, purely Education: BA, SUNY Albany & Commerce columnist, The Atlantic; editor, Reason
Blink, Outliers The Adventures of Johnny
functional extensions of the body to deeply personal, even cherished, Clients include: Tropicana; Pepsi; Unilever; Pepperidge Farm; Author: The Substance of Style: How the Rise of Aesthetic Value DeeDee Gordon Bunko: The Last Career
expressions of an individual’s life. We will examine the history and Campbell’s; Gillette; Nestle; Colgate; Mars, Inc.; Georgia Pacific; Is Remaking Commerce, Culture & Consciousness; The Future and
co-creator, L Report, Look- Guide You’ll Ever Need
insights of individual and social psychology in shaping the context GlaxoSmithKline Its Enemies: The Growing Conflict Over Creativity, Enterprise, and
for 21st-century perceptions of, and relationships with, the things books include: How to Think Like a Great Graphic Designer, Progress. Co-author, Glamour: Fashion, Industrial Design, Architecture Look Magazine Cheryl Swanson
that surround us. Concretely, we will investigate the increasingly Essential Principals of Graphic Design Publications include: I.D., The New York Times, Forbes,
Stanley Hainsworth founder, Toniq. Formerly,
sophisticated manner in which brands have gained and integrated Publications include: Speak Up, Step, Creativity, HOW, Graphic D Magazine, Los Angeles Times, Print, New York Post, Slate, Boston
chairman, chief creative senior vice president,
quantitative and qualitative insights into our lives (and our cultural Design USA, The New York Times, Adobe Proxy, Design Globe, The Best American Science and Nature Writing, Wall Street Journal
contexts) to create opportunities for complex, meaning-centered Management Journal, Print Awards and honors include: Phi Beta Kappa; Mencken officer, Tether. Formerly, Wallace Church Associates
relationships between people and things. Students will use their own Award for Commentary, Free Press Association; Katie Award for global creative director, Gong Szeto
experiences as the starting point for this exploration into the lived- Sem Devillart Commentary, Press Club of Dallas; Media Fellow, Hoover Institution,
meaning of individual brands and their collective role in the con- Co-founder, managing partner, Popular Operations Stanford University
Starbucks; global creative entrepreneur; lecturer.
struction of modern personal identity. Education: MA, Domus Academy; Universität Tübingen Website: www.dynamist.com director, Lego; creative Formerly, director of design
Clients have included: Christian Dior, Camper, Daimler, L’Oreal, director, Nike and product design, PEAK6
Practices in Design and Market Research Johnson & Johnson, PepsiCo, Philips Design, BBC Richard Shear Investments; designer,
Brands have historically relied heavily on marketing techniques to help Founding principal, creative director, The Shear Partnership; author, Jonah Lehrer
establish and strengthen their presence. That is changing quickly, as Dan Formosa The Package Unseen editor, Wired; author, How OptionsHouse
instant global communication and various forms of social networking Consultant, product design and design research. Formerly, Education: BFA, Tyler School of Art We Decide, Proust Was a Rob Walker
have replaced the need for consumers to rely on brands for confidence co-founder, Smart Design Professional experience includes: Officer, founding board
in a purchase. In this project-based course, students will learn how to EDUCATION: BFA, MA, PhD, New York University member, AIGA Metro-North Chapter; president, Package Design
Neuroscientist author, Buying In: The
create a research plan, find participants, and integrate research meth- CLIENTS INCLUDE: Johnson & Johnson, OXO Good Grips, XM Council; past president, AIGA Brand Design Association; Grant McCracken Secret Dialogue Between
ods in the context of a specific branding project. Some of the topics Satellite, Hewlett-Packard, SmartGauge Clients include: Ahold, Coca-Cola, Hasbro, IBM, Johnson &
educator, author What We Buy and Who We
explored will be qualitative, quantitative, online and ethnographic books INCLUDE: co-author, Baseball Field Guide Johnson, Pernod Ricard, Procter & Gamble, Duracell, Motorola, Are; writer, The New York
interview techniques, video and photo documentary, immersion, par- COLLECTIONS INCLUDE: Museum of Modern Art Kraft, Estée Lauder
ticipant-aided data gathering, prototype assisted observation, methods Awards and honors include: Gold Medal, San Francisco
Times Magazine; founder,
for organizing data, finding patterns and distilling insights that lead to Tom Guarriello World Spirits Competition; AIGA; CLIO; Graphis; Industrial Murketing
actionable and inspiring design directives. We will also explore the dif- Chief idea officer, principal, TrueTalk, Inc. Formerly, clinician Designers Society of America; Pentawards
ferences between market research and design research, and understand EDUCATION: MA, University of Dayton; PhD, Duquesne University Website: www.shearpartnership.com
the goals and appropriateness of each.
Scott Lerman
A Unified Theory of Branding Chief executive officer, founding partner, Lucid Brands
Leading the definition and evolution of a world-class brand requires Education: MFA, The Cooper Union
more than intellectual rigor and insight. You must unify and lever- Professional experience includes: President, Siegel+Gale; presi-

Contact Us
age the expertise and efforts of an astounding array of people—lead- dent, chief executive officer, Enterprise IG (Americas)
ers, followers, scientists, artists, magicians (consultants), engineers, Clients have included: America’s Second Harvest, The
establishmentarians and revolutionaries. In this course, you will learn Weather Channel, LYCOShop, Click Radio, TreasuryPoint, Kodak, Tel: 212.592.2719
to use powerful frameworks that harmonize and focus the efforts of NationsBank, PNC Bank, Caja España, Bayer, Golden Books, Good
diverse teams as they develop ambitious brand programs. Using real- Housekeeping, Xerox E-mail: branding@sva.edu
world case studies—including Caterpillar, Bank of America, DuPont, Publications include: Design Management Journal, Wall Street
Harley- Davidson and National Semiconductor—we will look inside
the processes that enable organizations to define the future of their
Journal, The New York Times, Identityworks, Revolution
Website: www.lucidbrands.com
www.sva.edu/grad/branding
brands. The course will provide you with a unique perspective of how
research, strategic definition, identity, expression, communications and department site: branding.sva.edu
behavior are shaped into great brands. Come to our Departmental Information Session or contact us directly for more information.

Departmental Information Session: Saturday, November 5, 2011.


All times and locations will be announced online: www.sva.edu/grad/visit

To register for a departmental information session, please visit our website or contact the
Office of Graduate Admissions at: gradadmissions@sva.edu.

Branding 92 93 www.sva.edu/grad/branding
MFA XX Goal of the program is developing artists who will produce significant creative

Computer Art
work throughout their careers and become leaders in their chosen field
XX Faculty is comprised of internationally renowned artists, curators, critics,
theorists and industry professionals—a who’s who of New York’s art world
XX Recently renovated, state-of-the-art facilities; named one of top ten digital art
www.sva.edu/grad/computerart
schools in the world
department site: mfaca.sva.edu

The mfa Computer Art program continuously redefines itself through creative experimentation and
the discovery of new uses for today’s technology. Our approach is multidisciplinary and each student
pursues a course of study that is individually tailored. The largest graduate department at sva, we
offer more than 40 courses per semester in state-of-the-art facilities, which were completely renovated
in 2007. Creativity and the development of a personal artistic style are the program’s cornerstones.
Our greatest strength is our faculty, a literal who’s who of the New York art world, composed of inter-
nationally renowned artists, curators, critics, theorists and industry professionals.
Recently named one of the “Top Ten Digital Art Schools in the World” by ImagineFX magazine,
the mfa Computer Art program was also ranked fifth in Multimedia/Visual Communication by U.S.
News & World Report in 2007. Graduates of the department are employed by the most prestigious digi-
tal studios: Industrial Light & Magic, Pixar, DreamWorks, Disney, Sony Pictures Imageworks, Rhythm
& Hues, Digital Domain, Blue Sky Studios, mtv and Electronic Arts. Other alumni choose the entre-
preneurship of their own businesses. Those who pursue fine art careers exhibit their work in museums
and galleries, including: Solomon R. Guggenheim Museum, p.s.1/moma, Whitney Museum of American
Art, Los Angeles Museum of Contemporary Art, San Francisco Museum of Modern Art, Smithsonian
American Art Museum and Tate Online.
Students come from around the world to study in our program, and the international representation
provides unique perspectives that offer different cultural approaches to the creative process. First-year
courses in studio, art history, computer systems and programming build the foundation for second-
year thesis work, which is supported through weekly critiques and related advanced areas of study.
The digital art seminar series, software workshops, guest lectures and visiting artist program provide
in-depth exposure to all areas of digital art.
Awards have been bestowed upon our students by major international competitions, including
Student Academy Awards (2004, 2007, 2008 and 2009); Adobe Design Achievement Award (2006);
YouTube Award (2006); Prix Ars Electronica; siggraph Electronic Theater and Art Show;
Webby Awards; isea; and the Leonardo Award for Excellence. Student works have appeared in such
acclaimed film festivals as Cannes, Tribeca and Sundance, and animation film festivals in Annecy,
Ottawa and New York, among dozens of others. The goal of our program is to develop artists who will
produce significant creative work throughout their careers and become leaders in their chosen field.

Bruce Wands, chair

95
Creative
Career
Change
Alumni Profile:
Myung Lee Myung Lee (MFA ’04), in her cubicle at Charlex,
a major digital design studio in New York.
The company designs and produces commer-
cials and movie trailers. Its services include
3D, effects, graphics, and branding.
The career path of Myung Lee, a graduate of the MFA Computer Art program, is as close to an
American parable as you’re going to get. She was raised in South Korea and traveled frequently due to
her father‘s career as a diplomat. She then attended school in Paris and later Georgetown, hoping to
Lee stands in front follow in her father’s footsteps by studying political science and international relations. But longing
of the job board. She
supervises dozens for something else, she decided against taking the Foreign Service exam and ended up doing paralegal
of digital artists in the work. “I could envision a life in law, but it just wasn’t creative enough,” she recalls.
3D department. Lee had always painted, but never considered something artistic as a viable career. After all, what
would her typically doting Korean parents think? But after taking a continuing education class in 3d
Animation at sva, she was “blown away.” So, after a meeting with department chair Bruce Wands,
and without any formal art training, she applied for the mfa program. “The only thing I knew
about computers was WordPerfect,” she laughingly admits. While mom and pop preferred her to attend
nyu, she chose sva. “nyu didn’t have sufficient 3d teachers that had experience in the field. And
sva’s labs updated their equipment and software every year. Staying up-to-date with the latest technology
was really important to me.”
As a testament to her studies, her collaborative thesis short film, Cold War, was a finalist in the
2004 Student Academy Awards. And her instincts about the faculty were dead on: an alumni con-
nection landed Lee her first job at Nickelodeon, which defined her career.
Fast-forward to today, and Lee is working as a cg supervisor of over 30 artists at Charlex,
a 200-plus-person production house that creates everything from TV commercials to music videos.
While she admits her experience at sva was a challenging one, Lee wouldn’t trade it for anything.
In fact, she gives her alma mater the highest honor. “sva turns out the best students because they
have the most prepared skill set,” she says. “That’s why I recruit from there today.”
And her parents? “They don’t worry anymore.”

Walking through the 3D department,


she passes the animation room. She
previously worked at Nickelodeon
Digital as a lighting technical director.
Lee works with the talents in the animation
department on their projects. On the back
wall are sketches of fellow employees, drawn
by the animators, all in good fun.

Lee sits in one of Charlex’s client


review rooms, working with the
computer program Maya. This room
is frequently used to work directly
between clients and animators,
designers, and editors.
The MFA Computer Art Department provides students with
chair interview exclusive 24/7 access to 75 networked Macintosh and PC workstations,

Bruce Wands
divided among five classrooms, an AV studio, a high-end HDTV/
surround-sound edit room, two edit rooms attached to a sound recording
booth, a video transfer/edit room and a computer art lab. We also have a
“My first exposure to computer graphics was in 1976,” recalls Bruce Wands. “I was studying televi- Chelsea studio/gallery space and workshop for those focusing on digital
sion and radio at Syracuse University, making my living as a musician, and I took some courses in fine art and installation. Students can sign out laptops, HD cameras, light
the experimental studio which taught computer graphics. We began by programming the university’s kits, tripods, audio recorders, musical instruments, DSLR cameras and a
mainframe to make art, and I could see then that computers were going to be a major force, particu- wide variety of other equipment for their creative work outside the lab.
larly in terms of graphics and networking. That perception redirected my whole career.”
“The program continually
“Computer Art is the largest graduate program at sva,” Wands expands. “The program is multidis-
evolves,” Wands says,
ciplinary, but animation has always been the core of the department. We’ve won six Student Academy
“and there’s virtually no
Awards. There is always a group of students who focus on fine art, and we have studio space to sup-
technology in our lab

On any
port them. The other parts of the program alter according to shifts of emphasis in the art and business
that’s been here for more
worlds. In recent years, for example, there’s been an increasing interest in digital video and motion
than five years.”
graphics. We maintain a diversity of courses because our students’ creativity is stimulated by interacting

given day...
with people working in different areas.”
“The program continually evolves,” Wands says, “and there’s virtually no technology in our lab
that’s been here for more than five years. Our curriculum and equipment choices are based on what
the faculty do in the professional world. My relationships in the industry, tours of studios, discussions
with faculty and visits to trade shows and conferences all help determine how we equip ourselves. We’ve
always been forward-looking in terms of both the curriculum and the technology.”
Are incoming students already technically adept? “Yes, they are,” Wands replies, “but the program 9am  Student arrives early in the lab and has access to several computers, noon – 6pm  Classes: Video Art and Beyond with Barbara London,
is still very challenging, and students focus more on developing their creativity, rather than just becom- and gets to work in a quiet environment. Video Curator at the Museum of Modern Art; Sound Design with
ing technical wizards. One of the challenges of working in the way we do is to make the technology Edgar Grana; Animation Culture with Trilby Schreiber; Stereoscopic

become almost invisible, so that the end result is more about the content than the way it was produced.” 10am  Student returns HD camera, light kit and laptop he or she signed 3D with Gerald Marks; Visual Effects for Video and Motion Graphics
out of the library. with Eric Eiser.
How do students apply what they learn in the program? “Many of those who focus on animation go
on to work for feature film companies like Industrial Light and Magic, DreamWorks, Pixar and Sony
10am – noon  Staff arrives. Students ask systems administrators for 6 – 8pm  Check out Canon 5D Mark II camera to photograph New York at
Pictures Imageworks. A fair amount stay in New York and work at the commercial production houses.
help with some of their technical issues. Students meet with our advisor night while visiting Chelsea galleries as part of Digital Art Seminars II.
We have students who go on to successful fine art careers. Several graduates are now working at the
Hsiang Chin Moe to discuss their class choices and possible internships Attend free workshop on ZBrush, then go to Greenwich Village to see
American Museum of Natural History, supporting its multimedia environment. We have one or two that
over the summer. The director of operations, Diane Field, checks in newly some live music.
go on to PhD programs each year, plus others that go into teaching. So there are quite a variety of options!” arrived equipment. Students meet with Bruce Wands, chair, to discuss
“The most important part about what students do here is to express their creativity and develop their thesis ideas and progress. Students meet with Bruce Wands,
an individual vision and style as an artist. We don’t focus too much on slotting people into an industry, Diane Field, and Hsiang Chin Moe for monthly Student Representative
because ultimately creativity is the most valuable commodity. One of the things I really try to instill in meeting to discuss how things are going, plan workshops and discuss any
students is that they should pursue their own personal creative work throughout their entire career. That’s software or hardware needs.
something that they’re in control of, something that brings them joy, and something that people in Get together with classmates in the lunchroom to talk about classes,
the industry hold in high regard. They won’t burn out if they continue to create and enjoy what they do.” events and life.

Computer Art 102 103 www.sva.edu/grad/computerart


SVA Spaces
Students log in to the wireless
network in the computer art
lab, and exhibit their creative work
in the hallway gallery (right).
The Program  The mfa Computer Art program is multidisciplinary and features several areas of Sample Program: Installation Art / Digital Fine Art / Performance
concentration: animation, motion graphics, digital video, installation and digital fine art, interactive media, and
performance. The following courses are required of all students: Digital Art Seminars I and II, two art history first year
courses, two programming courses, Computer Systems I, Thesis I and II, and Thesis Research and Writing I and II. FALL Semester Credits SPRING Semester Credits

The remainder of the program is individually tailored to each student’s interests through meetings with the Computer Systems I 3 3D for Fine Artists 3
Digital Art Seminar I 0 Contemporary Voices 3
department advisor. The first-year curriculum strengthens and broadens the students’ knowledge of and creative
History of New Media in the 20th and 21st Centuries 3 Digital Art Seminar II 0
approach to digital art in preparation for the thesis year. The second year revolves around the thesis process—the
Programming for Artists I 3 Max/MSP/Jitter I 3
completion of a body of creative work, combined with academic research and an artist’s statement. Critique and Sound Workshop I 3 New Forms in Video 3
the refinement of a personal aesthetic vision are the two most important elements of the second-year curriculum. Video for Computer Artists I 3 Physical Computing I 3
The first- and second-year academic programs are supplemented by workshops, visiting artists, guest lectures and
outreach opportunities. Degree candidates must successfully complete 60 credits, including all required courses,
and maintain a 3.0 grade point average. A matriculation of two academic years is required. In the final semester,
second year
FALL Semester Credits SPRING Semester Credits
students complete their thesis project and participate in a public presentation. The project must be reviewed and
Digital Sculpture I 3 Digital Sculpture II 3
approved by the thesis committee and the department chair in order for the student to be eligible for degree
Max/MSP/Jitter II 3 Max/MSP/Jitter III 3
conferral. Although most students earn their degrees in four semesters, some find it necessary or desirable to study Physical Computing II 3 Physical Computing III 3
for five or six semesters before completing the thesis process. Extended study is determined on an individual basis Thesis I 6 Thesis II 6
and important considerations such as course work, visa extension and financial aid must be resolved before Thesis Research and Writing I 0 Thesis Research and Writing II 0
extended study can be approved. Decisions concerning transfer of credit and course exemptions are made by the
committee on graduate admissions. Graduate students are also allowed to audit four undergraduate or continuing
education courses at no charge.
Sample Program: Interactive Media

Sample Program: Animation first year


FALL Semester Credits SPRING Semester Credits

first year Computer Systems I 3 Digital Art Seminar II 0

FALL Semester Credits SPRING Semester Credits


Digital Art Seminar I 0 Multimedia Studio II 3

3D Modeling and Animation 3 Advanced Modeling and Rigging Concepts 3 Multimedia Studio I 3 New Media Theory 3

Animation Culture 3 Character Animation I 3 Networked Media Seminar 3 Physical Computing I 3

Computer Systems I 3 Digital Art Seminar II 0 Sound Workshop I 3 Thesis Development 3

Digital Art Seminar I 0 Ecstasy and the Apocalypse 3 Web Programming I 3 Web Programming II 3

Story Structures I 3 Technical Direction 3


UNIX3 Thesis Development 3
second year
FALL Semester Credits SPRING Semester Credits

second year Game Design 3 Advanced Interface Design 3


Interface Design 3 App Culture–The New Medium of Mobile Software  3
FALL Semester Credits SPRING Semester Credits
Production Issues: Interactive Media I 3 Production Issues: Interactive Media II 3
Character Animation II 3 Production Issues: Animation II 3
Thesis I 6 Thesis II 6
Dynamics and Particle Systems 3 Seminar in Musical Choices 3
Thesis Research and Writing I 0 Thesis Research and Writing II 0
Production Issues: Animation I 3 Stereoscopic 3D 3
Thesis I 6 Thesis II 6
Thesis Research and Writing I 0 Thesis Research and Writing II 0

Computer Art 106 107 www.sva.edu/grad/computerart


Course Descriptions

3D for Fine Artists Animation Culture Character Animation I & II Digital Compositing
This course will introduce the possibilities, techniques and strategies Why do we love animation? What is it doing for us—or to us? This These courses are designed to deepen students’ understanding and This course will survey a range of aesthetic issues, practical techniques
of incorporating 3D animation and modeling software into a contem- course will explore the impact of animation on our perception and skills in 3D character animation through lectures, critiques, tutorials and software applications used for digital compositing. The role of
porary fine art practice. It is intended for students who are not neces- culture through screenings, discussions and written work. We will and short projects (including team assignments). One of the impor- compositing in feature film and television commercial production will
sarily pursuing 3D animation as a specialization. Maya will serve as discuss how pervasive animated worlds influence people through tant elements of character animation is developing a character that be examined in depth through practical examples. Students will be
the exploratory platform and will be introduced through a series of entertainment, games, advertising, broadcast media, medicine, law and is believable through giving the character a strong personality and assigned short projects that reflect the ideas and techniques discussed
lectures and assignments. The course will also survey the historical and architecture. The use of animation as commentary on topics such as focusing on the character’s (and animator’s) acting performance. In in class and will present their creative work for critique.
contemporary use of 3D computer graphics in fine art. Assigned proj- politics, emotional life and intimacy will be considered. The culture of Character Animation I, students will study model rigging, animation
ects will include both still and time-based imagery. animation itself—as represented by legendary companies, people and techniques, camera angles, texture mapping and other topics central Digital montage
practices of this multifaceted art form—will also be addressed. Guest to the practice of character animation. Character Animation II will The theoretical function of montage will be investigated by examin-
Advanced Interface Design speakers and field trips are included. focus on the critique of student work. Advanced animation techniques ing how digital compositing tools and techniques have impacted the
Strategies for interface design will be explored within a conceptual such as inverse kinematics, model deformation (morphing), lip synch creation and perception of still and temporal imagery. The history
framework of content, usability and visual design. This course will App Culture: The Medium of Mobile Software and facial expressions will be explored. of montage will also be explored through selected theoretical read-
investigate the development of interactive media content and informa- This course is an introduction to designing and programming apps ings that will help students to place their personal practice within the
tion architecture as it applies to user-centered design and the specific for mobile devices, such as the iPhone and iPad. We will examine the Computer Systems I & II broader context of digital art and culture. Work will progress from the
ways of building usable, effective and meaningful interfaces. Concepts iPhone application development process using Cocoa Touch/Objective-C These courses will demystify hardware and software components of creation of still imagery to motion graphics using Adobe Photoshop,
and design strategies that incorporate layout, color, graphics, symbols, within the X-Code IDE, and students should be comfortable with the computing systems in general, and will empower students with practi- After Effects and other software. Class time will be divided between
grids and typography will be the foundation for producing interface fundamentals of programming. Lectures will address writing software cal decision-making skills of a technical nature. Lectures will cover the critical discussions and studio projects.
designs for the Web, mobile devices and kiosks. Students will create code and include a larger discussion on app culture. The steps in devel- user-interface, operating system, CPU technology and bus architecture
content and design interfaces for a variety of media. oping an app are traced from Interface Builder to deployment in the App of the platforms in the MFA Computer Art Lab and other studio Digital Sculpture I & II
Store. Each student will produce an app for the final project. computing environments. We will undertake a comparative study of In these courses, students will learn several methods of virtual to digi-
Advanced Modeling and Rigging Concepts programming languages. Further discussion will include mass storage, tal output. While in the past, high-end fabrication techniques and tech-
Creating animated characters is one of the most challenging aspects Art, Technology and the New York Avant-Garde input/output devices and networking. In addition to lectures, field trips nologies had been far from the artist’s reach, the machines, software
of contemporary filmmaking. In this course, students will learn how Computer technology in this course will be examined in the context will be made to state-of-the-art facilities. and work flows that only industry had access to are now available to
to create 3D characters from design to modeling and setup through of the artistic New York avant-garde. We will delve into discussions of digital artists to plug into and produce their own creations. Weekly
the development of a character pipeline. Considerations in charac- essential Dada and neo-Dada concepts, procedures and artists relevant Contemporary Voices assignments will familiarize students with 3D scanning, 3D printing,
ter design and how to develop a flexible nonlinear work flow will to computer technology (e.g., interactivity, hypermedia, immersion, Guest artists will discuss their work with the class in a forum designed laser and CNC milling and cutting machines, and other techniques.
be covered, as well as issues such as geometry types and topology. virtual reality and other aspects of digital art). Audio art and multi- to help students understand the work of their contemporaries. By The classes will cover all the software programs that are needed to suc-
Rigging topics will include inverse and forward kinematics, expression media will be examined in detail in this context as will the impact of exposing students to a spectrum of computer art-making possibilities, cessfully translate artistic ideas into a file format that the machines will
and binary nodes, joint placement and orientations, and binding and digital technology on the practices of poetry, painting, sculpture and this course inspires creative work and provides an opportunity to meet use to print, cut or machine build the project. This software includes,
deforming skin geometry. architecture. Students will be assigned weekly readings and must com- prospective thesis advisors and professional digital artists. but is not limited to Solidworks, Rhino, Modo, Sketchup, Sculptris,
plete a research assignment. Content will be divided into four major Adobe Photoshop, Adobe Illustrator, Geo Magic, Master Cam, Vcarve
Advanced Video Projects topics that reference the history of the New York avant-garde and its Digital Art Seminars I & II Pro and Cut 3D. The work of well-known artists using these tech-
After mastering the basics of creating, editing and compositing digital relevance to digital culture. These seminars address many aspects of digital art history and theory, nologies will be reviewed, as well as the history of this type of artistic
video image sequences, the issues of refining a directing style and con- including the evolution of digital technologies through an examina- production. After having mastered the basics of digital and mechanical
tent choice become relevant. Students will produce short video projects tion of the key theorists and practicing artists who have defined the methods of making art, students will begin to work on advanced proj-
and/or webcast programs that will be presented for group critique. digital media field. The primary goal is to expose students to the broad ects in the second semester. Class time will include individual, as well
Lecture topics will include directing styles, editing philosophies and range of ideas and forms of expression that the digital arts encompass. as group critique and discussions on the evolving aesthetics of this type
advanced topics. Students will clarify and expand their personal creative niche within of work. Students will be expected to produce several projects during
the context of contemporary art and culture, through research, short the course of the semester, or may use these classes as an adjunct to
written assignments and creative experimentation. This series offers fabricating their thesis project.
a historical and theoretical foundation in the digital arts, along with
establishing a familiarity with contemporary art in New York City
through gallery visits, artist talks and guest lectures.

Computer Art 108 109 www.sva.edu/grad/computerart


Dynamics and Particle Systems History of New Media in the 20th and 21st centuries Motion Graphics I & II Multimedia Studio I & II
Particles and dynamics will be used in this course to explore a variety This course will explore artistic developments in new media over the Encompassing drawing, two- and three-dimensional animation, video, Offering a context for producing multimedia and addressing issues
of special effects families, including: explosions, chemical reactions, past several decades, with a particular focus on artistic practices that stop motion, photography and typographic elements, motion graphics relating to audiovisual production and aesthetics, these courses will
flocking animals, complex morphing, meteorological phenomena, examine or embrace new circumstances in the media and technologies extend beyond the commonly used methods of frame-by-frame anima- give a solid grounding in the design and execution of multimedia,
glows, magical effects, dust and tornadoes. The effects will be built of our time. Key works will be presented and discussed in light of the tion and live action and create a conglomeration of multiple visual including interactive and network-based media artworks. In addi-
from scratch and then we will identify, refine and control the most evolution of creative expression. Students will also research and discuss styles. Motion graphics can be used to creatively go beyond the rules tion to lectures, discussion and group critique, students will work on
essential aesthetic parameters. Topics will include: particles, fields, the concepts presented by critics and theorists. The term “new media” of representation, thus augmenting the various ways that media art- short creative assignments as well as a personal project. Multimedia
goals, collision detection, the instancer, springs, paint effects, hard and will be treated broadly to include developments in contemporary art, ists can delve into their imaginations and express unique visual and is assumed to be a time-based concentration; therefore, assignments
soft bodies, deformer interaction, shader networks, glows, software interaction, Internet-based work, film, photography and radio, as well aural works. While the primary software for this course is Adobe After will incorporate audio, synchronization and motion graphics elements.
and hardware render compositing, and lighting. Students will develop as the beliefs and expectations that accompany new technologies. Effects, students are strongly encouraged to explore the creative soft- Emphasis will be placed on studio practice using Adobe Flash. The
a strong foundation in MEL (Maya Embedded Language). ware available to them, as well as experiment with traditional media. second part of this course will focus on the conceptualization and
Independent Study Project critiques will be given to develop an informed sense of refined production of interactive and networked media artworks. Emphasis
Ecstasy and Apocalypse Independent study is granted to students who wish to pursue a spe- creative expression. Motion Graphics II is intended to develop creativ- will be placed on studio practice using Flash ActionScript as the pri-
In this course, we will study selected science-fiction utopias and dys- cial project not covered by the parameters of the course curriculum. ity and a personal style, as well as hone professional and artistic skills. mary exploratory platform. Topics will focus on advanced interactivity
topias in popular culture, literature, cinema and theoretical writing Students work independently, under the tutelage of an appropriate It will focus on an innovative approach to producing motion graphics using database and rich media structures to incorporate video, audio,
from the 19th century to the present. We will begin with the question, faculty member or professional sponsor. Prior to beginning indepen- projects, including crossover (designers as artists, artists as designer), graphic imagery and typography for stand-alone, networked, and
“Why is science fiction our political theory?” in order to use the genre dent study, students must submit a detailed proposal that outlines their inspiration, osmosis and looking beyond the screen to the world mobile creative solutions. The course will consist of lecture, discussion,
to analyze relations of power and control; capitalism and the media; goals. At the end of the semester, a summary of the completed work around us. The art of title design for opening sequences will also be several creative assignments, and group critique.
ethics and freedom; and definitions of gender and race in an increas- is required. Independent study proposals must be approved by the addressed. Self-directed short- and long-term projects within an artistic
ingly bioengineered world. Among the texts will be George Orwell’s departmental advisor and the department chair. design framework will be supported, and group critiques will help to Networked Media Seminar
1984, Mary Shelley’s Frankenstein, Margaret Atwood’s Oryx and develop communication and visual analytic skills. Reel building will be Students will be introduced to the history and critical theory surround-
Crake, as well as essays by Donna Haraway, Tom Moylan, Frederic Interface Design examined to further professional development. This course is for flex- ing artworks that utilize computer networks and interactive telecom-
Jameson, Scott Bukatman, Allucquére Rosanne Stone, H. G. Wells, This course will examine advanced issues and techniques of user- ible, open-minded thinkers who want to explore their creative vision munications technologies. The course will also outline the history of
Samuel Delany and Jean Baudrillard. Students will have the choice of centered design. In addition, a general approach to interface design and learn the art of communication through moving imagery. tele- and network communications and basic Internet technologies as
writing a seminar paper or creating a serious critical work in another will be explored through review of other interactive environments and well as the forms and concepts of interaction and participation related
medium for their final project. kiosk-based works. Students will be challenged to achieve unique and Multimedia Programming I & II to them. We will examine aesthetic and technological possibilities for
workable design decisions and will test their projects with prototypes. Multimedia programming concepts using Flash Action­Script as a artworks in networked environments ranging from the Internet and
Game Design Field trips and guest lectures by leading interface designers will provide foundation will be introduced in the first semester. Topics include networked installations to locative media projects using mobile devices
The study of interactive design is at the core of what is unique to cre- a forum for discussion. variables, data types, scope, conditionals, loops, functions, and pro- such as PDAs, cell phones and GPS. Through readings, discussions and
ating art on the computer. Game design is the creation of interactive, gram flow. Similar compatible languages, such as JavaScript, PHP and written assignments, class members will learn to articulate their inter-
self-contained systems of rules that usually contain a challenge and a Internship Processing, will be discussed briefly, with an emphasis on language ests and concerns as artists working with these technologies.
victory condition. This course is geared not only toward those inter- Students can gain valuable professional exposure and experience similarities and differences. Additional technologies, such as audio,
ested in the game industry, but also toward those interested in creating through an internship project with a professional sponsor or an video, XML, authoring for mobile devices and external sensors and New Forms in Video
compelling and meaningful interactivity. This goal will be met through employer. The department advisor and department chair can assist in controllers, may also be explored. These comparative looks at pro- A half century ago, video was only available through the medium of
the exploration and critique of the work of interactive artists and locating internships that reflect individual student goals. To receive gramming approaches will help students determine which will be television. Today, it is accessible through the Internet, installations,
commercial game designers. The course will include guest lectures by credit, students must get departmental approval in advance, begin the most useful during thesis development. Multimedia Programming II sculpture, performances, mobile phones, etc. The objective of this stu-
artists and game designers; readings; hands-on assignments to conceive internship by the third week of the semester and receive a positive focuses on producing highly interactive creative work, such as games, dio course is to investigate multiple means of creating and distributing
and create paper prototypes for games, and critique of student assign- evaluation from the sponsor/employer at semester’s end. installation art and rich media websites. Advanced programming top- video art. Gathering imagery using both lens-based and non-lens-based
ments, commercial games and fine art games. Students are expected ics related to the design and creation of interactive media as well as technologies will be explored, including various types of video cam-
to research and play games that lie outside the course syllabus and to Max/msp/Jitter I, II & III object-oriented programming and design will be explored through a eras such as “pinhole” CCD cameras that are used for surveillance
share those experiences in a thoughtful and meaningful way. Max/MSP is an object-oriented programming tool for creating interac- series of short assignments. applications, stop motion and time-lapse techniques. Interactive forms
tive environments with MIDI (Max), real-time audio processing (MSP), of video will be examined. We will also explore the many ways that
and real-time graphics and video processing (Jitter). Max can be used video can be displayed and acted upon, such as projection and LCDs.
for developing interactive installations and improvisation/performance Alternative distribution technologies will be covered. Students will be
systems. The first semester will cover the fundamentals of designing assigned a semester-long project to be completed in at least two of the
programs in Max, as well as how to integrate simple hardware systems following media: Internet, installation, performance, interactive screen-
and the basics of real-time sound and video processing. In the second based application, sculpture, DVD or hybrid.
semester, topics such as audio and video analysis, application develop-
ment, generative sound and 3D graphics will be covered. Max/Jitter III
is geared for students working on thesis projects in the areas of instal-
lation art, interactive video, sound art and performance, and will focus
on advanced features and application development using Max soft-
ware. Topics will also include real-time 3D graphics, improvising with
algorithms and using Max with a network.

Computer Art 110 111 www.sva.edu/grad/computerart


New Media Theory Production Issues: Interactive Media I & II Social Change in the New Media Age Stereoscopic 3D
The history and theory of new media from aesthetic, cultural and politi- These courses will examine the production process in detail, including Rather than simply looking at a series of ‘political artworks’ or Stereoscopic 3D, which provides separate images for each eye, has
cal perspectives will be outlined in this course. Key texts from science, concept development, design, budgets, contracts, scheduling, staffing, ‘political artists,’ this course aims to encourage students to reflect on been part of imaging since the dawn of photography. Working with
technology, cultural theory and philosophy will be used to illustrate testing and postproduction. Emphasis will be placed on student thesis political and ethical judgment within the terms of our contemporary stereo imagery has become increasingly valuable in entertainment and
how mediation in various forms has impacted perception, communica- projects, with the aim of teaching production methods as they are prac- cultural condition. It is organized around a series of key political and the arts and sciences. It also offers a window into visual perception
tion, information systems and cultural production. Prominent theories ticed in the professional world. By gaining a thorough understanding philosophical issues such as the public sphere, social media, intellec- and the opportunity to re-examine many of the techniques and issues
will be referenced to trace the development of the term “new media.” of these practices, students will be prepared to make the transition from tual property, privacy, technology, the nation-state, genetics and the confronted in conventional image work. This course will cover all of
Other topics include the logic of the database as a new cultural form the academic to the professional environment. In the second semester, environment. We will consider the fate of these concepts within an the diverse methods and artistic possibilities for producing and display-
as well as notions of software and the power of code’s structures and advanced programming techniques in Java­Script, ActionScript and evolving social space increasingly re-defined by new technologies of ing stereo imagery. Students will produce several projects using video,
rules. How networks affect cultural production—from social network- Lingo, as well as audio and video issues will be covered. communication, circulation and retrieval. The course will ask what still images or animation.
ing to semantic filtering to intellectual properties and urbanity—will be role art might play in charting new social, political and ethical frame-
explored. Through lectures, reading assignments and discussions, new Programming for Artists I & II works to address present circumstances. Story Structures I & II
media will be positioned in this larger cultural context. Through lectures and short weekly assignments, students will explore Story Structures I will study the structural elements underlying animated
various applications of computer programming and discuss their Sound Design entertainment, visual music and experimental linear and nonlinear art
Physical Computing I, II & III advantages over commercially available software products. Topics The fundamentals of sound design will be the focus of this course. forms. Traditional story and musical structures will be examined to
Through lectures, demonstrations, critiques and field trips, these will include understanding computer architecture, basic program- Underscoring the visual image and how the principles of music work discover what kinds of experience can be conveyed within electronic
courses will examine artworks and technologies that interface com- ming constructs, a survey of languages and their applications, proce- with time-based and interactive media will be addressed. Topics will entertainment and art. Story Structures II will focus on honing the craft
puting with objects and spaces in the physical world. In Physical dural vs. object-oriented programming, and graphics programming, include: selection and use of prerecorded material; creation of music of writing the screenplay and storyboard structure. Students will further
Computing I, students will become familiar with basic electronics, as well as an introduction to the Processing programming language and audio content; music and sound production time constraints for develop concepts such as the central dramatic question, inciting incident,
sensing technologies, simple microcontrollers, and computer-controlled and environment. Programming for Artists II concentrates on object- animations, websites, DVDs, videos and other digital media projects idiosyncratic characters and environments, conflicts and needs, mount-
motors and other actuators. Installations, robotics, telepresence and oriented and graphics programming, and will introduce the Java and developing the final track. Discussions will center on the differ- ing tension, turning points, reversals and denouement. Throughout both
network-based projects that utilize these technologies will be exam- programming language and environment. Understanding computer ences between working with sound in a narrative and an interactive semesters, students will develop an original story concept or adaptation
ined. Physical Computing II will offer an in-depth examination and architecture, 2D and 3D image processing, intermediate program- environment. Projects will be presented for in-class critique. realized as an animatic with sound.
discussion of available technologies for creating interactive artworks ming constructs and rich media Web solutions will be addressed.
and installations. Physical Computing III will focus on exploring Sound Workshop I & II Technical Direction
solutions for individual student projects. While the emphasis of these Seminar in Musical Choices Intended as an introduction to the creative possibilities of the medium A technical director manages the relationship between software
courses is highly technical, the development and realization of art- Guiding students toward a process for designing a sound environ- of sound, Sound Workshop I gives equal emphasis to conceptual ideas options and computational processes in the animation production
works will be the primary focus. ment that is properly connected to their visual concept is the premise relating to sound composition—structure, form, texture—and technical pipeline in order to achieve optimum visual results using the most eco-
of this course. The process will provide a sound accompaniment to considerations in gaining competency with the equipment. Concepts nomic means. This course will study script-based approaches to model-
Production Issues: Animation I & II help students better realize the story line and the motion of characters relating to the physics and biology of sound, as well as the history of ing, rigging and constraints, texture mapping and shaders, illumination
Through an examination of the production of animation projects, involved in their animations. website designers and installation art- sound recording technology, are included. The focus is on creating and algorithms, renderers and rendering, compositing and other 3D anima-
these courses will explore such topics as animation choreography, cam- ists can achieve a strong musical reference point in order to formulate refining “sound art” compositions. Students will also learn the process tion tools and techniques. Shell scripting, MEL and the Maya expres-
era and character motion, texturing, lighting, visual effects, rendering a soundtrack that parallels to their visuals. Students will learn how of “sound design” that refers to creating sound to accompany video or sion language will be examined in detail.
and compositing. The main focus will be the creation of thesis projects, to make music choices for projects that will guide artistic vision or film imagery. Sound Workshop II will introduce conceptual and tech-
with the aim of teaching production methods as they are practiced in enhance what is already conceived. nical contexts for the composition of music. Course work will include
the professional world. Assignments focus on the conceptualization, creative projects, in-class listening, critique, lecture and discussion.
design, scheduling and techniques of animation production. Digidesign Pro Tools will be the primary digital audio editing soft-
ware/hardware em­ployed. Music composition using MIDI sequencing
and real-time “surround-sound” mixing is included.

Computer Art 112 113 www.sva.edu/grad/computerart


Theory, Criticism and History of Time-Based Media Thesis Research and Writing I & II Video for Computer Artists I & II Visual Effects for Video and Motion Graphics I & II
As the first time-based medium, film quickly became a primary means Intended to help students to better articulate thesis ideas, concepts and In the analog and early digital eras of video technology, working with The field of visual effects continues to evolve as an important creative
of cultural expression and an icon of popular culture. Early works by context, this course will focus on preliminary research, finalizing the the- video as an artistic medium was expensive and complicated. Now, cornerstone of film and video production. Increasingly being used to
Thomas Edison included live action, stop motion and animation, lay- sis proposal, and writing the research paper. Students will meet with the however, video literacy is becoming a skill set for millions of people create a montage of live action, 3D animation, 2D animation and stop
ing the groundwork for digital video, motion graphics and computer instructor in groups and individually. In the second semester, an artist’s every year. This entry-level studio course will cover video produc- motion, it has spawned a new creative discipline called motion graph-
animation. Although digital projection, 3D and Web-based technologies statement, project description, resume and short biography will be writ- tion and postproduction from a self-reliant standpoint; being able to ics. In these courses, students will learn live action camera techniques,
have begun to supercede the film medium, its history, including video ten. These materials, along with the thesis proposal and research paper, acquire and edit video imagery without the need for a huge budget, lighting, motion capture, editing and compositing, in order to incor-
and animation, provides a wellspring of ideas and practices that demand will prepare the student to enter the professional world. cast and crew. Students will learn to use various types of SD and porate live video into synthetic virtual environments, and vice-versa.
theoretical and critical analysis. This course will address the vocabulary, HD camcorders, microphones, lighting, Final Cut Pro and various From the basics of how to prepare and design a scene for a chroma
grammar and syntax of experimental and mainstream film language, 3D Modeling and Animation hardware and software resources. Video for Computer Artists II will key shot, to creating the digital elements that blend with the live
while examining and analyzing basic film constructs, genres and forms. The technical concepts of creating computer-generated 3D imagery as center on further exploration of the conceptual and technical possibili- action, students will become adept at seamlessly integrating live and
Focusing on these issues from an international perspective, students well as the application of the aesthetic concepts of traditional animation ties inherent in creating video artworks. Students will have creative digital elements. Students will work as a team, as well as be assigned
will explore time-based media through the works of theorists, critics and to 3D animation will be examined in this course. Geo­metric construc- latitude to pursue subjects that interest them, culminating in a final individual projects. In the second semester, experimenting with
practitioners. Reading and writing assignments will be complemented tion techniques, surface texturing, scene illumination and cameras will project of their choosing. In addition to learning more about produc- advanced techniques, strengthening design, work flow, scheduling and
by student presentations, guest lectures and discussion. be covered. Techniques such as squash-and-stretch, anticipation, fol- tion and postproduction, we will examine modes of distribution, such software skills will be demonstrated in concert with in-progress thesis
low-through, overlapping action, arcs of motion, exaggeration, staging as preparing video for Net-based, optical media-based or installation projects and class assignments. Industry experts will guest lecture,
Thesis I & II and appeal will also be explored. Assignments will integrate technical art projects. show their work, answer questions and lead discussions on the current
The thesis project is the body of creative work students produce to and aesthetic information into short, creative 3D animation projects. trends and commercial aspects of film/video production, animation
earn their degree. In Thesis I, students will finalize a written thesis Virtual Reality Seminar and motion graphics, as well as critique student work.
proposal, conduct research and begin their creative work. Students are UNIX This course is designed to investigate the theoretical and historical
expected to present their work and attend group critiques on a weekly The UNIX operating system remains an essential tool to the computer bases of immersive virtual reality (VR) art. It will primarily do so by Web Programming I & II
basis. Thesis II will guide students in the final stages of thesis produc- artist. This course will strive to prepare students to go beyond the investigating immersion, the experience considered as the indispensable Students will be introduced to the Web programming software used
tion by providing a forum for discussion and critique of work-in-prog- basic functionality of UNIX and into the realm of scripting—where the characteristic of VR. Lectures, readings and discussion will demon- by professional design firms as well as the concepts used to create
ress. Students will work closely with their thesis group leader and meet real power and flexibility of the operating system lies. Along the way, strate that immersion into virtual electronic space is the cornerstone dynamic content for the Web. The course will cover HTML code and
with the department chair throughout the process. Guest critics will we will explore topics that will help students to understand and con- to understanding contemporary VR culture, as well as certain key Adobe Flash. JavaScript will be used for client-side dynamic pages;
also be brought into the thesis classes to provide additional input. At trol the environment in which they work, and learn the tools that will aspects of previous cultures. This investigation will lead the student CSS, XML, JSP and introductory database techniques will be explored
the end of the year, students will present their completed work to the help achieve goals more quickly and efficiently. to the formulation of an aesthetic theory of immersive consciousness, to add functionality to a Web application. How to learn new software
public at the MFA Computer Art thesis presentations, giving students indicative of immersive culture, by joining choice examples of simula- as it becomes available and how to modify existing codes will also be
the opportunity to present their work to professionals and recruiting Video Art and Beyond cra technology into mental connections, with relevant examples from examined. Integration of browser-based scripting and server-side tech-
companies. The thesis exhibition at the Visual Arts Gallery in Chelsea This course begins by examining the emergence of video art in the art and architecture, as well as technology, myth, space, gender studies niques will be covered in depth. A technical foundation for meaningful
provides a venue for exhibition in a gallery setting. 1960s, through structuralist films and the freewheeling days of “feed- and philosophy. interactivity using the Internet will be the primary goal of the course
back” and “real-time” manipulation of the analog electronic signal. and students will conduct research into the programming techniques
Thesis Development Students will examine how the barriers between artistic disciplines demonstrated. Topics will also include: coordinating the use of various
Intended to assist students in the defining and production of a thesis broke down as artists took up portable video cameras, experimented languages, such as JavaScript, HTML, PHP and ActionScript; debug-
proposal, this course will examine approaches to clearly articulate with installation, staged actions and went outdoors to build land art. ging of programs; the Document Object Model that underlies Dynamic
the central concept of the thesis and the implementation of idea to the Works of contemporary video artists who move freely between paint- HTML; application servers; file and socket operations; and ECMA
creative process. Through short readings and written exercises that ing, sculpture, photography, film, performance and other media will be script and databasing.
introduce students to the major texts and resources in their chosen field discussed, as well as the contributions by musicians toward developing
of interest, we will focus on initial research strategies for the develop- new working methods. The course will consist of weekly screenings,
ment of a thesis project. Students will undertake a series of short analysis of installations, readings and written assignments.
projects that include documentation, proposals, book reports and pro-
totypes. Students will also gain experience presenting and discussing
their creative ideas in class.

Computer Art 114 115 www.sva.edu/grad/computerart


Professional Faculty
Barbara London, associate curator,
Department of Media and Performance
Art, Museum of Modern Art, walks through
the MoMA interior. London teaches the
Video Art and Beyond class at SVA. (left)
The Abby Aldrich Rockefeller Sculpture
Garden at MoMA.
Faculty

Bruce Wands Robert Bowen Kathy Brew Joshua Davis


Chair, MFA Computer Art Department, director of computer Principal, Robert Bowen Studio. Formerly, director, RGA Print, RGA Producer, curator. Formerly, co-director, Margaret Mead Film & Principal, Joshua Davis Studios
education, School of Visual Arts; artist/writer/musician; producer/ Digital Studio Video Festival, American Museum of Natural History; director, clients include: Bad Boy Online, Sony, Nike, Barney’s New York,
director, Wands Studio; director, New York Digital Salon Education: BA, St. Lawrence University; MFA, Pratt Institute Thundergulch/Lower Manhattan Cul­tural Council; senior associate PS1/MoMA, Motown Records, Canon, Whitney Museum of American
Education: BA, cum laude, Lafayette College; MS, Clients include: Adobe, Disney, Intel, Kodak, AT&T, American producer, City Arts, WNET Art, Diesel
Syracuse University Express, Coca-Cola, Silicon Graphics, Bacardi Education: BA, cum laude, Middlebury College Awards include: Golden Nica, Prix Ars Electronica
Author: Art of the Digital Age, Digital Creativity publications include: Cabinet, Camerawork, Afterimage, video projects include: Regret to Inform; ID/entity: Portraits in
Group exhibitions include: Art in the Digital Era, Tampa, FL; Pinhole Journal the 21st Century; Paradise Now: Picturing the Genetic Revolution; Andy Deck
D-ART Online Digital Art Gallery; Computer Graphics Invita- exhibitions include: MF Adams Gallery; Haim Chanin Fine Arts; Penetration and Transparency: Morphed; Mixed Messages Media artist; co-founder, Transnational Temps
SIGGRAPH; Vanderbuilt University; 55 Mercer; Collective for Living Curatorial consultant: Scanners: The New York Video Education: BFA, BA, University of Michigan; MFA, School of
tional, Greeley, CO; Electronics Alive III, IV, V, Tampa; Creativity
Cinema; Paulo Salvador Gallery; Boston Museum of Science Festival; “Engaging Characters,” Art Interactive, Cambridge, Visual Arts; Post-diplôme, École Nationale Supérieure des Arts
& Cognition, Goldsmith College, London; International Digital
collections include: Museum of Modern Art, Whitney Museum MA; Reel New York, WNET; ReFrame; Tribeca Film Institute; Décoratifs, Paris
Media and Arts Exhibition, Florida; First Beijing International of American Art, Brooklyn Museum Redhouse Cultural Center Exhibitions include: Peer2Peer, Los Angeles; Telspan,
New Media Arts Exhibition; ASCI Digital 01 Exhibition, New awards include: Best Computer Graphics, Best Digital Photography, Publications Include: Women, Art, and Technology; Washington, DC; “Copy It. Steal It. Share It.,” Istanbul; Social
York; Art and Science International, National Museum of Fine Art, Best in Show, Kodak VIP Image Search; Gold Award, special effects, Documentary; Civilization; High Performance; Art Coast; Shift Capital; Net_Condition, Karlsruhe; Ciberart, Bilbao; “Andy Deck
China; SIGGRAPH Art Gallery; Hong Kong Arts Centre; Museum Advertising Photographers of America; Gold Award, International Awards and honors include: Emmy Award, CEC ArtsLink Retrospective,” Furtherfield.org; “Conexion Remota,” Barcelona;
het Toreke, Tienen, Belgium; New-York Historical Society Film and Television Institute Fellowship Ars Electronica, Linz; “Medi@terra 2000,” Open Source Lounge,
Conferences include: Victoria & Albert Museum, London; Athens; Glimpses, Athens; VIDA 4.0, Madrid; Mejan Labs, Stockholm;
British Computer Society, London; University of London Inter- Ed Bowes Todd Brous Artport, Whitney Museum of American Art; P.S.1/MoMA; Machida
national Conference on the Arts in Society, Venice; International Video producer, director, writer Co-founder, Untwist Technology, LLC City Museum, Tokyo; Moving Image Gallery; Postmasters Gallery;
Conference on Interaction Design, Tsinghua University, Beijing; Education: LeMoyne College Education: BS, Tulane University; MFA, School of Visual Arts Walker Art Center, Minneapolis; ZKM Center for Art and Media,
Film and Video Works include: Producer, Fatachee. Producer, Clients include: Morgan Stanley/Dean Witter, Nickelodeon Digital, Karlsruhe, Germany
ISEA, Singapore; College Art Association
director, writer, Picture-Book; Spitting Glass; How to Fly; Better, Mass Illusion Visual Effects, WCBS-TV, Quiet Man Publications Include: From Technological to Virtual Art; Internet
Grants include: National Endowment for the Arts; Rockefeller
Stronger; Romance. Director of photography, Split Britches, Two Art; WWW.Animation: Animation Design for the World Wide Web;
Foundation; New York State Council on the Arts; National En- Moon July, Everglade City, Born in Flames. Writer, Nets; Oh, No, Kevin Brownie Net_Condition: Art and Global Media; Art of the Digital Age
dowment for Science, Technology and the Arts (NESTA, U.K.) Paula; Headlands; Angles Layout and storyboard artist Awards include: First Place, Shift­Space Commission
Awards and honors include: National Science Foundation Awards and honors include: New York State Council on the Education: BFA, Concordia University, Montreal website: www.artcontext.net
panelist; New York State Council on the Arts panelist; “One of Arts, National Endowment for the Arts, Jerome Foundation, New TElevision and film Projects include: Beavis and Butt-Head,
the 99 People to Watch in 1999” Time Out New York; “Top Ten York Foundation for the Arts, Rockefeller Foundation, Art Matters Bugs Bunny’s Lunar Tunes Invasion of the Bunny Snatchers, An Carl Edwards
Digital Arts Schools in the World” ImagineFX, U.K.; Depart- Inc.; Distinguished Artist-Teacher Award, School of Visual Arts American Tale II, Heavy Metal, The Adventures of Teddy Ruxpin, Computer graphics animator
ment Website named “100 Best Sites of 2002” for Best Original website: www.edbowes.org Dennis the Menace, Meerkats, C.O.P.S., TV Funhouse (Saturday Education: BA, University of Illinois, Chicago
Web Art, Yahoo Internet Life; Gold Medal, Chicago Film Festi- Night Live) Clients include: Sam Edwards Editing Group, Inc.; Lester Weiss
val; Silver Medal, New York International Film and TV Festival; Group Exhibitions include: Puchinello Gallery, Toronto; Galerie Computer Animation and Data Motion Arts; Doros Motion; Magno
Silver Award, Art Directors Club; NCGA Educator’s Scholarship; Monk Breton, Montreal; Village by the Grange, Toronto; Ottawa City Sound & Video; Transcom Media; Digital Animation; PM Audiovisual
Hall; Musée des Beaux Arts du Quebec
National Safety Council Award for Excellence. Board of directors,
Thyrza Nichols Goodeve
NYC/ACM SIGGRAPH; advisory board, 3D Design Conference;
Michael J. Connor Producer, writer. Formerly, research associate, Whitney Museum of
Keynote speaker: University of London, Wabash College Curator. Formerly, head of exhibitions, British Film Institute; American Art
Website: www.brucewands.com curator, FACT, Liverpool Education: BA, Sarah Lawrence College; MA, New York University;
Education: BA, with honors, University of North Carolina, PhD, University of California, Santa Cruz
Timothy J. Anderson Chapel Hill Books and Anthologies include: How Like a Leaf; Ellen
Audio editor, sound designer, composer Curatorial projects include: “Screen Worlds,” Australian Gallagher, A Painter in III Acts; Peter Halley; Louise Bourgeois;
Education: BM, Berklee College of Music; MFA, New York Centre for the Moving Image, Melbourne; “1001 Nights,” Postmasters The Monster’s Progress: The Art of James Barsness
University Gallery; “The New Normal,” Independent Curators International/ Publications include: Artforum, Parkett, Art in America, The
CLIENTS INCLUDE: Splash Studios, Flea Theater, Manhattan Ensemble Artists Space; “Tiny, Funny, Big and Sad,” British Film Institute; Village Voice, Guggenheim magazine
Theater, Berkshire Theater Festival, Marymount College, Toshiba/ “JODI: Computing 101B”, “Welcome to the Infinite Fill Zone,”
EMI, Douglas Cuomo, Miller Music FACT, Liverpool
Films and video projects INCLUDE: Dark Days, Let it Snow, Publications include: RealTime, Austin Chronicle, AlterNet.
War Zone, Kill by Inches, Tomorrow Night, Greener Grass, The org. Exhibition catalogs include: DIVE; The New Normal; JODI:
Adulterer, Edge City Computing 101B; Marina Zurkow

Computer Art 118 119 www.sva.edu/grad/computerart


Edgar David Grana Russet Lederman Jarryd Lowder Federico Muelas
Composer, music consultant Digital artist Media developer; systems administrator, MFA Computer Art New media artist
Education: BA, Washington & Jefferson College; MFA, University of Education: BA, Sarah Lawrence College; MFA, School of Visual Arts Department, School of Visual Arts Education: BFA, Universidad de Castilla;
Iowa; MM, Juilliard School New media exhibitions include: New York Digital Salon, Prix Education: BFA, University of Iowa; MFA, School of Visual Arts MFA, School of Visual Arts
WORKS INCLUDE: Moments: A Tribute to José Limón, Lincoln Center; Ars Electronica, Lab 01, Cast 01, Neovideo International Film Festival, Clients include: MTV, Organic, Nickelodeon, Luaka Bop, Tommy Group exhibitions include: Ars Electronica, Linz; Stuttgart
Six Pieces for Piano, Symphony Space; Stones, Time and Elements: ISEA, Sonar, Graz Biennial on Media and Architecture, European Hilfiger, Pseudo.com, Nuforia, Splash Studios Filmwinter Festival, Germany; PS122; Japan Media Festival, Tokyo;
A Humanist Requiem (with Kurt Vonnegut and Michael Brecker), Media Art Festival, Docs Online, Remote Lounge, Rotterdam Performances include: NTT/ICC, Tokyo; The Cooler; Metronom, Barcelona; Location One; Electrohype Biennial, Sweden;
Newport Classics; Lyric Episode for Orchestra, Bedford Springs International Film Festival, Stuttgarter Film Festival Postmasters Gallery; Roulette; Circulo de Bellas Artes, Madrid; ARCO 2005, Madrid; PikseliACHE Festival, Helsinki; New Jersey
Arts Festival, PA; music for Budd Schul­berg’s On the Waterfront; Publications include: Leonardo, The New York Times, Circa, Abstrakt Future Lounge; Transmedia Festival, San Francisco; Knitting Film Festival; Cuban Digital Salon, La Havana; Katzen Arts Center,
String Quartet No. 2 HOW, New Art Examiner, Art Journal Factory; Tonic; National Museum of the American Indian; Prix Ars American University, Washington, DC
AWARDS AND GRANTS INCLUDE: Chicago Film Festival; First Collections include: Swiss Federal Office of Culture; Smithsonian Electronica Recombinant, Linz Awards include: New York Foundation for the Arts, Life 7.0,
International New Music Festival; Platinum Record, Winger Institution, Washington, DC; Rhizome Artbase Awards and honors include: Roulette Emerging Artist SGAE, La Caixa, Spanish Cultural Council, UNESCO, Experimental
AWARDS AND HONORS INCLUDE: Smithsonian New Media/New Commission Television Center
In Pyo Hong Century, Prix Ars Electronica, HOW magazine interactive, File Publications include: NYARTS, Rhizome Digest, Neo2
Computer graphics animator New Media Festival Robert Mahoney Magazine, Tentaciones, El Pais, Metro, El Ciberpais, untitled art
EDUCATION: BS, Kwang-Woon University; Art critic magazine, Art of the Digital Age
MFA, School of Visual Arts Boaz Livny Education: BA, College of the Holy Cross; MA, University of website: www.federicomuelas.com
Group Exhibitions and screenings include: Holland Animation Owner, Vision Animations Inc. Wisconsin at Madison
Festival, Hawaii International Film Festival, San Francisco Asian Education: MA, Bournemouth University Publications include: Time Out New York, Art in America, Joseph Nechvatal
American International Film Festival, Sedona International Film Clients include: Plus et Plus, The Wilderness, Beverage Media ARTnews, Art on Paper, D’Art International, Tema Celeste, Artnet Digital artist, writer
Festival, NY Asian American International Film Festival, Puchon Group Ltd., Iceberg Vodka, Suzy Systems, Walsh Family Media Education: BFA, Southern Illinois University;
Interna­tional Fantastic Film Festival, Japan Digital Animation Festival, Author: mental ray for Maya, 3ds Max, XSI: A 3D Artist’s Gerald Marks MFA, Cornell University
New York Digital Salon, Art for Healing Guide to Rendering Video director, printmaker, digital artist One-person Exhibitions include: Galerie Mabel Semmier, Paris;
Clients include: CBN Network, Sci Fi Channel, Credit Suisse, printed editions for: Helen Frankenthaller, Roy Lichtenstein, Galerie Karin Sachs, Munich; Galerie Antoine Candou, Paris; Galerie
Starbucks, Kenny Scharf Studio, Matrix Art Collective Barbara London Andy Warhol, Marisol, Robert Indiana, Alan D’Arcangelo, Red RLBQ, Marseilles; Moving Image Gallery; Brooke Alexander; Galerie
Awards and honors include: Grand Jury Prize, New York Curator of Video and Media, Museum of Modern Art Grooms, Leo Castelli Gallery, Tibor de Nagy Gallery Berndt, Cologne
International Film and Video Festival; Best Animation, Long Island Education: BA, Hiram College; MA, New York University Clients include: The Rolling Stones, Sony, Nashville Ballet, Books include: Selected Writings, An Ecstasy of Excess, Excess in
Big Fish Film Festival; Best Animation, San Diego Asian Film Festival; Curatorial works include: “Masters of Anima­tion: Hayao American Cinematographer, Atlantic Records, Metropolitan Transit the Technomediacratic Society
Lyon Asian Film Festival Miyazaki and Isao Takahata”; “TimeStream”; “Music and Media” Authority, Scholastic Publications Collections include: Israel Museum, Jerusalem; Los Angeles
Publications include: Leonardo, ARTnews, Shisedo, Art in Exhibitions include: Metropolitan Transit Authority; Sony County Museum of Art; Weatherspoon Art Gallery, NC; Museum of
Everett Kane America, Camera Obscura ExploraScience, Beijing; Alternative Museum, New York Hall of Modern Art; Musée Leon Dier, La Reunion, France; Moderna Museet,
Education program director, Location One; game designer; Awards and honors include: National Endowment for the Arts, Science, American Museum of Natural History Stockholm; Museum of Contemporary Art, Los Angeles; National
3D character modeler/rigger; programmer CAC, Trust for Mutual Understanding, Locarno Video Festival, awards and honors include: Visiting scholar, Spatial Imaging Gallery of Art, Washington, DC
Education: BA, Princeton University; BFA, with distinction, Asian Cultural Council Group, Massachusetts Institute of Technology; artist-in-residence, Awards and Honors include: Massachusetts Council of the Arts;
MFA, Art Center College of Design Exploratorium, San Francisco; artist-in-residence, Mid-American National Endowment for the Arts; New York Foundation for the Arts;
Clients include: Klasky Csupo, Pixel Blocks, DZI, California Museum, Hot Springs, AK; design award, Villager; set design award, Foundation for Contemporary Performance Arts, Inc; Pollock-Krasner
Institute of Technology, Weiden & Kennedy, Vogue (Europe), Public Theater/New York Shakespeare Festival Foundation Award; CAPS. Artist residencies include: Cité des Arts
New York Festivals Internationale, Paris; Foundation Claude-Nicolas Ledoux, Arc-en-
Exhibitions include: Los Angeles Arboretum; Vinoli Gallery, Adam Meyers Seine, France; Arbois, France
Los Angeles; Vincent Gallery, Los Angeles; Art Center College of Producer
Design, Pasadena, CA; Pillers Gallery, Los Angeles; Schkolne EDUCATION: AD, Full Sail University
Projects, Los Angeles Clients include: Saturday Night Live, MTV, Bravo, Nickelodeon
website: www.homepage.mac.com/everettkane Group exhibitions include: Pegasus Galleries, Next Gallery,
Maxwell Gallery, Park Galleries
Jeannie Kang 
Senior user experience design consultant, Adobe Systems Incorporated  Nikita Mikros
Education: BA, Ewha Womans University; Software developer; consultant; partner, Flying Mikros Brothers
MFA, School of Visual Arts Education: BA, Queens College; MFA, School of Visual Arts
Professional experience includes: Art director, Digitas; Clients include: Public Health Research Institute, France
designer, R/GA Telecom, Association of American Publishers, SIGGRAPH,
Publication: W.E.B. (Korea) Pandemonium magazine
Website: http://www.jeanniek.net

Computer Art 120 121 www.sva.edu/grad/computerart


Professional Opportunities
Graduating students present their thesis work at the end of the
academic year in the SVA Theatre. Students also exhibit at open
studios, the Visual Arts Gallery and on the department’s Web
site. These events provide an opportunity for students to show their
work to recruiting companies, curators and gallery owners.
In addition, our students have received internships and employ­
ment with animation, video, interactive media and Internet
production facilities that include DreamWorks, Industrial Light
Kurt Ralske John F. Simon Jr.  Michele Thursz & Magic, Pixar, MTV, Nickelodeon, Rhythm & Hues, Disney,
Video artist, composer, programmer Digital artist  Curator; producer; consultant; director, founder, Post Media Network; Sony Pictures Imageworks, Charlex, and the American Museum
Education: BA, Hunter College Education: BA, BS, Brown University; MA, Washington University; founder, Moving Image Gallery of Natural History. Graduates have been awarded artist residencies
Performances and Exhibitions include: Bronx Museum of MFA, School of Visual Arts Curatorial projects include: “They Always Say That Time and exhibitions at Eyebeam, Solomon R. Guggenheim Museum,
the Arts; Guggenheim Museum Bilbao; Prague Biennale; Contem­ One-person exhibitions include: Collezione Maramotti, Reggio Changes Things...,” Armand Hammer Museum of Art, University Whitney Museum of American Art and the Lower Manhattan
porary Art Museum, Istanbul; Los Angeles Museum of Contemporary Emilia, Italy; Galeria Javier Lopez, Madrid; Gering & López Gallery; of California, Los Angeles; “Inflatable Architectural Body,” Andrew Cultural Council, as well as grants from the New York Foundation
Art; Montreal Museum of Contemporary Art; Palais des Beaux Arts, Sandra Gering Gallery; University Art Museum, SUNY Albany; Edlin Gallery; “Meme: Romanticism,” EFA Gallery; “public.exe: for the Arts and the Picasso Foundation.
Brussels; De Singel, Antwerp; SelfWare, Graz; American Museum of Knoxville Museum of Art, TN; SITE Santa Fe, NM Public Execution,” Exit Art; “Democracy is Fun?,” Whitebox; “Copy
the Moving Image Group exhibitions include: Digital Art Museum (DAM), it, Steal it, and Share it,” Borusan, Istanbul
Author, programmer: Auvi (http://auv-i.de) Berlin; iMAL Center for Digital Cultures and Technology, Brussels; Publications include: ArtByte, Forbes.com, Wired, ARTnews
Awards and honors include: First Prize, Transmediale Museum of Contemporary Art, Cleveland, OH; Shanghai Zendai website: www.michelethursz.com
International Media Art Festival, Berlin; National Science Foundation; Museum of Modern Art; Museo Extremeño e Iberoamericano de Arte
Renew Media Arts Fellow, Rockefeller Foundation Contemporáneo, Badajoz, Spain; Tweed Museum of Art, University of Erik Wesselak 
Minnesota, Deluth; Museum of Contemporary Art Taipei; Opelousas Animator, programmer 
Steve Rittler Museum of Art, LA; Visual Arts Gallery; Dunedin Public Art Gallery, Education: BS, MS, University of Illinois
Animator, illustrator New Zealand; Seoul Museum of Art, Korea; Stedman Art Gallery, Professional experience includes: Senior technical director,
Education: MFA, Pratt Institute Rutgers University, Camden, NJ; University Museums, University of California Academy of Sciences; production programmer, American
Clients include: Cyclotron, GLC Productions, Blink.fx, Disney Richmond, VA; Aldrich Museum of Contemporary Art, Ridgefield, CT Museum of Natural History; technical director, Blink.f
Interactive, Image Design, Manhattan Transfer, W.W. Norton and Collections include: Museum of Modern Art; Solomon R.
Co., Image Interactive, Image Entertainment, Van Nostrand Reinhold, Guggenheim Museum; Whitney Museum of American Art; San Grahame Weinbren
Columbia University Law School, Crozier Keystone Health Service, Francisco Museum of Modern Art; Los Angeles County Museum Filmmaker; interactive cinema producer; film and video editor; princi-
W.B. Saunders Medical Publishers, Dismar Corp., Century 21 Real of Art; Brooklyn Museum; Ulrich Museum of Art; Progressive pal, Typhoon Sky Inc.; editor, Millennium Film Journal
Estate, United Steel Workers Corporation, Cleveland, OH; Ackland Art Museum; Albright-Knox Education: BA, University College, London; PhD, SUNY Buffalo
Publications and films include: Nor Gloom of Nyght, Art Gallery group Exhibitions include: Whitney Museum of American Art;
ARTBYTE, Morrigan, The Art of Three-Dimensional Computer Publications include: Art of the Digital Age, At the Edge of Art, Centre Georges Pompidou, Paris; Solomon R. Guggenheim Museum;
Animation and Imaging, Principles of Three-Dimensional Computer New Media Art, Creative Code, New Media in Late 20th-Century Fogg Art Museum, Cambridge, MA; Museum of Contemporary Art,
Graphics Animation, JASTA Art, Art in America, Artforum, The New Yorker, ARTnews, The New Los Angeles; The Kitchen; Zecher Sollern, Dortmund, Germany;
Exhibitions and screenings include: Anima Mundi; Toronto York Times, Forbes, ArtByte, Wall Street Journal, New York maga- NTT/ICC, Tokyo
Worldwide Short Film Festival; Philadelphia Festival of World Cinema; zine, Art & Auction, Time Interactive cinema installations include: Frames, The Erl
California Sun International Animation Festival; East Lansing Film King, Tunnel, March, Sonata
Festival; Folioscope; Mendrisio Cartoon; Denver Underground Film Amresh Sinha Awards and honors include: Massachusetts Council on the Arts
Festival; Short Pictures International Film Festival; Los Angeles Filmmaker and Humanities, Arts Council of Great Britain, New York Foundation
International Short Film Festival; SIGGRAPH 2003 Art Gallery, San Diego Education: BA, Patna University; MA, Jawaharlal Nehru University; for the Arts, National Endowment for the Arts, New York State
Awards and honors include: Vancouver Effects and Animation MA, SUNY at Buffalo; PhD, York University Council on the Arts
Festival, Annecy Animation Festival, Motion Art Festival, WorldFest director: Convict & the Trial, Quit India Movement website: www.grahameweinbren.net
Houston, Canadian International Film & Video Festival, Chicago publications include: Connecticut Review; Spectacular Optical;
International Television Competi­tion, Brooklyn Film Festival The Making of Modern Bihar; Patriot; In Practice: Adorno, Critical Ada Whitney
Theory and Cultural Studies; Lost in the Archives; German Culture Creative director, Beehive. Formerly, art director, Broadway Video
Trilby Schreiber and Society; The Review of Education, Pedagogy, and Cultural Education: BA, Beloit College
Designer, illustrator, writer, producer Studies; Subtitles: On the Foreignness of Film; Film-Philosophy; Clients include: HBO, Showtime, ABC, ESPN, HGTV, PBS,
Education: BA, Harvard University Colloquy: Text, Theory, Critique; Scope Disney, MTV, NBC, Spike, AMC, Comedy Central, Time Warner
Clients include: Playboy, Cartier, Global Finance Cable, Quicksilver, Sundance, TNT
Honors include: Vice chair, program chair, NYC/ACM SIGGRAPH Kurt Teske  Exhibitions include: PS122; Executive Gallery; P.P.O.W.;
Writer, producer, director  Hallwalls Contemporary Arts Center, Buffalo, NY; A.I.R. Gallery;
Richard Shupe Education: BA, Harvard College; MS, Columbia University P.S.1 Contemporary Art Center
Principal, FMA, New York Professional experience: Executive producer, Soodalter Publications include: Res, Communication Arts, Shoot,
Education: BS, Lehigh University Associates / Sam Edwards Group; Harold Friedman Consortium Millimeter, Film & Video
CD Projects include: All Access: The Horde Tour; Freak Show; Author: Feng Shui for Success. Plays include: The Exarch of Awards include: Gold Award, International Monitor; Promax;
The Gingerbread Man; Bad Day on the Midway; Society of Mind; Buffalonia; The Heiress from Adesando; The Escape from Television Broadcast Designers Association; Communication Arts; Print;
The Complete Maus; Site kiosks, Ad Club of New York City. Screenplays include: Full Ratchet, Blindsided, Rumspringa Creativity; Art Directors Club; Type Directors Club
Clients include: Gotham Group; Barnett Group; Barry Blaue; Film and television projects include: Via Crucis, Tree
iVillage; LPNY; Simon & Schuster, Inc.; Prentice Hall; MTV; Connections. Producer of animation, graphics and editorial for com-
IBM; WGMS-FM; Sullivan & Co.; WNEW; Showtime; mFactory; mercials, including: Snickers, Citibank, Pepsi, General Mills, Kodak,
MacDirectory; WPLJ American Express, AT&T, Lever Bros., New York Lottery, Frito-Lay
Awards and honors include:  CLIO; Film Grant, CUNY

Computer Art 122 123 www.sva.edu/grad/computerart


Guest Lecturers

Cory Arcangel Lauren Cornell Yael Kanarek Jillian Mcdonald Rich Quade Vivian Selbo Victoria Vesna Jody Zellen
new media artist executive director, new media artist; digital video artist, educator supervising animator, network media artist new media artist, researcher networked media and
Benton-C Bainbridge Rhizome; adjunct founder, Upgrade! Asif Mian Pixar Animation Studios Robert Michael Smith Chiake Watanabe installation artist
video artist, musician curator, New Museum John Klima director, visual artist Michael Rees sculptor, digital artist visual music artist Hui Zhu
of Contemporary Art installation artist digital sculptor, animator, director
Tamas Banovich Paul Miller Kenneth Snelson Barry Weiss
curator, owner, Matt Costello Ken Knowlton a.k.a. DJ Spooky programmer sculptor, digital artist, writer sr. vice president, Eric Zimmerman
Postmasters Gallery game writer; consultant; artist, writer, DJ, artist, writer Don Ritter Animation Production, game designer; writer;
author, 7th Guest, 11th Hour Nina Sobell
Molly Barnes computer scientist Mark Napier interactive installation and new media artist Sony Imageworks co-founder, Gamelab
art consultant, author, Greg Dinkins Myung Lee network media artist, performance artist, writer Maciej Wisniewski Lori Zippay
3D photographer; Wolfgang Staehle
curator computer graphics programmer Ben Rubin networked media artist, executive director,
president, NY Stereoscopic executive director,
Howard Beckerman supervisor, Charlex Ben Neil media artist The Thing programmer Electronics Arts Intermix
Society
animator, author Phoebe Legere musician, multimedia artist Lillian Schwartz Michael Wright
Diana Domingues Mark Tribe
Zoe Beloff composer, performer, Bill Nelson artist, writer, research founder, Rhizome.org digital artist, painter
virtual reality artist, painter scholar
stereoscopic projection, educator, researcher entrepreneur, painter,
Camille Utterback
performance and Zachary Leiberman founding partner, Rare
Toni Dove installation artist
installation artist performance, installation Medium, Inc.
virtual reality, installation, and online artist
Jonah Brucker-Cohen and performance artist Barbara Nessim
researcher, networked Golan Levin computer artist, illustrator
media and installation artist Shelley Eshkar artist, educator, researcher
digital artist Carsten Nicolai
Nancy Burson Peter Levin media installation artist, DJ
photographer, writer, Xarene Eskandar producer, sound designer,
author, vE-JA: Art + Brad Paley
inventor, artist president, Splash Studios digital artist, programmer
Technology of Live
John Canemaker Audio Video Patrick Lichty Nina Paley
filmmaker, writer, animator, digital artist, writer, curator, animator, filmmaker
Mary Flanagan Tel: 212.592.2778

Contact Us
animation historian, artist activist, educator
digital artist, writer, Carol Parkinson
Jim Casey researcher, educator Margot Lovejoy executive director, Fax: 212.592.2509
entrepreneur; founding artist, author, educator
partner, Rare Medium, Inc. Adam Frank Harvestworks E-mail: mfaca@sva.edu
installation artist Kristin Lucas Debbie Pashkoff
Shu Lea Cheang
Lucien Harriot
digital, video, performance, art director, www.sva.edu/grad/computerart
multimedia artist, filmmaker intervention, sculpture,
director, principal, installation artist
Rhythm & Hues Studios department site: mfaca.sva.edu
Sarah Cook Mechanism Digital Jonah Peretti
new media curator, Kevin & Jennifer McCoy viral media artist; founder,
We strongly encourage applicants to visit our department prior to submitting application materials.
co-founder of CRUMB Tali Hinkis interactive media, film,
video and new media artist, Buzzfeed; co-founder, Come to our Departmental Information Session, or contact us directly to schedule a tour.
(Curatorial Resource for performance and Huffington Post
Upstart Media Bliss), UK co-creator of LoVid installation artists Departmental Information Session: Saturday, November 12, 2011.
Kenneth A. Huff Bill Plympton All times and locations will be announced online: www.sva.edu/grad/visit.
digital artist: print and director, animator To register for a departmental information session, please visit our website or contact the Office of
installation Graduate Admissions at: gradadmissions@sva.edu.

Computer Art 124 125 www.sva.edu/grad/computerart


MA Critical Theory
XX Focal points of the program in 2012-2013 are the Proseminar on the “Convergence
of the Arts in the 21st Century,” and the Serious Times Lecture Series, which will
pose the question “Why doesn’t the United States make social progress?”

and the Arts XX Fourteen students are selected annually by the Committee on Graduate Admissions.
Graduates of the MA in Critical Theory and Arts become ongoing members
of the Serious Times Lecture Series and the program’s intellectual community.
www.sva.edu/grad/cta
department site: cta.sva.edu Critical Theory and the Arts is a closely organized, yearlong study in critical social theory that focuses
on the arts in the broadest sense—inclusive of the visual arts, literature, music, dance, performance
and new media.
The program responds to a need: For thinking about art has never before been so protean, so
broadly inventive and urgently central to the whole of social, philosophical and political reflection.
Every major area of thought now turns considerable attention to art in expectation that art will
provide the key to solving its central questions.
At the same time, in art itself, every aspect of its reality presents dynamic conflicts and puzzles that
demand theoretical reflection. Those directly involved in the arts can no longer imagine that artists
proceed naïvely, mixing passion with thin air. While artists of earlier generations once struggled
to disguise the thinking labor that went into their work, today art theory has become part—often an
explicit part—of all art-making. To an unprecedented degree, developments in art theory can can
and do directly transform art.
What the arts once were, they soon enough will no longer be; in large measure, they have already
been irreversibly transformed. For artists and graduate students from several fields of inquiry, the need
collaboratively to understand what has happened, what is happening and what is at stake is salient.
The ma in Critical Theory and the Arts program thus engages a vital century-long reflection on
the arts through a curriculum modeled on the interdisciplinary framework of the Frankfurt School
of Social Research. Here “interdisciplinary” is not an approach that ignores the boundaries between
disparate fields. Rather, real criticism of the boundaries of knowledge takes its lead from the demands
of the problems in which the interdisciplinary work is integrated.
Key works of critical theory are therefore studied in conjunction with the philosophical,
sociological, political and art historical background that is needed to engage these works meaningfully.
An expert and collaborating core faculty draws on the breadth of thought and research from the
several fields needed for understanding the problems of art where they are tense with the complexity
of our own concerns for contemporary reality and the arts.
The focal points of the program are the Proseminar and the Serious Times Lecture Series. The
Proseminar in 2012–13 on the “Convergence of the Arts in the 21st Century,” broaches critical issues
in society, culture and the arts as an open forum. Students develop and experiment with the material
presented and attend discussions with leading New York City intellectuals and internationally ac-
claimed visiting artists. The Serious Times Lecture Series poses the question, “Why doesn’t the United
States make social progress?” Students engage in presentations and discussions of the most urgent
social problems facing us today. The program is completed in three consecutive semesters that conclude
with the Comprehensive Thesis.
Several teaching assistantships are available. Fall 2012 begins the program’s inaugural year.

Robert Hullot-Kentor, chair

127
chair interview

Robert Hullot-Kentor
“Students have an urgency about themselves these days that must be taken seriously.” Robert Hullot-Kentor,
chair of sva’s new ma degree in Critical Theory and the Arts, is emphatic about the program’s timeliness.
“These are serious times, to say the least.” When asked if this is why the program includes the Serious Times
Lectures Series, he nods, “Yes, certainly. And what has so impressed me over the past number of years is how
many very bright, talented and capable students there now are who are more than ready to engage what is go-
“Students have ing on in art today in a way that involves the entire history of art and society and the most important questions
an urgency about we have about our lives. While the value of higher education is being challenged by one part of society, there
themselves these are many students who are very ready to dig in, and feel they need to—when they can find real education.”
days that must be The program, Hullot-Kentor explains, is a yearlong involvement in the study of “the arts in the

On any
taken seriously.” broadest sense, the questions of understanding art and the puzzles in making art today.” He empha-
sizes the range of works that students will study, including materials drawn from “social theory, social
history, aesthetics, and a living art history.” That’s a lot for one year, isn’t it? Hullot-Kentor agrees, “It

given day...
is. And it is exactly enough time to get enough of a grip on the reality of the issues to be able to pursue
them when the year is over—whether as artists, as public intellectuals or as writers.”
Playing devil’s advocate, I ask Hullot-Kentor why art is so central to the course of study he has
mapped out? Hullot-Kentor seems to have a strong sense of humor and finds the question funny, or in
any case, he is smiling, “You know, there is no sense marching around waving a banner for art, ‘Go,
art!’ You can’t root for art. I’m not about to argue for art. At the same time, what is more important to “On any given day…” in the program in Critical Theory and the Arts, some
study than art? It is the most important thing we make, and what most of us want to make. Suzanne students may be working early in the department’s library, preparing for classes.
Langer said it a long time ago, art is how we shape import. We have no other way to do it. Art works
And it is also imaginable that…
ask us to think about the import that they shape. They urge us to think about them in a way that noth-
…at 11 a.m., artists Paul Chan and Jessica Stockholder join a …at 7:30 p.m., that evening, the Serious Times Lecture Series hosts
ing else does. In serious times, they get us to the heart of the matter.”
discussion with Robert Hullot-Kentor’s aesthetics class on the kinds of essayist, Eliot Weinberger—who has been named one of the 100
Hullot-Kentor spent many years in graduate school, starting at the Iowa Writers Workshop, then
problems that contemporary visual artists have in figuring out when a work “most innovative thinkers” in the world. Weinberger leads a discussion
doing graduate work in Clinical Psychology and studying philosophy and literature in Europe before
is complete; when it is “done.” The conversation turns to why this problem on the challenges he faced in writing What I Heard About Iraq,
he finished his doctorate, and he has taught at Boston University, Harvard and Stanford. So he isn’t first emerged so drastically only in 20th century art, and what this has to do recognized as an “International Book of the Year,” by the Times Literary
being immodest in pointing out that he has designed the entire program from top to bottom drawing on with why some artists today insist that one can no longer hope to make a Supplement. The discussion becomes a consideration of the long term
his own lengthy experience in the arts and education. “It’s rare — almost unprecedented — to have the “masterpiece.” The idea that “masterpieces” may now be impossible implications of the 9/11 attack and the wars in Iraq and Afghanistan—
chance to make something like this out of whole cloth.” What pleases him most in what he’s designed, seems absurd to one group of students, but the other side of the table and the implications for the situation of artists as well. The students try
I wonder? “That the program makes sense as a whole. The parts illuminate each other meaningfully; insists to the contrary. Looking for answers the discussion turns to to talk Eliot Weinberger into coming back to join them all for dinner
they stand in a dynamically tense relationship to each other. Students will realize this right away. There questions of Cézanne’s unfinished canvases, and whether or not they are one evening soon, only to discover that people who actually make
is of course almost an endless amount to learn in the program, but still it isn’t about setting out to learn “masterpieces.” But what about Chan and Stockholder’s work? Are their things spend considerably less time going out to dinner than one might

everything. It is a matter of gaining a capacity for binding insight. The program wants to provide what works complete; would they hope to make “masterpieces”? imagine. Or, perhaps it turns out differently.

students need for thinking that knowingly, capably, strikes flint on stone. And I have brought together an
…at 3:30 p.m., the composer, pianist and distinguished musicologist,
exceptional group of faculty who are mutually aware of how the year fits together and are interested in
Stefan Litwin returns. Earlier in the week he presented a discussion-
collaborating with each other and with the students.”
performance dealing with sections of T. W. Adorno’s Philosophy of New
What haven’t we touched on? “Lots. But one thing special about the program,” he mentions, “is the
Music. This afternoon he meets with students to talk about the idea of
Graduate Associates. These are students who are advanced in—and sometimes finishing—graduate
musical space, and the transformation of musical space in modern music.
programs in philosophy, sociology, music, history, and studio art. They’ve been invited to participate in Students become curious about the ways in which these developments in
the program because they’re really interesting people and deeply involved in their own studies. They’ll music can, or cannot, meaningfully be compared with spatial transforma-
participate in the different seminars, and they will help students get a sense for where their own work tions in the visual arts. Late in the discussion a student wonders out
might go. It’s important that younger people are part of this faculty.” loud—thinking back to the morning discussion—if the problem of finishing
Hullot-Kentor will draw on the program’s New York City context and location by inviting a remarkable work in the visual arts is also a problem in modern music. Litwin, a
group of visiting artists and lecturers, both senior figures in their fields and key younger contributors. composer, talks about the kinds of problems that he must deal with in just
A few final words? “I’ve said it elsewhere, but at the end of the year, students in the program will this regard, and the ways in which this situation has changed in music since

still recognize themselves in the mirror, but much else will have changed.” the first part of the 20th century.

Critical Theory and the Arts 128 129 www.sva.edu/grad/cta


The Program  The program is unique in presenting the philosophical, sociological, political, art and
social historical contexts with which a student needs to be familiar to meaningfully pursue the questions that the Course Descriptions
contemporary situation of art poses. Society and art are studied in their actual tension, without reducing art to
society, or pretending, narrowly, that society amounts to the world of art. To emphasize this tension, the curricu-
lum is organized between two focal events of the year, the Proseminar—a forum devoted to a critical development
in the arts—and the Serious Times Lecture Series. ¶ Degree candidates are to successfully complete 36 credits
with a cumulative grade point average of 3.0.

Library and Research Resources


Art Theory and Aesthetics I and II The Comprehensive Thesis
The Visual Arts Library contains approximately 65,000 books, 400 current periodical titles and 160,000 The motivating concepts and history of aesthetic theory that continue The MA in Critical Theory and the Arts is completed in the third
slides. Electronic resources supplement these holdings with more than 30 online indexes and databases. These to shape contemporary thought is the focus of these courses. We begin semester with the Comprehensive Thesis. It is the occasion for can-
with a review of the Platonic and Neo-Platonic concerns with represen- didates for the MA to establish meaningful coherence in their year’s
include periodical indexes that allow users to search for magazine and journal articles owned by the library and tation and the social as well as epistemological status of the artwork. work, to continue to develop and integrate their thinking and research,
to access full-text information from more than 17,500 periodicals not found in the physical collection. Electronic An understanding of the developments that led up to Kant allows the to find new problems to investigate, and to sketch out plans for their
class to closely study Kant’s Critique of Judgment, which continues future with faculty and mentors.
resources include jstor. Other resources include image databases and online encyclopedias. In addition to the to be a basic work of reference in all thinking about art. This is fol- Preparation for the Comprehensive Thesis
research materials housed in the Visual Arts Library and the program’s own library, students in Critical Theory lowed by an investigation of the philosophical complex of thought Preparation for the Comprehensive Thesis begins with the student’s
that Kant’s aesthetics spawned in the writings of Friedrich Schiller and application to the program. Prospective students are asked to describe
and the Arts have access to the Bobst Library at New York University and its more than 3 million volumes. G.W.F. Hegel. The first semester aims to provide an historico-philo- the issues, problems, experiences or conflicts that motivated their
sophical undergirding for the theoretical and art historical work that application. On acceptance into the program, students begin to expand
Teaching Assistantships follows. The second semester is an intensive study of contemporary on these motivations, with the intention of developing four topics that
A small number of teaching assistantships is available. thought in aesthetics and art theory that concentrates on the major they craft and assemble in preparation for the summer semester work
developments of the 20th and 21st centuries, including, for instance, the for the Comprehensive Thesis. Students are encouraged to formulate
writings of Phillip Guston, Barnett Newman, Francis Bacon, Willem these topics in a way that builds directly on what they have been
de Kooning and Jacques Rancière. T.W. Adorno’s Aesthetic Theory is intensely studying for two semesters. It is an opportunity to remember,
closely read throughout the second semester. organize and develop important thoughts that have arisen during the
Curriculum year, whether in course discussions, readings, or in the student’s own
The Arts, Their History, and the United States I and II reflections and research. In one of the four topics the student is asked
This year-long course is organized around four studies of consider- to set out plans for future work, whether it is scholarly or artistic, and
FALL Semester Credits SPRING Semester Credits
able importance, heft and renown: Arnold Hauser’s Social History of thoughts about “what is next” in a way that the faculty can be of help
Art Theory and Aesthetics I 3 Art Theory and Aesthetics II 3 Art, Erich Auerbach’s Mimesis, Walter Benjamin’s Origin of German in considering and discussing those plans.
The Arts, their History, and the United States I 3 The Arts, their History, and the United States II 3 Tragic Drama and Alex de Tocqueville’s Democracy in the United Fulfillment of the Comprehensive Thesis
States. Together they provide historically substantive and highly Once a student has completed the statement of the four topics along
Proseminar I  2 Proseminar II 2
nuanced approaches to art, culture and society. In mastering these four with a brief supporting bibliography of the work to be undertaken,
The Serious Times Lecture Series 1 The Serious Times Lecture Series 1 works, students come away with a broad understanding of the entire and a faculty member has reviewed the statements favorably, the stu-
Social Theory, Social Criticism, and the Arts I 3 Social Theory, Social Criticism, and the Arts II 3 history of the visual arts; the single most reputed history of literature dent is ready to spend the final semester preparing research. During
and its techniques from Homer to Virginia Woolf; a penetrating and this period, the student consults with his or her faculty advisor for
unprecedented theory of art—Walter Benjamin’s—that continues to advice and direction. Over the last two weeks of the semester, students
SUMMER Semester Credits
hold a central role in contemporary thought; and knowledge of the present the Comprehensive Thesis through written response to ques-
Comprehensive Thesis  12 most important work written about the United States, whose insights tions formulated as ‘prompts’ on each of the first three topics.
are far from exhausted.

Critical Theory and the Arts 130 131 www.sva.edu/grad/cta


Faculty

Proseminar I and II The Serious Times Lecture Series I and II Robert Hullot-Kentor Ellen Levy
The current topic of the Proseminar is The Convergence of the Arts in Rather than reducing art to society, or society to art, the program in Chair, Critical Theory and the Arts, Master of Arts degree program, Writer
the 21st Century. Critical Theory and the Arts is organized at every point to maintain a School of Visual Arts; Philosopher Education: BA, magna cum laude, Princeton University;
The convergence of the arts may be the most striking aspect of art mutually illuminating dual focus. Thus, along with the Prosesminar, Education: BA, Marlboro College; MA, Goddard College; PhD, MA, Columbia University; PhD, Vanderbilt University
in the late 20th century and the 21st century. Today, artists, almost the Serious Times Lecture Series emphasizes the program’s other focus University of Massachusetts Author: Criminal Ingenuity: Moore, Cornell, Ashbery, and
as a rule, combine their many talents in hybridizing permutations: on social reality. Participants in the series read the work of a guest, Author: Things Beyond Resemblance: Collected Essays on Theodor the Struggle Between the Arts. Contributor, Encyclopedia of the
music is combined with sculpture, architecture with performance art, who leads the discussion. W. Adorno; Ice Flow: Essay and Commentary on David Salle; Terra New York School Poets
photography with painting and video with installation. This involves a In 2012, an election year, a fierce preoccupation with who is win- Infirma: The House that Mowry Baden Built Presentations include: John Ashbery in Paris International
complex dynamic. Because at the same time as the arts are converging, ning and who is losing will obscure the shaping, expression and dis- Editor: Current of Music: Elements of a Radio Theory; editor, Conference, Paris; American Literature Association Conference,
radically modern art has been marked by a strong tendency toward cussion of almost all real problems and concerns. The work of our translator, Philosophy of New Music; Aesthetic Theory; Kierkegaard: Boston; Modernist Studies Association conferences in Victoria, BC;
autonomy: just as the realm of art as such has tended to assert its sepa- seminar is, by contrast, to keep our minds on the hard questions by Construction of the Aesthetic Long Beach, CA; Nashville; University of Chicago; University of
ration from the rest of society, so the various arts have tended to assert asking, “Why doesn’t the United States make social progress?” For Awards and honors include: DAAD; Orion Visiting Artist, Wisconsin, Madison
their distinction from one another. In the first semester, we explore while there is no doubt that considerable technical progress is made, University of Victoria; J. Paul Getty Resident Scholar; J. Paul Getty Publications include: Modernism/modernity; Literary Imagination;
this central dynamic of the arts of our own moment, considering how and while there are certainly achievements in social equality—we External Scholar; Mellon Faculty Fellow, Harvard University and Tikkun; New York Review of Books; Raritan; Parkett; Dissent; The
the imperative toward what Clement Greenberg called “self-definition have an African-American president, for instance, and have ended the Boston University Nation; Critical Texts: A Review of Theory and Criticism
with a vengeance” came to take hold, and how the countertendency military’s “Don’t ask, don’t tell” order—the society itself, as a whole, Awards and honors include: Associate fellow, Robert Penn
toward the mixing of the arts has been shaped and shadowed by the fails to progress. The real problems—why 10 million homes have been Devi Dumbadze Warren Center for the Humanities, Vanderbilt University; Francis
drive toward artistic autonomy. foreclosed, why the jobless recovery, why this is the nation with the Social philosopher, sociologist LeMoyne Page Creative Writing Award, Princeton University; Morris
The discussions involve all aspects of the year’s studies—in social largest prison population, why the continued degradation of the envi- Education: BA, Ivane Javakhishvili Tbilisi State University; MA, W. Croll Poetry Prize, Princeton University
theory, social history, aesthetics, and art history—and become the ronment—are going unanswered. What vantages can we find on the Ruhr-University Bochum
focus for our understanding of the current crises in the arts. Contem- question—“Why doesn’t the United States make social progress?”—in Professional experience includes: Visiting scholar, The New Tom Huhn
porary artists and critics are frequent visitors to help us understand the midst of the election year pressures? And how does understanding School for Social Research; scientific assistant, lecturer, Institute Chair, Art History Department and BFA Visual and Critical Studies
what it is that the arts face today in the struggle to make new work. the structure of these problems help us understand the election itself? for Media Studies, Ruhr-University Bochum; lecturer, scientific Department, School of Visual Arts; coordinator, Honors Program,
Participation in the Serious Times Lecture Series is reserved for stu- editions coordinator, Department of Philosophy and Social Sciences, School of Visual Arts; philosopher; critic
dents in the program and invited guests. Graduates of Critical Theory Ilia Chavchavadze State University of Language and Culture Education: AB, Sarah Lawrence; MA, PhD, Boston University
and the Arts remain permanent members of the lecture series and of Books include: Co-author, Towards Organizational Management: Books include: Imitation and Society: The Persistence of Mimesis
the program’s intellectual community. Manual on Management. Co-editor, Critique of Political Philosophy: in the Aesthetics of Burke, Hogarth, and Kant; The Cambridge
Society, Contract, State II; Knowledge and Critique: Contemporary Companion to Adorno; The Wake of Art: Criticism, Philosophy, and
Social Theory, Social Criticism and the Arts I and II Positions. Translator, Schemezneba da interesi the Ends of Taste; The Semblance of Subjectivity: Essays in Adorno’s
In these courses, the structure of contemporary society is presented and Publications include: Festschrift für Burkhard Mojsisch, Tbilisi; Aesthetic Theory
carefully explicated, drawing on close readings of the seminal texts of Limes: Rivista Italiana di Geopolitica; Netgazeti; Jungle World; Publications include: New German Critique, Art & Text, Oxford
modern social theory and philosophy. Students develop in-depth com- Zeitschrift für Medienwissenschaft; Matsne: Series in Philosophy Art Journal, British Journal of Aesthetics, Art Criticism, Telos,
prehension of contemporary society and of the traditions of thought and Psychology Eighteenth-Century Studies, Journal of Aesthetics and Art Criticism,
that have considered how its antagonistic elements can be explicated Awards and honors include: Open Society Georgia Foundation; Oxford Encyclopedia of Aesthetics, Philosophy and Social Criticism,
and critically presented. The first semester focuses on the fundamental Munich Grant, Goethe-Institut; DAAD; Freedom Support Exchange Art Book
concepts of the founders of sociology in Émile Durkheim and Georg Program, United States Information Agency Curatorial works include: “Ornament and Landscape,” Apex
Simmel and on what distinguishes modern society from other social Gallery; “Still Missing: Beauty Absent Social Life,” Visual Arts
structures as understood by Max Weber and Karl Marx. The second Museum and Westport Arts Center, CT
semester examines particular aspects of contemporary society in light Group exhibition: Triple Candie
of the principal debates in current social and critical theory. We con- Awards and honors include: Getty Scholar; Fulbright Scholar;
sider the interconnection of economic and political forms, of modern First Prize, American Society for Aesthetics Essay Contest; New York
commerce and the state. And we ask how social relations and indi- State Council for the Humanities
vidual comportment are interrelated. What is the function of culture,
media and the culture industry in contemporary society? Readings
include Freud (selections), Adorno’s and Horkheimer’s Dialectic of
Enlightenment, Heidegger’s The Question Concerning Technology and
Luhmann’s The Reality of the Mass Media. The overarching question
is how social structure at once makes the arts possible and no less
structures their crises.

Critical Theory and the Arts 132 133 www.sva.edu/grad/cta


“The program is unique in presenting the
philosophical, sociological, political, art and social
historical contexts with which a student must be
familiar to meaningfully pursue the questions that
the contemporary situation of art poses.”
-Robert Hullot-Kentor
Graduate Associates Guest Lecturers

Jacob Blumenfeld Jeremy Cohan Cory Arcangel Shierry Weber Nicholsen


Social philosopher Sociologist computer programmer, composer, digital artist psychoanalyst, author
Education: BA, with honors, Vassar College; MA, The New School Education: BA, with honors, University of Chicago; Education
for Social Research Certificate, Pace University; New York University Mowry Baden Spyros Papapetros
Conference presentations include: New School Graduate Awards and honors include: Henry McCracken Fellowship, sculptor author
Student Philosophy Conference; Hannah Arendt and Reiner New York University
Schürmann Symposium in Political Philosophy; University of Paul Chan Moishe Postone
Minnesota; CUNY Graduate Center Nora Griffin installation artist; writer historian
Awards and honors include: Dean’s Prize, The New School Painter, writer
for Social Research; Philip Nochlin Prize, Vassar College Education: BA, with honors, Oberlin College; MFA, Columbia Ben DeMott Robert Paul-Wolff
University writer; editor; co-founder, First of the Month philosopher
John Clegg One-person exhibitions: Abaton Garage Gallery, Jersey City, NJ;
Economist, sociologist Fisher Gallery, Oberlin College, OH Martin Jay Jay Sanders
Education: BA, with honors, M.Phil., with honors, University Group exhibitions include: Fisher Landau Center for Art; Janet historian; author curator; writer; editor; co-organizer, 2012 Whitney Biennial
of Sussex; New School University Kurnatowski Gallery; Miriam and Ira D. Wallach Art Gallery,
Professional experience includes: Editorial assistant, Pluto Columbia University; Camel Art Space; Denise Bibro Fine Art; Pace Dani Leventhal Gedi Sibony
Press; researcher, Berlin-Brandenburg Academy of Science; co-editor, Gallery; A.M. Richard Fine Art video artist sculptor, installation artist
Endnotes (UK) Publications include: Brooklyn Rail, Artcritical
Conference presentations include: Marx and Philosophy Awards and residencies include: Dong Kingman Fellowship, Stefan Litwin Jessica Stockholder
Society, Joe McCarney Memorial Conference, London Knowledge Columbia University; CUE Art Foundation; Vermont Studio Center composer; pianist sculptor, installation artist
Lab; Annual Institute on Culture and Society Conference, Portland
State University; Postwar Economy and Culture Conference, University Robert Wood Molly Nesbit McKenzie Wark
of California, Berkeley; Historical Materialism Conference, SOAS, Musicologist author; contributing editor, Artforum; author
University of London Education: BM, University of Rochester; CUNY Graduate Center co-founder, curator Utopia Station Eliot Weinberger
Awards and honors include: Dean’s Prize Fellowship, Presentations include: “Varèse, Contact, Sound,” Yale Graduate
New School University Music Symposium; “Edgar Varèse and the Beyond of Science,” essayist, editor, translator
American Musicological Society, Greater New York Chapter
Award: Doctoral Student Research Grant, CUNY Graduate Center

Tel: 212.592.2172

Contact Us
Fax: 212.592.2168
E-mail: theoryart@sva.edu
www.sva.edu/grad/cta
department site: cta.sva.edu
Come to our Departmental Information Session, or contact us directly to schedule a tour.

All times and locations will be announced online: www.sva.edu/grad/visit.

To register for a departmental information session, please visit our website or contact the
Office of Graduate Admissions at: gradadmissions@sva.edu.

Critical Theory and the Arts 136 137 www.sva.edu/grad/cta


XX We emphasize entrepreneurship as an alternative to conventional practice,
and as a means to raise the level of design expertise and achievement.
XX We teach a broad set of visual, verbal and textual approaches as foundation
for design.
XX We focus on creation to optimize the designer’s abilities to rise to the next
professional level.

As a profession, graphic design weds art and commerce, form and that integrate the best in design and design thinking. The opportu-
content, and aesthetics and function. It began in the late 19th nity to build design skill and confidence through making a unique
century as a service-oriented field with a few visionary practitioners product is in itself a valuable process.
emerging in each generation who set the standards and styles and Students must be fluent in the languages of graphic design and,
established its philosophical underpinnings. For more than a decade particularly, typography, and increasingly more adept in motion and
advances in media have created many new creative opportunities, sound as well. They must be able to explain their ideas verbally
changing the role of graphic designers by forcing them to go beyond and visually, for a good idea is nothing if it cannot be well articulated.
simply framing ideas into content development. Although produc- We do not teach students how to design, but rather how to optimize
tion skills are necessary, graphic designers are increasingly in their abilities to rise to the next professional level. In addition,
demand to contribute original “design thinking” into such fields as we welcome those who have backgrounds in other fields and media.
branding, publishing, editorial, packaging and products. We believe it is important for the designer of the present and future
The floodgates were opened with the advent of the computer; to be thoroughly integrated into many communications platforms,
graphic design has been a component of a larger creative practice ever if only to command the options that are and will be available. Our
since. At this crossroads, designers were given the choice to become students are encouraged to draw inspiration from other visual and
glorified production “artists,” framing and finessing others’ ideas, communication arts that share authorial practices. In this way,
or building upon their expertise, develop concepts integral to the the program has not been restricted to the conventional curriculum.
success of a client’s wares. The mfa Designer as Author program Instead, we embrace a broad set of visual, verbal and textual ap-
was the first in the country to emphasize an entrepreneurial course of proaches as the foundation for student—and professional—activity.
study that raises the level of design expertise and achievement. Our mfa studio is accessible 24 hours a day, and is designed
The quintessential mfa Designer as Author student comes to to simulate an operational design/media firm with spacious work­
this unique program with the desire to extend his or her practices stations that allow for individual and collaborative work. Students
beyond conventional graphic design into distinct realms of content also have unlimited access to high-end editing rooms, a conference
creation. For the past decade we have made students into authors, room, a design library (with 2000 current volumes) and a student-
producers and entrepreneurs of their own ideas. We believe that the run exhibition gallery. Students also direct “Crit,” the graduate
danger in having unprecedented access to new and future media is student design blog, and create websites to showcase our annual
that graphic designers could be edged out of the creative process. exhibitions. The program remains connected to the professional
Authorship and entrepreneurship are viable alternatives and this world while being in the academic one.
program is predicated on the increasing need for designers to apply mfa Designer as Author is tailored for students and profession-
their wits and skills as providers throughout all the visual media— als with backgrounds in graphic design, and we encourage those

MFA Design
from print to digital. with environmental, product, Web, interaction design, film and
The concept of design authorship is, first and foremost, rooted in photography backgrounds who are interested in further develop­ing
the independent creation of ideas. Developing concepts and finding their skills in unique and progressive ways.
the best forms to express and package them through design is
Designer as Author key. Our students are form-givers and thus committed to original- Steven Heller and
www.sva.edu/grad/design ity. The outcome of the program is to develop and promote new Lita Talarico, co-chairs
products of value that are responsive to the needs and wants of a
department site: design.sva.edu society in flux and to contribute objects and campaigns of worth

139
The Five Most Students in the Design program at SVA aren’t taught by “those who can’t” types; they’re led by legends. We asked celebrated

Important Things
graphic designer, New York magazine co-founder and sva acting chairman Milton Glaser: What are the five most important things
designers learn in school? 

1. While it may not be like studying art history, design has a long 4. Hold your beliefs lightly and remember that belief is usually

You’ll Learn
and illustrious past—from the Vienna Secession to the Private a sign of a closed mind. Examine your assumptions and never stop
Press Movement—that goes back far more than 10 or 20 years. re-examining them.
This will help you build your awareness of the meaning of forms.

About Design
5. Be generous with ideas. They are meant to be given away and
2. You’ll learn both to make things clear and the nature of ambiguity, shared. Ideas are not property—you can reap great benefits when
and that using both can help you communicate. they’re experienced and used by others. In our society, our notion
of the personal ownership of ideas becomes a great hindrance to
Faculty Profile: 3. Style should come out of expressive content, and not as an our sense of a common purpose.
Milton Glaser addition or an outside idea; it isn’t opposed to content, it emerges
from it. It’s not just a layer added on afterwards.

A study for a 3D puzzle,


designed by Mr. Glaser,
later manufactured by
George Beylarian.

Milton Glaser, the foremost artist and designer


in his field, has been with SVA since 1960.
Mr. Glaser’s exciting and innovative work has
earned him an international reputation.
Glaser continues to work to this day in his East 32nd Street office in
Manhattan. He once said of his profession, “I have always believed
that there is a psychological and ethical difference between those
who make things and those who control things.… Linking beauty
and purpose can create a sense of communal agreement that helps
diminish the sense of disorder and incoherence that life creates.”
Explaining Yourself
Scott Stowell (standing) teaching his
class, Explaining Yourself. Stowell is
the proprietor of Open, an independent
design studio in New York City.
Stowell has students share a
personal aspect of their lives
through information graphics.
Students are required to chart
or graph key moments in their
lives using scientific means. 
The MFA Designer as Author studio was designed to replicate
chair interview (and in its own way is) a professional design firm. Each student has a

Steven Heller and


workstation that is wired for the latest technologies. In addition to
individual projects, the open environment encourages collaboration.

Lita Talarico
While classes are held in two classrooms and one conference room,
the studio is continually abuzz with individual and group activity. Students
have 24 hour access, seven days a week, to all the facilities. And many
“I knew Lita from when we worked together at American Illustration,” explains Steven Heller. use this secure space as their second home. 

“But co-chairing the program was kismet; we ran into each other, I asked her whether she was looking
for a new job, she said yes, and we’ve been working closely ever since.” “Everything I’d done in my
career in New York led to this job,” Lita Talarico confirms. “I have taught in design programs and
have worked as a design and architecture consultant, organized conferences, and coordinated architect
selections, all of which equipped me for this role. Ten years on, the program remains exciting and

On any
continues to move forward.”
“No one was doing anything like this program when we started,” Talarico continues. “You have
to wait a few years to see how things really work, and we’ve found by now that graduates have been

given day...
“The program is extremely happy with what they’ve received from the program. A large number of them are working in
very clear and jobs directly related to their studies—even though they’ve also learned to be very independent-minded.”
very structured. “When we began,” Heller recalls, “there was a buzz about something called the ‘designer as author.’
It’s about being a Magazines like Eye were publishing intelligent design writing and Print had a critical column, which
practitioner and I helped found, called ‘Cold Eye.’ So our idea was that if designers were going to be writers, they could
creating something also be auteurs. The program suggests that if designers can write and think academically, then they
of value…” can apply these skills commercially. I wanted an mfa that wasn’t overly theoretical, but which raised In the 24/7 MFA Design studio students arrive early—assuming they
the educational bar and was about entrepreneurial thinking too. We decided that our thesis projects— ever left the night before. Their day starts by working on assignments.

and this is key to the whole enterprise—should result in products that the designer could actually take Today, the first-year students scurry to finish off a Milton Glaser poster
advocating an act or event that will impact their neighbors in the City; the
to market. Students must find an audience for their ideas, determine a need, create a value, and get them
second-year students finish preparation for the next stage of their thesis
out into the world.” “The program is very clear and very structured,” adds Talarico. “It’s about being
by preparing pitch presentations to the thesis consultant faculty.
a practitioner and creating something of value, even if it isn’t aimed at a mass audience.”
“Endemic to everything we do,” Heller explains, “is the play principle, Paul Rand’s idea that designers
Time for reflection and peer review is an important part of their process,
play with form as well as create it, and work both rationally and instinctually. Designers solve puzzles,
yet tackling the deadlines at hand fill their early afternoon hours.
and sometimes they do that by throwing spaghetti against the wall and seeing what sticks. Graphic design
is an essential rubric too, but we deliberately omitted the word ‘graphic’ because we were aiming at a In the late afternoon, students attend a weekly guest speaker session.
more integrated program. We encourage students to do things that work in motion on screen and in the This week it is Michael Bierut, who hosts the class at his Pentagram office.
three-dimensional world, as well as in print.” Maira Kalman is also giving the first part of her New York Stories class,
Talarico describes one course that demonstrates this unique approach: “New York Stories is a delight- where students create stories about their favorite New York characters.
ful class,” she smiles. “It started in a Greenwich Village nursing home, where each student got to work
on a design project that reflected a patient’s life. Another project involved students packing life stories First-year students return to the studio just in time to polish off their

into suitcases. And one year they baked cakes…. Every time, I just know it’s going to be one of the most assignments, then a three-hour class in which intensive crits are the order
of business. An exhausting but exhilarating day.
interesting experiences that those students will have. There’s always some amazing twist.”

Design 148 149 www.sva.edu/grad/design


SVA Spaces
The main studio contains 45 workstations
for 40 students and visiting faculty. Students
have access to the lounge, editing room,
departmental library and gallery spaces. 
The Program  In the first year of the program, students are given advanced instruction in a variety of
authoring skills such as writing, editing, criticism, typography as a visual language, film and new media directing, The Design
visual journalism, and book and magazine publishing. Along with these skills-based courses, classes in marketing,
research, advertising, promotion, publicity, intellectual property and networking will be offered. ¶ The goal of the
Entrepreneur Thesis
second year is product-oriented. Participants are required to devise and develop a viable idea for a specific market. The sva mfa Design thesis requires that students prove that a well-designed
Students will write and design a proposal for a product that will be presented to a panel of guest faculty who will product of their own conception and making is viable for a mass market or limited
decide whether it has enough merit to progress to the developmental stage. At the developmental stage, students will audience. The students determine what the product will be. They develop the con-
produce a prototype for backers, publishers, producers or distributors. This final proposal, dummy or prototype tent. They create the form, framework and selling materials. They make it unique
will be professionally produced for presentation purposes. Typographic expertise is key to course completion. ¶ through a combination of creativity and marketing savvy. The thesis can be anything
The core faculty consists of distinguished contributors to the field of design and is supplemented by faculty from from a physical product to a print or motion campaign, and more. Functionality,
the fields of graphic design and multimedia. Lecture series, guest speakers and off-site visits to studios and firms usability and salability are key. The goal is to be practical yet novel, accessible yet
are regularly scheduled throughout the academic year. ¶ Degree candidates must successfully complete 60 credits, unprecedented. This is not easy to achieve. To earn the Master of Fine Arts degree, it
including all required courses, with a cumulative grade point average of 3.0. A residency of two academic years is is expected that the thesis be produced at the highest level of design standards.
required. In the final semester, each student completes a thesis, which must be reviewed and approved by the thesis
advisor and the department co-chairs in order for the student to be eligible for degree conferral.

Where Are They Now?


Alumni of the mfa Designer as Author program work at some of the most
Sample Program significant design firms and businesses in the country. Here is a partial list:

first year Ande La Monica Johnson & Johnson Random House


FALL Semester Credits SPRING Semester Credits Arnell Group Khiel’s Real Simple magazine
Can Design Touch Someone’s Heart? 3 The Book—From Idea to Package 3 Bloomberg KidRobot RED: Rogers Eckersley
Design and Intentions 3 to Consumer Bloomberg Media L’Oreal Design
Designing in Three Dimensions 3 Crossing Disciplines: Authorship and 3 Brooklyn Botanical Garden Landers Miller Rizel Studio
Just Type 3 the Web—New Venues, New Ideas Buchanan-Smith LG Shu Uemura
Paul Rand Lecture Series 0 Explaining Yourself 3 C&G Partners Loaded Barrel Studios Spoolia Design
Writing and Designing the Visual Book 3 New York Stories 0 Carbone Smolan Louise Fili Ltd SpotCo
Thesis Introduction 3
Cheil Worldwide (Samsung) Martha Stewart Omnimedia Tarek Atrissi Design
Three-Dimensional Product Reality 3
Citizen Scholar Men’s Vogue Target
Comedy Central Metropolitan Museum of Art TAT Studio
second year El Jefe Design Milton Glaser, Inc. Trix & Me
FALL Semester Credits SPRING Semester Credits Empax MTV Trollback+Co
Intellectual Property and the Law 3 Seminars3 ESI Design Mucca Design Victoria’s Secret
Introduction to Design Criticism 3 Thesis Consultation (Pitch and Presentation) 3 ESPN Museum of Modern Art Wolfsonian Museum
Seminars  3 Thesis Consultation (Production) 6
Findyourcraving.com New York City Ballet
Thesis Consultation (Preparation, Research and Writing) 6 Thesis Video Installation 3
Food & Wine magazine The New York Times
Funny Garbage Nick Jr.
Future Brand Nokia
GamersFirst/K2Network Number 17
Harry N. Abrams NYC+Company
I.D. magazine Ogilvy
Issac Mizrahi Open
Jazz at Lincoln Center Pentagram
Jennifer Panepinto, LLC Pixelmedia Inc.

Design 152 153 www.sva.edu/grad/design


Course Descriptions Professional Opportunities
MFA Design students are given a first-year exhibition in the
SVA Gallery as well as small student-curated shows in the MFA
Design Gallery. In addition, students exhibit their work on
the department’s website. At the conclusion of the program, a
thesis video installation is mounted at the Visual Arts Gallery
to which members of the design field are invited.
Students and graduates have won the following awards
and competitions: International Contemporary Furniture
Fair, Critique, Art Directors Club, :Output, CMYK,
The BOOK—From IDEA TO PACKAGE TO CONSUMER Explaining Yourself New York Stories Guttenberg Global competition, Print, Aquent design award,
The student as author of a book (and related products) is the goal How do you use design to tell engaging stories? How can you help In this collaborative workshop, each student will select an individual Nagoya International Design Competition, Type Directors
of this course. A range of book and product formats and genres will people understand something new and communicate clearly and/or and tell his or her story in a variety of design media. Students will be Club, Adobe Design Achievement Awards, Sappi, Gracie
be discussed, including illustrated books, children’s books, interac- appropriately—both in your work and about your work? This isn’t a required to develop a humanistic interpretation of their subject. Some Allen Awards, Grammy, Housewares Design Contest and
tive and non-illustrated books, as well as calendars, stationery and public-speaking course, but you’ll do some. This isn’t an information- classes will take place off campus.
the $25,000 Buck Scholarship.
other product spin-offs. The “book” will be discussed and scrutinized design course, but you’ll make some. And it isn’t a portfolio course,
Students and alumni have had interviews, articles and
from editorial conception to design to production to the marketplace. but you’ll think about your work and how others experience it. During Paul Rand Lecture Series 
designs published in I.D., Step Inside Design, The New York
Throughout the course, students will develop a commercial book, the course, we’ll work on projects with different sets of constraints, These lectures address various aspects of the history of graphic design
Times Magazine, illywords, AIGA Journal, Print, Graphis,
providing all content, as well as creating related ancillary products. hear from guest speakers with different points of view, and think over the past 150 years, including movements, pioneers and icons as
Creating a proposal to “sell” or pitch the book to a prospective pub- about speaking to different audiences through (and about) design. well as issues and events. Lectures focus on 19th-century premodern Metropolis, Crain’s, HOW, Interior Design, Glamour and
lisher is included. practice, early and mid-20th-century orthodox modernism and late GOOD. Their work has appeared on UPN, Oxygen, Extra,
Intellectual Property and the Law 20th-century postmodernism. Themes include racism and design, sym- Today, ABC Eyewitness News, Fox 5, Nick Jr. and Daily Candy.
Can design touch someone’s heart? The general concepts of law and intellectual property law as they apply bolism and the swastika, type and culture, politics and propaganda, MFA Design students have worked at Pentagram, Doyle
It is widely assumed that movies, literature and music get to our emo- to the practice of design will be examined, including basic legal issues modernism and Art Deco, and avant-garde magazines of the 20th Partners, Sagmeister, The New York Times, Kid Robot, Open,
tional core. At the same time, it seems to be more difficult for design of contract and property law, within the creative context. Among the century. Students are expected to engage in critical and analytical dis- SpotCo, Number Seventeen, Milton Glaser, Inc., Trollbäck
to achieve that same effect. In this course, students will explore how to topics explored will be the work-for-hire agreement, the consignment cussions that relate design history to current communication practices. + Company, Bloomberg, Funny Garbage, FSG and Random
achieve this with three individual assignments. agreement and the agency agreement. The law of copyright, trademark House, among others.
and patents will also be explored. Issues such as registering a copyright, Seminars
Crossing Disciplines: Authorship and the Web—New Venues, copyright infringement, registering a trademark and trade dress infringe- To enrich the program and bring students into contact with a
New Ideas ment and patents (in particular, design patents) will be examined from significant number of working professionals, a series of workshops will Thesis Introduction
This course will present students with the challenge of authoring a the perspective of the professional designer. In addition, design and be scheduled each semester. Seminar topics will change from year to This course will introduce students to faculty thesis consultants who
strong Web experience. Focusing on how content can be handled effec- information issues presented by new technology, such as the Web, will year, based on student interest and shifts in the overall field. will offer exercises that are designed to initiate research and develop-
tively, students will work on a semester-long project that will take them be included throughout the course. ment and jump start a conceptual process for the thesis project. By the
through all phases of producing a website—pitching ideas, making an Thesis Consultation (pitch and presentation) end of the course, students will have identified at least two areas of
information architecture document, gathering content and site naviga- Introduction to Design Criticism In this intensive course, students will develop a viable and professional interest that will be further explored as the final thesis.
tion. The final project will be an Adobe Flash/HTML hybrid and will be The purpose of this course is to introduce students to the complex pitch book to use as a tool to bring their thesis product to potential pro-
presented as a real pitch. Guest lecturers will share their experiences of issues and ideas that are essential to understanding what is happen- ducers, investors and the market. In addition, they will be given tutorials Three-Dimensional Product Reality
creating and working in the interactive realm. ing in the graphic design field today. The course is designed to give on how to deliver a verbal pitch to potential backers and clients. A course devoted to the how in the question: How do I begin to cre-
students the linguistic tools they will need to decipher the various and ate a “prototype” model of my product idea? This course will devote
Design and Intentions often conflicting cultural, philosophical, historical and political trends Thesis Consultation (Preparation, Research and Writing) attention to each student’s product prototype and its development.
Structured to help students examine their assumptions about their that impact the way we think about design. Among the topics we will This course will assist students in the preparatory research to identify By exploring different materials available and demonstrating methods
work, this course begins with a restaurant project, where many design explore are arcane subjects such as semiotics, structuralism, Marxist a product suitable for full-scale development. The semester is divided of working with those materials, students will reach the final goal of
considerations intersect, such as communication, service, interior theories and postmodern analysis, as well more pragmatic fields of into proposal writing and editing; designing; marketing options; busi- a finished product.
spaces, lighting, color and comfort. The course continues with a series inquiry such as branding, marketing, visual research and brainstorming ness plan conception; e-commerce and e-ideas; material research and
of exercises that intends to disrupt or support the students’ working techniques. Though this course deals with abstract theories, it is hands- development; and media exploration. In addition, there will be numer- Writing and Designing the Visual Book
methods. Ultimately, the objective is to develop an awareness of what on, interactive and practical, with constant references to how the ideas ous off-site visits to related exhibitions and resource centers, discus- This course combines design and literature to create integrated and
they are already doing. discussed in class can help students shape their thesis projects and sions on the theory of design and the making of design objects, as well meaningful expression. Students will develop their creative writing
transform them into viable products. as advice on producing a viable and marketable thesis project. The end skills through a sequence of exercises in continuous writing, obser-
Designing in Three Dimensions result is a written, edited and designed proposal book. vational writing, titling objects and images, theatrical improvisation,
Designing with honesty and passion is what makes a project success- Just Type storytelling, writing from different points of view, structuring a narra-
ful. In this interactive course, we will explore the development of Just Type is an exploration of contemporary and classic typefaces that Thesis Consultation (Production) tive, and reworking and editing. Selected texts from writing exercises
product concepts. With a series of benchmarks, students will pitch students will apply to 10 short projects over the course of the semester. With the aid of a faculty advisor, students will complete a thesis proj- are then set into a variety of book formats using any combination
their ideas, research the respective markets and create prototypes Every week, students will be given a font to research and work with on ect ready to be marketed. Students will be required to make a final of typography, images and symbols. Emphasis is placed on finding
as their final designs. a specific project. In some cases, students will work on cutting and past- presentation to the thesis committee for its approval. a visual form that emerges out of the meaning, feeling and inherent
ing printouts during class. At the end, a type catalog of the fonts used shape of an original text. Historical and contemporary examples of
will be compiled with class projects shown as examples of the typefaces “visual text” will be presented.
in action. There will be no images, color or devices used—just type.

Design 154 155 www.sva.edu/grad/design


Faculty

Steven Heller, co-chair Lita Talarico, co-chair Brian Collins Keith Godard


Special assistant to the president, School of Visual Arts; program Writer, design and architectural consultant Chairman, chief creative officer, COLLINS: Graphics and exhibition designer
co-founder, MFA Design Criticism Department, School of Visual Arts; Education: BA, Empire State College; MFA, School of Visual Arts Professional Experience: Former chairman, chief creative offi- Education: BFA, London College of Printing and Graphic Art;
editor, Voice: AIGA Online Journal of Graphic Design; contributing Professional Experience: Advisor, design competition/Charrette, cer, Brand Integration Group, Ogilvy & Mather Worldwide; founder, MFA, Yale University
editor: Print, Eye, Baseline, I.D.; contributing writer: Metropolis, U.S. Port of Entry at Massena, NY; architect selection consultant: Designism: Design for Social Change, Art Directors Club Exhibitions include: Lubalin Center Gallery, The Cooper Union;
Grafik, Step; Visuals; columnist, The New York Times Book Review. Cleveland Museum of Art, National World War II Memorial Design Clients include: BP, Coca-Cola, Hershey Foods, NYC 2012, Rosenwald-Wolf Gallery, University of the Arts, Philadelphia; Musée
Formerly, art director, The New York Times Book Review Competi­tion; project director: Whitehall Ferry Terminal Design Mattel, Tribeca Film Festival, Motorola, American Express, Johnson des Bastides, France
Education: New York University, School of Visual Arts Competition; Pritzker Architecture Prize Annual Jury Meeting; proj- & Johnson, Kodak, Lionsgate Films, New York Public Library, Dove, Clients include: United Nations, Bank of America, J. Paul Getty
Books authored, co-authored or edited: More than 100 ect coordinator, Italian Manifesto Confer­ence, International Design Rainforest Alliance, Al Gore’s Alliance for Climate Protection Museum, Metropolitan Transit Authority, University of Virginia,
books on graphic design, illustration and political art, including Paul Conference in Aspen; advisory board member emeritus, Adobe Books include: Brotherhood, The Ecology of Design Unicef, Empire State Building
Rand; Merz to Emigré and Beyond: Avant-Garde Magazine Design Partners by Design; visiting scholar, American Academy in Rome Publications include: The New York Times, Wall Street Journal, Author: This Way That Way, Sounds, Glue Glue, Holdup, Itself,
of the Twentieth Century; Design Literacy: Understanding Graphic Publications include: Co-author, Design Career: A Practical Los Angeles Times, USA Today, Fast Company, Business Week, Spacescape, Make Your Own Museum, A Little Night Book
Design, Second Edition; Handwritten: Expressive Lettering in Guide for Beginning Illustrators and Graphic Designers; Design Architecture, Graphis, Print, I.D., Creativity Publications include: Signs and Spaces; Baseline; Masters of the
the Digital Age; The Education of a Typographer; Graphic Design Schools Confidential; Design Entrepreneur; co-editor, Graphis Awards include: AIGA; I.D.; Graphis; Communication Arts; 20th Century; Typojanchi: Seoul Typography Biennale; Idea; All Men
History; Graphic Style: From Victorian to Postmodern; Typology: Publica­tion Design; associate editor, New York Observed, Art Print; Type Directors Club; Art Directors Club; The One Show; Are Brothers (Designers Edition, China)
Type Design from Victorian to Postmodern; The Education of a Against War. Formerly, reporter-at-large, Italian Design, Graphis; Fast Company Peak Performer in American Design; Distinguished Collections include: Library of Congress; Museum of Modern
Graphic Designer; Italian Art Deco: Graphic Design Between the founding managing editor, American Illustration & Photography Alumni Award, Massachusetts College of Art & Design; National Art; Cooper-Hewitt, National Design Museum; Bibliothèque
Wars; Faces on the Edge: Type in the Digital Age; French Modern: Organization for Women, the Dove Campaign for Real Beauty Nationale, Paris
Art Deco Graphic Design; Euro Deco: Graphic Design Between the Gail Anderson Awards include: Gold Award, Graphis; World’s Most Memorable
Wars; Cuba Style; The Savage Mirror: The Art of Contemporary Education: BFA, School of Visual Arts Milton Glaser Poster, UAI; Bronze Medal, Czechoslovakia International Graphic
Caricature; Texts on Type; Graphic Humor: The Art of Graphic Books include: New Vintage Type; Graphic Wit: The Art of President and creative director, Milton Glaser, Inc.; acting chairman Design Exhibition, Brno; member, Alliance Graphique Internationale
Wit; Citizen Designer; Seymour Chwast: The Left-Handed Humor in Design; The Designer’s Guide to Astounding Photoshop of the board, School of Visual Arts. Formerly, co-founder, Push Pin
Designer; Innovators of American Illustration; Art Against War; Effects; American Typeplay; The Savage Mirror: The Art of Studios; co-founder, New York magazine Martin Kace
The Push Pin Graphic: Twenty Five Years of Design and Illustra­tion; Contemporary Caricature Education: The Cooper Union; Academy of Fine Arts, Founder, CEO, Empax.org; CEO, Bakunin Brothers; owner,
Stylepedia: A Guide to Graphic Design Mannerisms, Quirks, and Publications include: Step Inside Design, DesignNet (Korea), Bologna, Italy co-founder, Area Inc.
Conceits; The Anatomy of Design: Uncovering the Influences and Identity (Russia), Show People, Paper, Graphic Arts (U.K.), Baseline Graphic and Architectural Commissions: “I Love NY” Education: BA, Hebrew University; MA, M.Ed.,
Inspirations in Modern Graphic Design Collections include: Cooper-Hewitt, National Design Museum; logo; complete graphic and decorative programs for the World Trade Columbia University
Curatorial works include: “Simplicissimus, Germany’s Most Library of Congress Center restaurants; design of the Observation Deck for the World Professional Experience: Branding advisor to President Shimon
Influential Satire Magazine,” Goethe House; “Political Art, Ten Years Awards and honors include: AIGA, Society of Publication Trade Center; redesign (architectural, interior, packaging and adver- Peres of Israel; CEO, Joe Boxer Corp.; CEO, Phat Farm
of Graphic Commentary,” AIGA; “Typographic Treasures, The Work Designers, Type Directors Club, Art Directors Club, Communication tising design), Grand Union supermarket chain; redevelopment of
of W.A. Dwiggins,” ITC Center Arts, Print, Graphis the Rainbow Room complexes, Rockefeller Center Management Maira Kalman
Introductions and forewords: Tibor Kalman; Rebelling Corporation; design of an international AIDS symbol, World Health Author, illustrator
Against Rockwell (Pictures for the American People); Barbara Ken Carbone Organization; logo for Tony Kushner’s Pulitzer Prize-winning play, Education: New York University
Kruger: Graphic Designer; Alex Steinweis; American Advertising of Partner, Carbone Smolan Agency Angels in America; identity and interior elements, Rubin Museum of Professional Experience: CEO, vice president
the 30s, 60s, 70s, 80s Education: BFA, University of the Arts Art and the SVA Theatre. More than 400 posters for clients, including: and secretary, M&Co; art associate, National Lampoon
Awards and honors include: Special Educators Award, Art Professional Experience: Signage and wayfinding systems, Le Carnegie Hall, World Health Organization, Lincoln Center Clients include: Museum of Modern Art, Kate Spade, Mark Morris
Directors Club; AIGA Medal for Lifetime Achievement; National Louvre, Paris; identity program, Sesame Street Workshop; international Exhibitions include: Cloister of Voltorre, Varese, Italy; Nuages Dance Group, Isaac Mizrahi, Vitra, The New Yorker, The New
Endowment for the Arts; Hershel Levit Award, Pratt Institute; display system, Tiffany & Co.; global prototype retail environment, Gallery, Milan; The Atelier; Gallery 138; Avram Gallery, Stony York Times
Outstanding Client Award, Graphic Artists Guild; Masters Series HMV Record Stores; worldwide identity and display system, Christie’s Brook Southampton, NY; Museo Civico di Palazzo Chiericati, books include: Max Makes a Million; Fireboat; What Pete Ate
Award, School of Visual Arts Clients include: Morgan Stanley, Quick & Reilly, Musesum Vicenza; Galerie Martel, Paris; Emzin Institute of Creative from A-Z; (un)FASHION, with Tibor Kalman; The Elements of Style
website: www.hellerbooks.com of Modern Art, Hartford Stage, Woodruff Arts Center, High Production, Slovenia; Society of Illustrators. One-person exhibi- Illustrated; Principles of Uncertainty
Museum of Art tions include: Museum of Modern Art; Art Institute of Boston; One-Person Exhibitions include: Ginza Gallery, Tokyo; Children’s
Philadelphia Museum of Art; Centre Georges Pompidou, Paris Museum of Manhattan; Julie Saul Gallery; Armory Show; Normal
Allan Chochinov Publications include: Graphic Design, Art is Work, Rockwell Museum, Stockbridge, MA
Partner, Core77; editor in chief, Core77.com Drawing is Thinking
Education: BA, University of Toronto; MID, Pratt Institute Awards include: 2010 National Medal of Arts, awarded by the Jennifer Kinon
Professional Experience: Editor in chief, Coroflot.com, National Endowment for the Arts; Hall of Fame, Art Directors Club; Founding Partner, OCD
DesignDirectory.com Illustrators Hall of Fame, Society of Illustrators; Fulbright Scholarship; Education: BFA, University of Michigan, Ann Arbor;
Clients include: Herman Miller, A.C. Nielsen, Kodak, Oral-B, Honorary Fellow, Society of Arts, England; Augustus Saint-Gaudens MFA, School of Visual Arts
Federal Express, Johnson & Johnson, Crunch Fitness Award, The Cooper Union; Masters Series Award, School of Visual Professional experience: Senior designer, Pentagram; art direc-
Awards and honors include: I.D., Communication Arts, Art Arts; AIGA; Urban Visionary Award, The Cooper Union; Cooper- tor, Graphis; design director, NYC2012, New York’s Olympic Bid
Directors Club, The One Show Hewitt Lifetime Achievement Award. Honorary doctorates: Moore Committee; brand consultant, Martha Stewart Living Omnimedia, Inc.
College of Art; Philadelphia Museum School; School of Visual Arts; Clients include: Saks Fifth Avenue, IMG Fashion Week, Gehry
Minneapolis Institute of Fine Art; Queens College; Accademici Architects, New York Jets, Museum of Sex, Stanton Shade Inc.
Clementi, Bologna; Royal College of Art, London

Design 156 157 www.sva.edu/grad/design


Warren Lehrer Andrew Pratt Scott Stowell
Deborah Buck

Lecturers
Seminar
Designer, typographer, author, performer Creative director, Funny Garbage; owner, creative director, Proprietor, Open
Education: BFA, Queens College; MFA, Yale University Andy Pratt Design Education: BFA, Rhode Island School of Design owner, president, Buck
Books and plays authored and designed: Crossing the Education: BFA, Rochester Institute of Technology Professional experience: Art director, Colors Magazine; House and The Gallery at
BLVD: strangers, neighbors, aliens in a new America; The Portrait Clients include: Bloomberg, Cartoon Network, CBS, Crayola, senior designer, M&Co.
Series: a quartet of men (Brother Blue, Charlie, Nicky D. from FedEx, Lego, National Geographic Kids, Noggin, Star Trek, Teen Clients include: American Museum of Moving Image, art:
Buck House
L.I.C., Claude); FRENCH FRIES; versations; I mean you know; Nick, PBS Kids, Smithsonian Institution, Turner, Veer, Viacom, 21, Bravo, EarthAction, MTV, The Nation, Nick at Nite, PBS, Stephen Doyle
GRRRHHH: a study of social patterns; TYPE DREAMS; A Tattle Wenner Media, Xerox Smithsonian Folkways Recordings, Trio, Wieden + Kennedy
Tale; Denial of the Fittest; The Whole K’Cuffin World; Social Publications include: Becoming a Graphic Designer: A Guide to Publications include: Creative Review (UK), Critique,
creative director,
Security; the life and times of Eugene Soloman; The Search for IT Careers in Web, Video, Broadcast, Game and Animation Design Communication Arts, Eye (UK), Grafik, HOW, Metropolis, Doyle Partners
and Other Pronouns Awards include: Gold and silver Mark Awards; Emmy Award; I.D., +81 (Japan), Print, STEP Inside Design
Collections include: Museum of Modern Art; Los Angeles County Global Media Award; Webby Award; “Top 50 Websites,” Time; Awards and honors include: American Center for Design,
Louise Fili
Museum of Art; Museum of Fine Arts, Boston; Walker Art Center, Creativity; Print Regional Design Annual; Interactive Media Award; AIGA, Art Directors Club, Broadcast Designers Association, Type designer and president,
Minneapolis; Centre Georges Pompidou, Paris; Tate Gallery, London; Communicator Award Directors Club, Society of Publication Designers Louise Fili, Ltd.
Jean Brown Archive; Franklin Furnace Archive; Yale Art of the Book Website: www.andypratt.net
Room; Philadelphia Museum of Art; Getty Museum, Los Angeles; The Véronique Vienne Edwin Schlossberg
Sackner Collection Howard W. Reeves Writer; creative director; president, Young Vienne, Inc. president, ESI Design
Awards and honors include: National Endowment for the Arts; Senior vice president, publisher, Abrams Books for Young Readers, Education: École des Beaux-Arts, Paris
New York State Council on the Arts; New York State Foundation Amulet Books Professional experience Includes: Contributing editor,
on the Arts; Ford Foun­dation; Puffin Foundation; AIGA; Prix Ars Education: BA, Wake Forest University House & Garden; creative director, Cato Gobe; director of busi-
Electronica; Type Directors Club; Rockefeller Foundation; Greenwall Professional experience: Alfred A. Knopf, Inc.; Buena Vista ness development, Yves Saint Laurent Parfums, NY; founding art
Foundation; Furthermore Foundation; NY Book Show Best of the Best Publishing; Rizzoli International Publications, Inc. director, Parenting; founding editorial director, Mode; art direc-
Award; Media That Matters Award Awards for books edited: Caldecott Honor Book; Michael L. tor, Interiors, Image, Self
Printz Honor Book; gold and silver medals, Society of Illustrators; Author: The Art of Doing Nothing; The Art of Imperfection;
Frank Martinez Silver Medal, Parents’ Choice Award; The New York Times Best The Art of Growing Up; The Art of Expecting; Something to
Trademark attorney, The Martinez Group Illustrated; Coretta Scott King Honor Book; Art Directors Club; Be Desired: A Collection of Essays on Design; Chip Kidd, a
Education: BFA, Pratt Institute; JD, Hofstra University Boston Globe/Horn Book Award; AIGA 50 Best Books; ALA Notable Monograph
Professional Experience Includes: Design patent examiner, Books; Reading Magic Award, Parenting magazine National Parenting books edited and co-edited: Fresh Dialogue Three;
United States Patent and Trademark Office; design production direc- Center Seal of Approval Fresh Dialogue Four, New Voices in Graphic Design; Citizen
tor, The Schechter Group, Landor Associates Designer: Perspectives on Design Responsibility; The Education
Publications include: Regular contributor, I.D., Print Stefan Sagmeister of an Art Director
Graphic designer, founder, Sagmeister Inc. Publications Include: Martha Stewart Living, Town &
Kevin T. O’Callaghan Education: MS, Pratt Institute; MFA, University of Applied Country, House & Garden, InStyle, Mirabella, Redbook, Spa
Chair, 3D design program, BFA Advertising and Graphic Design Arts, Vienna Finder, Metropolis, Graphis, Print, Communication Arts, Eye,
Department, School of Visual Arts; 3D designer and illustrator; princi- Professional Experience: M&Co; creative director, Leo American Photo, AIGA Journal, Etapes Graphiques
pal, O’Callaghan & Co–Art for the Film Industry Burnett Hong Kong; art director, Sagmeister Graphics; designer,
Education: BFA, School of Visual Arts Schauspielhaus Vienna; designer, ETC. magazine, Vienna Ada Whitney
Clients include: MTV Networks, Toyota, Warner Brothers Clients include: Rolling Stones, David Byrne, Aerosmith, Lou Reed, Co-founder, creative director, Beehive. Formerly, director,
Records, A&E Networks, The History Channel, ABC Pictures Pat Metheny, Muir Cornelius Moore, Parham Santana designer, Broadway Video
Publications: People, US, Graphis, Playboy New York, The New Publications include: Rolling Stone, The New York Times Education: BA, Beloit College
York Times, Washington Post, Chicago Sun-Times Awards and honors include: More than 200 design awards, Clients include: HBO, Showtime, ABC, ESPN, HGTV, PBS,
Curatorial Work includes: “Skeleton,” Whitney Museum including: The One Show; Art Directors Club; Communication Arts; Disney, Nickelodeon, MTV, NBC, Spike, AMC, TNT, Comedy
of American Art; “What Makes Them Tick?” Art Directors Club; D&AD; Grand Prix, Moscow Art Directors Club Hall of Fame Central, Quicksilver, Sundance, Time Warner Cable
“YUGO Next,” traveling exhibition; “The Turn of The Century: Exhibitions include: PS122 Gallery; Executive Gallery;
A Carousel,” traveling exhibition to Grand Central Terminal, Union Jeff Scher A.I.R. Gallery; Hallwalls Contemporary Arts Center, Buffalo,
Station, Washington, DC, and Union Station, Chicago Experimental filmmaker NY; P.P.O.W. Gallery; P.S.1 Contemporary Art Center;
Awards include: Distinguished Artist-Teacher Award, School of education: BA, Bard College; American Film Institute Civilian Warfare
Visual Arts Films include: Whiplash, a film by Warren Sonbert, completed after Publications include: Res, Communication Arts, Shoot,
the filmmaker’s death; Yours; Trigger Happy; Bang Bang; Turkish Millimeter, Film & Video
Traffic; Stand Clear of the Closing Doors Awards include: Gold Award, International Monitor;
exhibitions include: Museum of Modern Art, Solomon R. Promax; Broadcast Design Association; Print; Art Directors Club;
Guggenheim Museum Communication Arts; Type Directors Club; Creativity
Collections include: Museum of Modern Art, Academy Film
Archives, Pacific Film Archives

Design 158 159 www.sva.edu/grad/design


Guest Lecturers
and Advisors

Kurt Andersen Hillman Curtis Robbin Gourley Julie Lasky Mark Randall Fred Seibert Jakob Trollback
Studio 360, WNYC, New York Hillman Curtis, New York Farrar Straus Giroux, editor, Change Observer World Studio, New York Frederator, New York Trollback and Company,
Philippe Apeloigh Eames Demetrios New York Tod Lippy David Rees Bonnie Siegler New York
designer, Paris Studio of Charles & Ray Robert Greenberg Esopus, New York cartoonist, New York Number17, New York Erik Van Blokland
Dana Arnett Eames, Los Angeles R/GA, New York George Lois Vivian Rosenthal Esther Smith Letterror, Holland
VSA Partners, Chicago Barbara De Wilde Rodney Alan Greenblat adman, New York Tronic, New York Purgatory Pie Press, Just Van Rossom
Randy Balsmeyer Knopf, New York Rodney World, New York Ellen Lupton Jason Santa Maria New York Letterror, Holland
Big Film, New York William Drenttel Ric Grefe Cooper-Hewitt Museum, Happy Cog, New York Andy Spade James Victore
Jim Biber Winterhouse, AIGA, New York New York Paula Scher Andy Spade Inc., New York Victore Design Works,
Pentagram, New York Falls Village, CT Jessica Helfand Ross MacDonald Pentagram, New York Ethan Trask Brooklyn

Michael Bierut Dorothy Dunn Winterhouse, Brightwork Press, J.J. Sedelmaier Helicopter, New York Khoi Vinh
Pentagram, New York The Glass House, CT Falls Village, CT Newtown, CT J.J. Sedelmair Productions, The New York Times,
Arem Duplessis Drew Hodges Bernard Maisner White Plains, NY New York
Matteo Bologna
Mucca Design, New York The New York Times, SpotCo, New York letterer, New Jersey Eric Zimmerman
New York Jonathan Hoefler Richard McGuire founder, GameLab,
Paul Budnitz New York
KidRobot, New York Alan Dye Hoefler Frere-Jones, illustrator, New York
Apple, Cupertino New York Adam Michaels
Ralph Caplan
writer, New York Stewart Ewen Joe Holtzman Project Projects, New York
Hunter College, New York Nest, New York Debbie Millman
Michael Carabetta
Chronicle Books, San Stephen Farrell Alexander Isley Sterling Brands, New York
Francisco type designer, Chicago Isley Design, CT Susan Mitchell
John Carlin Pablo Ferro Hjalti Karlsson Farrar Straus Giroux,
Funny Garbage, New York Pablo Ferro Productions, Karlsson-Wilker, New York New York
Los Angeles
Tel: 212.592.2600

Contact Us
Matthew Carter Joyce Rutter Kaye Mitch Nash
Tobias Frere-Jones Print magazine, New York BlueQ, Pittsfield, MA
Carter + Cone, Boston
Hoefler & Frere-Jones, Fax: 212.592.2627
Lenny Kaye Christoph Niemann
Sue Coe
artist, New York
New York Patti Smith Group, illustrator, Berlin E-mail: mfadesign@sva.edu
Janet Froelich New York
Robbie Conal Real Simple, New York
Gary Panter www.sva.edu/grad/design
Art Attack, Venice, CA Jeffrey Keyton comics artist, Brooklyn
John Gall MTV, New York Phil Patton
department site: design.sva.edu
Tad Crawford Vintage Books, New York
Allworth Press, New York design critic, New Jersey We strongly encourage applicants to visit our department prior to submitting application materials.
Carin Goldberg Rick Poynor
designer, New York Come to our Departmental Information Session, or contact us directly to schedule a tour.
design critic, London
Departmental Information Session: October 1, 2011.
All times and locations will be announced online: www.sva.edu/grad/visit

To register for a departmental information session, please visit our website or contact the Office of
Graduate Admissions at: gradadmissions@sva.edu.

Design 160 161 www.sva.edu/grad/design


XX Contribute to the public discourse on design
XX Take a part in shaping this rapidly growing discipline
XX Study with and among the best critics and thinkers in the field
XX Join one of the only programs of its kind in the U.S.

The mfa in Design Criticism at the School of Visual Arts is an innovative two-year program that
trains students to research, analyze, and evaluate design and its social and environmental implications.
Students are taught by some of the best design writers and thinkers of our time, including “Studio 360”
host and author Kurt Andersen, moma’s design curator Paola Antonelli, former editor of I.D. maga-
zine Ralph Caplan, Metropolis contributing editor Karrie Jacobs and author and essayist Akiko Busch.
sva’s mfa in Design Criticism—the only one of its kind in the United States—seeks to cultivate
design criticism as a discipline and contribute to public discourse with new writing and thinking that
is imaginative, historically informed and socially accountable. Drawing on the broadest possible defini-
tion of design, the curriculum includes graphic, Web and product design, as well as fashion, urban
planning and networked systems.
It also considers the multiple implications of design beyond the object. In addition to object analysis,
therefore, the program offers methods for the study of designed environments and systems, and the
larger social and political contexts in which they operate.
The course of study couples a theoretical framework with significant opportunities for practical
experience. In addition to their written assignments, students produce tangible documents of their critical
practice, such as podcasts, books, blogs, documentaries, course syllabi, conferences and exhibitions.
In providing the tools for researching, analyzing, evaluating and chronicling all aspects of design, the
program will prepare students for careers as design critics, journalists, editors, curators, educators
and design managers.
The Design Criticism department (or D-Crit for short) has its own newly designed floor in an sva
building in Manhattan’s Flatiron District, well within walking distance of some of the world’s best
design collections, libraries and archives, and also very close to many of New York’s design studios and
publishing houses. Classes meet in the department; weekly field trips and site visits take place at various
locations. Students are designated their own desk space within an open plan workspace whose layout
is modeled after a magazine’s editorial office.
We welcome students from a range of academic backgrounds whose diverse perspectives and
experiences enrich the debate. The program is equally well suited to designers, who want to hone

MFA
their skills in writing and critical thinking, as it is to journalists and writers, who wish to enrich
their understanding of design.
Design criticism is a rapidly growing academic discipline and field of practice. In addition to its

Design Criticism
increasing territory in the national press, new journals, awards programs and conferences have been
initiated, dedicated to fostering the genre. It’s an exciting time to be involved in design criticism;
students in this program are instrumental in shaping its formats, directing its priorities, and negotiating
the ways it is encountered by its many publics.

www.sva.edu/grad/designcriticism Alice Twemlow, chair


department site: dcrit.sva.edu

163
Design Is
Everywhere:
On Location
Students in the D-Crit program learn different
in Times Square
Student Profiles:
methods for evaluating design in the capital Frederico Duarte & Angela Riechers
of American architecture, media and design:
New York City.
The TKTS booth in Times Square has sold more than 47 million
discount theatre tickets since it was first built in 1973. In the late
1990s a competition was held to redesign the booth. The response
was unprecedented in the history of design competitions in New
York City, with 683 entries from 31 countries. The winning entry
came from Australian architects John Choi and Tail Ropiha. The
architecture firm Perkins Eastman ultimately built it.
At SVA, we’re very lucky to have New York City as our campus. Recently we eavesdropped on
two mfa Design Criticism students who were discussing an assignment set by Justin Davidson,
architecture and classical music critic at New York magazine, which took them to Times Square.
Part public space and part architectural statement, the shimmering roof of the recently built tkts
booth in Times Square sits vulnerable to the same fierce criticism as all projects in New York. Two stu-
dents enrolled in the Design Criticism program, Frederico Duarte and Angela Riechers, toured the
area for one of their classes, exploring the continual lightning rod of debate that is the Great White Way.

AR: In class we talked about defining the booth and figuring out what it does for the streetscape.
My observation was that it’s really a stage in itself, where you can observe Times Square as if you were
at the theater or seen as being on stage yourself. I’m one of the people that really liked the booth,
but personally I don’t like Times Square. I don’t like crowds and push, and Times Square is the center
of crowds and push.

FD: I liked it, too. It’s a monumental staircase to nowhere. Climbing it is one of the great things about
it. When you get to the top you see the Coca-Cola sign—it’s your reward for reaching the top. While
it doesn’t go anywhere, it’s a vantage point. In a way, it’s part of the stage and you become part of that.
It’s also a kind of bleacher, so you’re looking out at Time Square, seeing the whole landscape.

AR: I’d never seen Times Square quite like that; here you are in the middle of traffic and you can see
the traffic flowing down past you, the river of yellow taxis and all those people. It’s really beautiful.
Normally you can’t really see it, because you’re always being moved along, you’re part of a human river.

FD: Also fascinating is the fact that the building is inconveniently jammed behind the statue of Father
Duffy, a landmark that couldn’t be moved to accommodate the plan. In a way, this is a symptom of
New York urban design. There’s always someone who wants to keep the status quo. It’s sort of ironic—
here’s this great new building in the City, but it’s a victim of politics.
That reminds me—during election night one of the big gathering places in the City was Times
Square, and someone in class said that they couldn’t remember when that space was last used as it
should be, as a place where people congregate naturally and uncontrolled. However, the stairs were
roped off for corporate use. And it makes you question whether or not this is a truly public space.
In a way, it’s true to Times Square in that it’s yet another urban oddity.

AR: Like it or not, Times Square is a reflection of our culture and what’s important to us, how we get
information, and how corporations want us to get that information. And to try and make it anything
more than that…. I can’t imagine what that would look like. We’ll just have to let it stand there, almost
like a mirror, and ask, “Do you like what you see?”

From atop the staircase that houses the


TKTS booth, MFA Design Criticism students
Frederico Duarte and Angela Riechers cast
a critical eye over New York City’s bustling—
and highly designed—epicenter.

Design Criticism
MFA Design Criticism students investigate the
structures and infrastructures that define the city
on field trips to sites both time-honored (such as
the Statue of Liberty or Queens Botanical
Gardens) and brand-new, like the Times Square
TKTS booth, One Bryant Park or the High Line.
The MFA Design Criticism Department has its own floor in a
chair interview beautiful building in the Flatiron district of New York City. Students work

Alice Twemlow
in a custom-designed studio environment with personal workstations and
Internet networking, accessible 24 hours per day, seven days per week.
The D-Crit floor is the center for studying and socializing, but regular field
“The discipline of design criticism is at a very exciting stage,” Alice Twemlow observes, “because there trips ensure that the classroom extends far beyond the D-Crit depart-
are a lot of commentators out there, but the field has yet to be molded into a substantial academic ment’s walls. The following represents a day in the life of a D-Crit student.
discipline. At first I thought it was a challenge to start a humanities-based program in the middle of an
art college, but then I realized it was actually a fantastic advantage and I decided to make it practical.
Instead of just discussing the theory of design criticism, we provide the opportunity for students to apply
“The list of faculty is pretty
the critical tools they learn. What we do is really a form of social criticism that uses design as a way
incredible. If you know
in. We’re looking at designed objects, but also at infrastructures, and that’s new territory. There are
the field, you’ll know that
elements of visual culture criticism, art criticism and architecture criticism in other programs out there,
we have the crème de

On any
but no one else has framed the discipline of design criticism as emphatically as we have.”
la crème. And students
“SVA has a tradition of holding classes toward the end of the day in order to capitalize on teachers
will build lasting contacts
who are also working professionals,” Twemlow explains, “and our program is no exception. This means
from that list.”

given day...
we can get people at the top of their game. There’s no fear of ever getting a jaded old professor! I wanted
to do a class on design curation, for example, so we went straight to MoMA and straight to their senior
curator of design…and she’s doing it! The same happened with our radio workshop class; we asked Kurt
Andersen from pri’s “Studio 360.” The list of faculty is pretty incredible. If you know the field, you’ll
know that we have the crème de la crème. And students will build lasting contacts from that list.”
“Our students come from a wide range of backgrounds,” Twemlow says. “Most have worked for a
bit though, and are here to hone their practice and to learn new tools. Right now we have someone who 9am  First-year students meet at Glenn Horowitz’s antiquarian book- 2pm  Thesis Consultation: Second-year students meet with Andrea
was an editor at Chronicle Books, others from curatorial and editorial backgrounds…. Students have store to pore over his private collection of first editions, manuscripts and Codrington to review their thesis topics and discuss research strategies.
come from industrial design and graphic design undergraduate programs, as well as English literature letters. They are led by their early-rising instructor Steven Heller, who
and philosophy. In fact, we’d like to expand that base further. I can see students of anthropology, teaches a class on how to research and construct narratives about objects 4pm  Radio and Podcast Pitch Meeting: First-year students pitch radio

psychology, history or American studies being interested in what we do. Our students feel very invested without resorting to Google. Second-year students take a field trip to story proposals to Kurt Andersen, D-Crit teacher and host of PRI’s
Philip Johnson’s Glass House in New Canaan, CT, for a private two-hour “Studio 360.” Then they work with Leital Molad and David Krasnow,
in the program and they give us a lot of valuable feedback. And they’re interested in developing extra
tour of the buildings and grounds conducted by Dorothy Dunn, director “Studio 360’s” senior producer and senior editor, to edit and refine their
things, too, like a D-Crit Road Trip for the summer months. They’re really fun!”
of Visitor Experience and Fellowships. ongoing stories.
“The D-Crit diaspora has begun,” Twemlow concludes. “Many alums are writing and editing at
titles such as Etsy, Design Observer, Architizer, Architect’s Newspaper, Metropolis, Icon and for firms
10am  First-year students meet at the Museum of Modern Art for 6pm  Guest Lecture: Gary Hustwit, independent filmmaker and director
such as Pentagram, OMA in Rotterdam, International Flavors and Fragrances and Sylvia Harris their Exhibition & Collection Curation class, led by Department of of Helvetica and Objectified talks to the students, faculty and visitors
Design; some have given lectures for AIGA NY, Royal College of Art in London, and run a workshop Architecture and Design curator Paola Antonelli. about the power and shortcomings of documentary filmmaking as a criti-
at the Canadian Center for Architecture; others are teaching at universities throughout the country, cal tool. First year students are responsible for introducing Hustwit and
and consulting for the Museum of Art and Design. What unites them is a desire to communicate what’s noon  Students break for an informal lunch in the D-Crit kitchen launching the Q+A. A drinks reception with snacks follows the talk, allow-
interesting, important or problematic about design and architecture to as broad an audience as possible.” area, where they are joined by Dutch designer and writer Daniel van ing students the opportunity for informal discussion with the speaker and
der Velden. other influential lecture attendees.

1pm  In his class, The Critical Imperative, D-Crit faculty member Ralph 7pm  Second-year students join Elaine Louie and architect David
Caplan hosts a discussion with Rob Forbes, founder of Design Within Rockwell at Maialino as part of their Restaurant Design Review Workshop.
Reach, on the evolution of his latest venture, Public Bikes.
8pm  Students head downtown to the Lower East Side’s Hotel on
Rivington for a Surface magazine party celebrating the launch of a new
issue, in which D-Crit students are featured.

Design Criticism 172 173 www.sva.edu/grad/designcriticism


The Program  The focus of the first year is threefold—on design itself, on criticism as a literary genre
and on the range of tools with which to practice design criticism. The second year offers the opportunity for
specialization both in subject matter and format. Students participate in medium-specific workshops devoted
to topics such as producing a radio program or documentary, curating an exhibition or editing a magazine
or blog. They then research and develop a large-scale thesis project that must include a substantial written
component. ¶ The program culminates in an annual public conference, conceived and organized by graduat-
Diverse Directions
ing students, in which they present papers based on their theses, alongside professional design critics and The Design Criticism program provides a supportive learning
thinkers. ¶ Degree candidates must successfully complete 64 credits, including all required courses, with environment and directed instruction for inventive thinking about
design. Yet it is the students’ personal interests and obsessions
a cumulative grade point average of 3.0. A residency of two academic years is required. Students are required that guide the development of their individual voices, approaches
to complete and present their thesis research, which must be reviewed and approved by the thesis committee and ambitions. Armed with a toolbox of research methods
and writing expertise, graduates will be prepared for a panoply
and the department chair, in order for the student to be eligible for degree conferral. of careers in publishing, journalism, broadcast and online
media, curation, education, management and events planning.

Sample Program

first year
FALL Semester Credits SPRING Semester Credits

Architecture and Urban Design Criticism 4 The Blogging Workshop 4


The Critical Imperative 2 Criticism Lab 4
Design History 4 Exhibition and Collection Curation 2
Lecture Series I 2 Lecture Series II 2
Radio and Podcast Workshop 2 Reading Design 2
Urban Curation 2 Researching Design 2
Thesis Development 0

second year
FALL Semester Credits SPRING Semester Credits

Cultural Theory Meets Design 4 The Design Book 2


Reporting Tools 4 Design Criticism Conference Lab 2
Thesis Consultation 4 Exhibitions and Collection Curation 2
Typologies4 Restaurant Design Review Workshop 2
Thesis I: Research and Writing 4
Thesis II: Applied Thesis Production 4

Design Criticism 174


D-Crit: The Hub
The Design Criticism department is available
24 hours a day, seven days a week, to the
program’s students, who have their own desks
within an open-plan studio-style workspace
as well as access to meeting rooms, a library
and a kitchen.
Course Descriptions

Architecture and Urban Design Criticism Cultural Theory Meets Design Exhibition and Collection Curation Researching Design
This course will examine the works of 20th-century architecture and This course will introduce a range of theoretical models that are use- Design curation is a vital and growing area of critical design discourse. The ability to conduct extensive and finely honed research is one of the
design critics, focusing on individuals from the New York City area ful for framing discussions of design. The aim is to identify when a This course provides an overview of how design has been collected and design critic’s richest resources. This course explores the interrelated
and those published in the popular press. Authors to be considered theoretical model is in use in a text or another form of criticism and presented in museum and exhibition contexts to date, and introduces processes of uncovering, collecting and categorizing data. Working
include Montgomery Schuyler and Lewis Mumford, as well as contem- to evaluate its appropriateness, coherence and value. Theories to be some of the alternative approaches currently being practiced. Focusing directly with primary sources such as correspondence, institutional doc-
porary critics such as Robert Campbell, Christopher Hawthorne and discussed include: postmodernism, feminism and gender studies, socio- on the design collections and exhibitions at the Museum of Modern Art uments and promotional materials, students will test a range of meth-
Blair Kamin. Several sessions will be devoted to critiques of various logical studies of consumption and taste, Marxism, and semiotics and in New York, students will analyze various curatorial strategies, from odologies derived from disciplines such as anthropology, sociology and
forms of urban design: skyscrapers, parks, museums and design exhibi- linguistics. the research phase to the structuring of content through narrative, chro- material culture. Visits to a selection of New York’s most significant
tions, signage and the brand­­ing of neighborhoods. Students will write nology or themes, and the final set-up in the gallery space. and intriguing public and private archives, collections and libraries, as
short presentations of the sites critiqued. The Design Book well as online and database research, are included.
This course examines book publishing in the design world and commonly Lecture Series I & II
The Blogging Workshop associated quandaries: What role do books serve in the realm of critical Visiting scholars, journalists and critics will discuss topics of impor- Restaurant Design Review
The Blogging Workshop is a hands-on introduction to the practice of design discourse and how does that role differ from those of magazines, tance, while introducing students to research methods. Some lecturers Students will take field trips to different Manhattan restaurants and
blogging professionally. Students will create a new topical blog for journals and even blogs? For whom are design books published and will discuss practical aspects of their critical endeavors and others will experience each venue. This will be followed by interviews with each
the duration of the semester, structure it editorially and post to it a why? Are books simply the longest form of design criticism or is there focus on intellectual issues. The aim is to bring students in contact restaurant’s interior designers, owners and guests. Students will then
minimum of three times a week. Students will also discuss and apply something about their content that makes them unique? Assignments will with a wide variety of professional perspectives and to introduce them write reviews that discuss the interplay between food quality, atmo-
lessons about writing for online audiences, marketing content, mon- follow the stages of book production, from crafting proposals, research- to experts in the field. sphere, etiquette and service.
etization and data analysis. Regular weekly blog posts will be assessed ing a target audience and assessing a project’s commercial viability,
according to overall quality and traffic. to drafting sample materials. Students will critique each other’s work, Radio and Podcast Workshop Thesis Consultation
debate strategies and complete research to support their findings. Can the subtleties of design be successfully communicated through Working in close consultation with their advisors, students will
The Critical Imperative a non-visual medium? An increasing number of producers, writers develop detailed research plans, identify useful archives and sources,
As society has become more complex and our needs more diverse, Design Criticism Conference Lab and hosts who create radio programs addressing design believe it can. and analyze the results of their research for thesis preparation.
so have the performance criteria for design. The aim of this course In a public conference devoted to design criticism, second-year students This workshop introduces students to the variety of programs cur-
is to equip students to respond critically to design. This entails criti- will present papers based on their theses. We will investigate the rently on air, ranging from focused documentaries and magazine-style Thesis Development
cal thinking, critical looking, critical listening and a critical attitude conference as a critical medium and analyze some historical examples. formats to host and interviewing situations. Students will produce their Choosing a topic and format that is appropriate, innovative and rich
toward any other components of design that affect judgment. In Students will be involved in all aspects of conference planning and, own programs in the form of podcasts. enough to withstand extended inquiry is essential to the success of a
researching guidelines for exercising critical capacities, students will as a group, will determine the theme of the conference and its keynote thesis. This course will assist in the selection of a topic and a thesis
consider such areas as taste, subjectivity, objectivity and “construc- speakers. Reading Design advisor, refinement of the presentation format and the thesis proposal
tive” versus “destructive” criticism. We will study and discuss the Students will investigate popular national media, with a focus on preparation.
writings of William Morris and John Ruskin, as well as modern crit- Design History how design contributes to so many of the events that shape our times.
ics such as Gilbert Seldes, Reyner Banham and Edward Kaufmann, Beginning with an overview of developments arising from the Industrial Newspapers have home and style sections, but the noteworthy design Thesis I: Research and Writing/thesis consultation
Jr. Contemporary critics that include Ada Louise Huxtable, Martin Revolution, this survey course will equip students with a solid back- stories also tend to be found elsewhere: in politics, finance and even Working in close consultation with their thesis advisors, students will
Filler and Jessica Helfand will also be read. In addition, this course ground in the history of design. One goal will be to establish a common sports articles. Readings extend to essays, fiction, nonfiction and develop detailed research plans, identify useful archives and sources,
will examine criticism in other fields such as literature, theater, art and language and enable students to identify major touchstones and reliable poetry—narratives in which design also plays a significant part—rein- and analyze the results of their research. The next stage will be to
music, and the extension of critical analysis to fashion, food, dance, reference points as they formulate an accurate chronology of events. forcing a comprehensive and critical understanding about design that draft, revise and write the thesis, a process that will also be supervised
sports and film, among other aspects of popular culture. Emphasis will be placed on the changing interpretations of what consti- goes far beyond the styling of consumer products. by faculty.
tutes modernism during the period from 1918 to 1968. A series of
Criticism Lab guest lecturers will address various aspects of contemporary design. Reporting Tools Thesis II: applied thesis production
Criticism Lab offers students a forum in which to hone the writer’s This course will begin with the art of the interview, sampling a range Each student will complete and present a final thesis—whether it’s a
voice while being exposed to some of the forms and subject areas typi- of effective interviews in a variety of forms and formats: question and video documentary, a website, an exhibition or an audio tour. This
cal of contemporary design criticism. Weekly assignments, ranging answer, written narrative profiles based on interviews and, most impor- course will assist in choosing the appropriate tools and techniques for
from 250-word statements on new buildings to a 2,500-word essay on tantly, on-camera interviews. Through an examination of both written the creation of a thesis project. Students may work in collaboration
a signage campaign, will be reviewed in groups and individually with and visual sources, this course will analyze the techniques that evoke with graduate students from other departments for the creation of
the instructor. The aim is to develop methods of argumentation, com- the answers an interviewer is seeking, as well as those he or she never their chosen product. The thesis must be reviewed and approved by
fort with the editorial process and familiarity with the range of the art expected to hear. The second half of the course will address investiga- the thesis committee and the department chair.
and the possibilities of the language. The goal is to learn how to wield tive reporting, and explore the tools and inspiration for probing a jour-
language effectively in a variety of circumstances. Special attention will nalistic subject. Students will read writings on design and social change.
be paid to eradicating cliché. The authors of exemplary works will visit the class to discuss their
strategies and experiences in getting the story. Other sessions will be
devoted to research sources and methods, both traditional and new.

Design Criticism 178 179 www.sva.edu/grad/designcriticism


Faculty

Typologies Alice Twemlow, chair Awards and honors include: Special Educators Award, Art Michael Bierut
Philosophers throughout the ages have understood that insights often Design writer. Formerly, program director, AIGA Directors Club; AIGA Medal for Lifetime Achievement; National Partner, Pentagram, co-founder, Design Observer
derive from analyzing the similarities and differences in categories of EDUCATION: BA, Bristol University; MA, Royal College of Art/Victoria Endowment for the Arts; Hershel Levit Award, Pratt Institute; EDUCATION: BS, summa cum laude, University of Cincinnati
objects. Typologies exist in artworks of Andy Warhol, the photographs & Albert Museum Outstanding Client Award, Graphic Artists Guild; Masters Series BOOKS AUTHORED INCLUDE: Seventy-nine Short Essays on Design;
of Bernd and Hilla Becher and the informational graphics of Edward BOOKS AUTHORED INCLUDE: StyleCity New York; What is Graphic Award, School of Visual Arts co-editor, Looking Closer: Critical Writings on Graphic Design,
Tufte—all as a means toward a deeper comprehension. In this course, Design For? Essays in: Looking Closer 5: Critical Writings on website: www.hellerbooks.com vols. 1 through 5
students will identify an object, a building or a graphic element, and Graphic Design; Barnbrook Bible; ELSE/WHERE: MAPPING; Publications Contributed to include: Design Observer, I.D.
assemble and evaluate its variants. By looking at types of design (cof- Why Not Associates 2 Kurt Andersen Awards and honors include: Art Directors Club Hall of Fame;
fee cup lids, magnetic car ribbons, military unit patches, manhole cov- Publications Contributed to include: Arena; Baseline; Co-creator, host, “Studio 360,” WNYC and PRI; novelist; columnist, Medal of Excellence, AIGA; president emeritus, AIGA NY; Design
ers), students will learn to identify what does and does not change in a Architect’s Newspaper; Communication Arts; Design Issues; Design New York magazine. Formerly, architecture/design critic, cultural Mind Award, Cooper-Hewitt, National Design Museum; member,
form in order to come closer to its essence. Observer; Eye; Frieze; Grafik; Graphis; I.D.; Step; New York maga- columnist, Time; co-founder, editor in chief, Spy; editor in chief, Alliance Graphique Internationale
zine; Paper; Print; Typographic; Varoom; Voice: AIGA Journal of New York magazine; staff writer, columnist, The New Yorker;
Urban Curation Design co-founder, Inside.com; creative consultant, Universal Television; Akiko Busch
In this course, students will act as urban curators, and will consult CONFERENCES DIRECTED INCLUDE: “Being Here: Craft and Locality editorial director, Colors Author, design critic. Formerly, contributing editor, Metropolis
writings by innovative urban theorists (such as Henry Adams, John in Graphic Design,” “Voice: AIGA National Design Conference Education: BA, Harvard University EDUCATION: BA, Bennington College
Ruskin, John Berger, Jane Jacobs, Ian Frazier and Colson Whitehead), 2002.” Co-director, “Looking Closer: AIGA Conference on Design Author: Heyday, The Real Thing, Turn of the Century; BOOKS AUTHORED INCLUDE: Nine Ways to Cross a River:
as well as articles from contemporary magazines and websites. History and Criticism” co-author, Loose Lips; Spy: The Funny Years; Tools of Power Midstream Reflections on Swimming and Getting There from Here;
However, the heart of the course will be weekly assignments based Publications Contributed to include: The Enlightened Geography of Home: Writings on Where We Live; The Uncommon
on scavenger hunts: students will be asked to find the most significant Steven Heller, program co-founder Bracketologist; Laughing Matters; Minus Equals Plus; Mirth of Life of Common Objects: Essays on Design and the Everyday
building on a randomly chosen New York City street and make a case Co-chair, MFA Design Department, School of Visual Arts; special a Nation; Pleasure; Profile; Public Relations and the Press: The Publications Contributed to include: The New York Times,
for their selection; find an object on the street that indicates this is assistant to the president, School of Visual Arts; editor, Voice: AIGA Troubled Embrace; Spectacle; Tibor Kalman: Perverse Optimist; Metropolitan Home, Architectural Record, Home, Elle, House
the 21st century and decide what that object says about this moment Online Journal of Graphic Design; contributing editor: Print, Eye, 101 Damnations; Architectural Record; Atlantic Monthly; & Garden, London Financial Times, Traditional Home, Travel +
in time; go to Times Square and find the best piece of design and the Baseline, I.D.; contributing writer: Metropolis, Grafik, Step; Visuals; Metropolis; The New York Times; Rolling Stone; Vanity Fair Leisure, Wallpaper
worst piece of design; visit Crate & Barrel, Muji, and Pearl River, columnist, The New York Times Book Review. Formerly, art director, EXHIBITIONS CURATED INCLUDE: “Faster, Newer, Cheaper, More:
and decide which one best represents the notion of good design and The New York Times Book Review Revolutions of 1848,” Cooper-Hewitt, National Design Museum Ralph Caplan
why. Students will develop an eye for their surroundings and gain Education: New York University, School of Visual Arts AWARDS AND HONORS INCLUDE: George Foster Peabody Award; Contributing editor, Print. Formerly, editor in chief, I.D.
confidence in their own abilities to identify meaning—perhaps even Books authored, co-authored or edited: More than 100 The New York Times Book Review Notable Books of the Year; EDUCATION: BA, Earlham College; MA, Indiana University
beauty—in a cluttered, chaotic environment. books on graphic design, illustration and political art, including Paul “100 People Who Changed New York,” New York magazine; Author: By Design: Why There Are No Locks on the Bathroom
Rand; Merz to Émigre and Beyond: Avant-Garde Magazine Design Associated Press; Newspaper Guild; honorary doctorate, Rhode Island Doors in the Hotel Louis XIV and Other Object Lessons; Cracking
of the Twentieth Century; Design Literacy: Understanding Graphic School of Design; Visionary in Residence, Art Center in Pasedena the Whip: Essays On Design And Its Side Effects; The Design of
Design, Second Edition; Handwritten: Expressive Lettering in the Herman Miller; Say Yes!
Digital Age; The Education of a Typographer; Graphic Design Paola Antonelli BOOKs EDITED INCLUDE: Design in America, Making More Than
History; Graphic Style: From Victorian to Postmodern; Typology: Senior curator, Department of Architecture and Design, Museum of Sense
Type Design from Victorian to Postmodern; The Education of a Modern Art. Formerly, editor, Abitare; contributing editor, Domus Publications Contributed to include: Graphis, House &
Graphic Designer; Italian Art Deco: Graphic Design Between the Education: Laurea di Dottore, Polytechnico Di Milano Garden, Interior Design, Interiors, The Nation, The New Yorker,
Wars; Faces on the Edge: Type in the Digital Age; French Modern: EXHIBITIONS CURATED INCLUDE: “Design and the Elastic Mind;” Design Quarterly, The New York Times Magazine
Art Deco Graphic Design; Euro Deco: Graphic Design Between the “Achille Castiglioni: Design!;” “Humble Masterpieces;” “Mutant AWARDS AND HONORS INCLUDE: Director emeritus, IDCA; writer-
Wars; Cuba Style; The Savage Mirror: The Art of Contemporary Materials in Contemporary Design;” “Thresholds: Contemporary in-residence, Haystack Mountain School of Arts and Crafts; Bronze
Caricature; Texts on Type; Graphic Humor: The Art of Graphic Design from the Netherlands;” “SAFE: Design Takes On Risk;” Apple Award and honorary member, IDSA
Wit; Citizen Designer; Seymour Chwast: The Left-Handed “Projects 66: Campana/Ingo Maurer;” “Workspheres;” Museum of
Designer; Innovators of American Illustration; Art Against War; Modern Art Justin Davidson
The Push Pin Graphic: Twenty Five Years of Design and Illustra­tion; BOOKS AUTHORED INCLUDE: Objects of Design from the Museum of Architecture and classical music critic, New York magazine;
Stylepedia: A Guide to Graphic Design Mannerisms, Quirks, and Modern Art; SAFE: Design Takes On Risk; Humble Masterpieces: Contributor, “Soundcheck,” WNYC. Formerly, columnist, Newsday.
Conceits; The Anatomy of Design: Uncovering the Influences and Everyday Marvels of Design; Design and the Elastic Mind Education: AB, Harvard University; MA, Columbia University;
Inspirations in Modern Graphic Design Publications Contributed to include: Harper’s Bazaar, DMA, Columbia University
Curatorial works include: “Simplicissimus, Germany’s Most Harvard Design, I.D., Metropolis, Nest, Paper , Seed Publications contributed to include: New York magazine,
Influential Satire Magazine,” Goethe House; “Political Art, Ten Years Awards And Honors include: Design Mind Award, Cooper- Newsday, E-music, The New Yorker, Salon, Slate, Los Angeles
of Graphic Commentary,” AIGA; “Typographic Treasures, The Work Hewitt, National Design Museum; senior fellow, Royal College of Times, Opera News, Icon, Travel + Leisure
of W.A. Dwiggins,” ITC Center Art, London; honorary doctorate, Kingston University Awards and honors include: Pulitzer Prize, Criticism; AASFE
Introductions and forewords: Tibor Kalman; Rebelling Award for A&E Feature; ASCAP Concert Music Award; Deadline
Against Rockwell (Pictures for the American People); Barbara Club Award, Best Feature; ASCAP-Deems Taylor Award for writing
Kruger: Graphic Designer; Alex Steinweis; American Advertising on music; ASNE Distinguished Writing Award; Long Island Press Club
of the 30s, 60s, 70s, 80s Awards; Newsday Publisher’s Award

Design Criticism 180 181 www.sva.edu/grad/designcriticism


Professional Opportunities
The Design Criticism MFA faculty includes the greatest minds
in the field, while the department’s visiting lecture series brings
its students in contact with an even wider spectrum of experts,
including acclaimed designers, bloggers, filmmakers, design
historians, authors and editors. Located in New York City, a
global hub of design and media, students are encouraged to
forge relationships with these visitors and pursue internships at
institutions, studios or publications. Students have undertaken
Russell Flinchum Karrie Jacobs Elaine Louie summer internships and fellowships at Surface magazine,
Archivist, Century Association Archives Foundation, New York Columnist, contributing editor, Metropolis; contributing editor, Assistant to the editor, House & Home section, The New York Times; LOT-EK, AIGA, Pentagram, Museum of the Moving Image,
Education: BA, MA, University of North Carolina, Chapel Hill; Travel + Leisure. Formerly, editor in chief, Dwell; executive editor, contributor, The New York Times House & Home, Dining, and Cooper-Hewitt National Design Museum, and the Office for
PhD, CUNY Graduate Center Colors; contributing editor, New York magazine; “Public Eye” Sunday Styles sections Metropolitan Architecture in Rotterdam, among others.
BOOKS AUTHORED INCLUDE: Henry Dreyfuss, Industrial Designer: columnist, The New York Times Education: AB, Brown University; EdM Tufts University Upon graduation, D-Crit students have embarked on careers
The Man in the Brown Suit, American Design Education: BA, Evergreen State College BOOKS AUTHORED INCLUDE: The Shun Lee Cookbook; House in publishing, museums, education and business.
Publications Contributed to include: 2wice, Ergonomics BOOKS AUTHORED INCLUDE: The Perfect $100,000 House: A Trip Beautiful: Collections on Display; Living with Textiles; Living The program places significant emphasis on the practical
in Design, I.D., things, American Ceramics, American Craft, Across America and Back in Pursuit of a Place to Call Home; co- in New England; The Art of the Party; Premier Beer: A Guide to application of the many methodologies it teaches. Students write
Modern Magazine author, Angry Graphics: Protest Posters of the Reagan/Bush Era America’s Best Microbrews compelling columns, curate exhibitions, develop book proposals,
Curatorial Works include: “Henry Dreyfuss, Direct­ing Design: Publications Contributed to include: Adweek, Fortune, Awards include: James Beard Journalism Award, Women’s Sports record and produce radio stories, edit magazines and build
The Industrial Designer and His Work, 1929–1972,” Cooper-Hewitt, George, I.D., Rolling Stone Foundation Journalism Award online forums, assembling a tangible portfolio of their critical
National Design Museum; “Buckminster Fuller/Shoji Sado,” Milton website:  www.karriejacobs.com
practice. The two-year program culminates in an annual public
Academy, Green Library, Stanford University Matilda McQuaid
conference, conceived and organized by graduating students,
AWARDS AND HONORS INCLUDE: AIA International Architecture Alexandra Lange Deputy Curatorial Director, Cooper-Hewitt National Design Museum.
in which they present papers based on their large-scale thesis
Book Award for Monographs; Charles F. Montgomery Award, Contributing editor, New York magazine Formerly, Associate Curator, Museum of Modern Art
project to an extensive audience of professional design critics and
Decorative Arts Society; Henry Allen Moe Award, New York State EDUCATION: BA, Yale University; PhD, New York University Education:  MA, University of Virginia
Historical Associa­tion; Samuel H. Kress Foundation; Peter Kreuger/ Publications Contributed to include: New York magazine, Books authored include:  Envisioning Architecture: Drawings
thinkers—their future peers, collaborators and employers.
Christie’s Fellowship, Cooper-Hewitt, National Design Museum Metropolis, Domino, Journal of Design History, Journal of the from the Museum of Modern Art; Structure and Surface:
Society of Architectural Historians, The New York Times Contemporary Japanese Textiles; Architecture: A Place for Women;
Janet Froelich and Extreme Textiles: Designing for High Performance, Shigeru Ban Shax Riegler
Design director, Real Simple. Formerly; creative director, The New Julie Lasky Exhibitions curated Include:  “Josef + Anni Albers: Designs for Editor, writer. Formerly, features editor, House & Garden; articles
York Times Magazine and T: The New York Times Style Magazine; Editor, Change Observer. Formerly, editor in chief, I.D., editor in Living”, “Extreme Textiles: Designing for High Performance”, and editor, Martha Stewart Living, associate editor, Travel & Liesure
board of directors, Society of Publication Designers; president, New chief, Interiors; managing editor, Print “National Design Triennial: Design Life Now”.   Education: BA, Kenyon College. MA, M.Phil, Bard Graduate
York Chapter, AIGA EDUCATION: BA, Wesleyan University Awards and honors include: AIGA/USA award for Best Center for Studies in the Decorative Arts. PhD Candidate,
Education: BFA, Cooper Union; MFA, Yale University BOOKS AUTHORED INCLUDE: Some People Can’t Surf: The Graphic Architecture or Design Exhibition, Thomas Lee and Ann Tenenbaum Bard Graduate Center
Publications Contributed to include: Directed design and Design of Art Chantry. Essays in: Borrowed Design: Use and Lee award Publications contributed to include: The Magazine Antiques,
launch of Play: The New York Times Sports Magazine; T: The New Abuse of Historical Form; And Fork: 100 Designers, 10 Curators, Budget Travel, Cookie, Country Living, Elle Decor, House&
York Times Style Magazine; Key: The New York Times Real Estate 10 Good Designs Leital Molad Garden, House Beautiful, InSyle Home, Martha Stewart Living,
Magazine. Work has appeared in: Graphis, Print, American Photo, Publications Contributed to include: The New York Times, Senior producer, PRI’s “Studio 360” T: The New York Times Style Magazine
American Illustration Architecture, Dwell, Eye, Graphis, Metropolis, The National EDUCATION: BA, University of Texas at Austin; MA, New York University
AWARDS AND HONORS INCLUDE: Art Directors Club Hall of Fame, Scholar, Grid, Print, Slate, Surface Elizabeth Spiers
Society of Publication Designers, Society of Newspaper Designers Awards And Honors include: National Arts Journalism Phil Patton Media consultant and writer. Editor-in-chief, New York Observer.
Fellowship, Columbia University; National Arts Journalism Fellow, Contributing editor, Departures, Esquire, I.D.; contributing writer, Founder/co-founder, Gawker.com, Dealbreaker.com, AbovetheLaw.
Adam Harrison Levy Medill School of Journalism, Northwestern University; Richard J. Wired; creator, “Public Eye” column, The New York Times; automo- com, Fashionista.com, Flavorwire.com, Halogenlife.com, Unbeige.com.
Documentary producer/director; interviewer; contributing writer, Margolis Award; chair, Design Jury, CLIO; Editors’ Jury, ICFF; juror, tive design writer. Formerly, writer, “Design” and “Living Quarters” Education: BA, Duke University
Design Observer (www.designobserver.com) National Magazine Awards; juror, Winterhouse Awards for Design columns, Esquire; reviewer, Artforum Books authored include: And They All Die in the End
Projects include: Hiroshima; The Genius of Photography; Writing & Criticism Education: MA, Columbia University Publications contributed to include: Fortune, Fast Company,
Auschwitz; America: The Story of Us; D-Day to Berlin; 50 Films to BOOKS AUTHORED INCLUDE: Made in USA: The Secret Histories of the Slate, The New Republic Online, Salon, New York Magazine, The
See Before You Die; Hollywood Greats. Producer, Selling the Sixties: Andrea Codrington Lippke Things That Made America; Bug: The Strange Muta­tions of the World’s New York Times, The New York Post
How Madison Avenue Dreamed a Decade; David Ogilvy: Original Visual culture critic; editor, Phaidon Press. Formerly, editorial director, Most Famous Automobile; Michael Graves Designs: The Art of the
Mad Man; Imagine: Chuck Close AIGA; columnist, The New York Times; senior editor, I.D. Everyday Object; Dreamland: Travels Inside the Secret World of Roswell Karen Stein
Publications include: The Guardian; Daily Telegraph; The EDUCATION: BA, William Smith College and Area 51; Open Road: Celebration of the American Highway; Razzle- Editor. Formerly, editorial director, Phaidon Press; managing senior
Independent; Art in America; Blueprint; Interview; Projections: A BOOKS AUTHORED INCLUDE: Pause: 59 Minutes of Motion Dazzle: The Curious Marriage of Television and Professional Football editor, Architectural Record
Forum for Filmmakers; Photo Technique; co-author, Decisive Weapons Graphics; Kyle Cooper: Monographics Publications Contributed to include: Art in America, Education: B.Arch., Princeton University
Awards and honors include: Olin Memorial Fellowship, Publications Contributed to include: The New York Times, ARTnews, Connoisseur, Geo, Harper’s Bazaar, New Republic, AWARDS AND HONORS INCLUDE: Jesse H. Neal Award, American
Wesleyan University; Basil Taylor Memorial Prize, Royal College of Washington Post, National Post, Elle, Metropolis, I.D., Blueprint, Manhattan Inc., Men’s Journal, The New York Times Book Review, Business Press; Corporate Achieve­ment Award for Editorial Excellence,
Art; Vilcek Foundation Fellowship Eye, Cabinet Omni, Rolling Stone, Seven Days, Condé Nast Traveler, Travel + McGraw-Hill Companies; Loeb Fellow, Harvard University; International
Leisure, New York magazine, Vogue, Smithsonian, Washington Book Award, American Institute of Architects; co-chair, Architecture
Post, The Village Voice and Design Circle, Museum of Modern Art; board member, Architectural
Consulting curator: “Blobjects and Beyond: The New Fluidity In League of New York; jury, Pritzker Architecture Prize
Design,” San Jose Museum of Art; “Curves of Steel: Streamlining the
Automobile,” Phoenix Museum of Art; “Different Roads,” Museum
of Modern Art. Consultant, contributor, “On the Job: Design and the
American Office,” National Building Museum
website: www.philpatton.com

Design Criticism 182 183 www.sva.edu/grad/designcriticism


Guest Lecturers

Donald Albrecht Dwight Garner Natalie Jeremijenko Geoff Manaugh Jeff Roth Cynthia Smith Lettie Teague Kazys Varnelis
curator, Museum of the book critic, visual artist and engineer, author, BLDGBLOG researcher, curator of socially wine columnist and staff director, Network
City of New York The New York Times Casey Jones; director, Deborah Marton The New York Times responsible design, writer, The Wall Street Architecture Lab, Columbia
Milton Glaser Design Excellence and the executive director, Design Cooper-Hewitt, National Journal University Graduate School
Jake Barton Zoe Ryan
graphic designer Arts, U.S. General Services Trust for Public Spaces Design Museum Meredith Tenhoor of Architecture, Planning,
founder, Local Projects Neville Bryan Curator of
Administration author and Preservation
Eugenia Bell Jamie Gray Cathleen McGuigan Design, The Art Institute of Gabriel Snyder
owner, Matter Ben Katchor arts editor, Newsweek Chicago editor-in-chief, Gawker Edward Tenner Tucker Viemeister
design editor, Frieze
cartoonist author and historian of industrial designer and lab
Ayse Birsel Peter Hall Abbott Miller Katie Salen Lockhart Steele
Stuart Kestenbaum blog publisher and technology and culture chief, Rockwell Group
co-founder, Birsel + Seck design lecturer writer, curator, partner, writer; faculty, Design and
director, Haystack Mountain Pentagram Technology Program, president, Curbed Jane Thompson Pilar Viladas
Andrew Blauvelt Christopher Hawthorne School of Crafts Parsons School of Design design editor, T: The New
design director, architecture critic, Victoria Milne Valerie Steele editor, designer and urban
Emily King founder and editor-in-chief, planner York Times Style Magazine
Walker Art Center Los Angeles Times director of creative services, James Sanders
author, curator, NYC Department of Design architect, author, Fashion Theory: The Journal Masamichi Udagawa and Lawrence Weschler
Chandler Burr Virginia Heffernan design historian documentary filmmaker of Dress, Body & Culture author
and Construction Sigi Moeslinger
author; perfume critic, columnist and television
critic, The New York Times Linda King Bill Moggridge Mark Schapiro Gay Talese partners, Antenna Design David Womack
The New York Times
lecturer in Design History, director, Cooper-Hewitt, editorial director, Center for author, journalist Valerie Vago Laurer design, technology and
Allan Chochinov Jessica Helfand Theory and Visual Investigative Reporting culture writer
National Design Museum Sam Tanenhaus editor, Phaidon Books
co-founder and editor, Core graphic design writer; Communication, Institute
partner, Winterhouse Studio Stephanie Murg Felicity D. Scott editor, The New York Times Daniel van der Velden Susan Yelavich
77; chair, MFA Products of Art, Design and
co-editor, Mediabistro educator Book Review graphic designer and curator, critic, author
of Design, SVA Scott Henderson Technology, Dublin
UnBeige John Seabrook founding partner,
Elaine Lustig Cohen designer and founder, Pat Kirkham
designer, book dealer Scott Henderson Inc. Chee Pearlman author and staff writer, New Metahaven
design and cultural historian
design consultant, Yorker
Brian Collins Glenn Horowitz Melissa Lafsky conference program
chief creative officer, Collins antiquarian book dealer author, Opinionistas blog director
Glen Cummings Jamer Hunt, designer Mark Lamster Tel: 212.592.2228

Contact Us
Martin C. Pedersen
partner MTWTF Big+Tall Design; author and critic executive editor, Metropolis
Daniel D’Oca associate professor of
Cathy Leff
Fax: 212.243.1019
Transdisciplinary Design, Rick Poynor
Georgeen Theodore
Parsons School of Design director, Wolfsonian-FIU author, design critic E-mail: dcrit@sva.edu
and Tobias Armborst,
Vicki Gold Levi
founders, Interboro Gary Hustwit
photographic researcher
Alissa Quart www.sva.edu/grad/designcriticism
filmmaker, Helvetica, author
Stuart Ewen
Objectified Greg Lindsay department site: dcrit.sva.edu
design historian David Reinfurt
Joanne Dolan Ingersoll author; writer, Fast graphic designer, We strongly encourage applicants to visit our department prior to submitting application materials.
Peter Feld Company
curator, Museum of Art, writer, critic
Web editor, blogger Come to our Departmental Information Session, or contact us directly to schedule a tour.
Rhode Island School George Lois Michael Rock
Rob Forbes of Design art director, designer, author All times and locations will be announced online: www.sva.edu/grad/visit
graphic designer and
founder,
Julie V. Iovine Paul Lukas founding partner, 2×4, Inc. To register for a departmental information session, please visit our website
Design Within Reach or contact the Office of Graduate Admissions at: gradadmissions@sva.edu.
executive editor, sports uniform critic, ESPN Laurie Rosenwald
Jason Fulford, Architect’s Newspaper Ellen Lupton author; illustrator; founder,
photographer and
writer, curator, graphic Rosenworld Design Studio
co-founder, J&L Books
designer
Design Criticism 184 185 www.sva.edu/grad/designcriticism
XX Social Innovation is one of the most dynamic, expansive forces in the world today –
this program is a learning path for designers who want to play a leading role in it
XX For those who wish to turn their good intentions into positive outcomes and use
design to drive innovation within diverse businesses, communities and cultures
XX Two-year program will prepare students to have successful, fulfilling careers through
immersion in the dynamics of social innovation, and mastery of its tools and skills

Social innovation is one of the most dynamic, expansive and exciting fields of endeavor today. It is the
application of new strategies and models to solving the challenges facing the world, and to strengthen-
ing society. In Blessed Unrest, Paul Hawkins describes its remarkable force in the world as “the largest
movement on earth, a movement that has no name, leader or location, and that has gone largely
ignored by politicians and the media. Like nature itself, it is organizing from the bottom up, in every
city, town and culture, and is emerging to be an extraordinary and creative expression of people’s
needs worldwide.”
sva’s two-year graduate program is the first mfa program to help prepare designers to participate
fully in social innovation in all its forms. It will provide students with the design tools, skills and expe-
rience they need to become creative leaders in social innovation—unlocking new worlds of potential
through mastery of design thinking, innovation, social technologies, data visualization and communi-
cation design—at the intersection of business, society and the natural world.
Under the guidance of leaders in social technology, conservation, healthcare, living systems, move-
ment and game design, cognitive science and emergent business models, students in the mfa Design for
Social Innovation Department will work with real clients throughout the program, gaining hands-on
experience with multinational corporations, non-profits and social entrepreneurs around the globe.
The mfa in Design for Social Innovation at the School of Visual Arts is geared toward designers
looking for meaningful and engaging work through which they can make a significant contribution to
society, as well as for graduates in other disciplines who want to learn to harness the power of design
to create positive change and transformation.
The MFA in Design for Social Innovation curriculum encompasses a broad range of issues includ-
ing conservation, health, food and agriculture, poverty, women’s rights, social justice, fair trade,
education and community revitalization.
Graduates of the program will be prepared to work in design firms and advertising agencies, in
corporations both large and small, in non-profit organizations or as social entrepreneurs. They will
be skilled in the design of concepts, communities, organizational models, communication, information
design, mapping and implementation.

Cheryl Heller, Chair

MFA Design for


Social Innovation
www.sva.edu/grad/dsi
187
department site: dsi.sva.edu
Faculty members Lee-Sean
Huang and Alessandra Orofino
work at Purpose.com, where
they help to create 21st-century
movements for progressive
companies and organizations,
mobilizing large-scale, pur-
poseful actions. Technology is
unlocking transformational new
forms of participation and social
engagement, and Lee-Sean and
Alessandra are at the forefront.

Designing
Democracy
and Justice
Faculty Profiles:
Lee-Sean Huang and
Alessandra Orofino
My Rio: A Movement for and by the People of Rio de Janeiro
Lee-Sean Huang and Alessandra Orofino are the lead designer and strategist on a ground-
breaking program for the city of Rio.
Meu Rio (“My Rio” in Portuguese) is an independent popular movement for and by the
people of Rio de Janeiro, Brazil, working to build a more democratic, just and livable city.
The campaigns and tools will help empower all Cariocas to work together to improve the city
they love as they prepare to host the World Cup and Olympics.
Working with local partners to create the identity for the movement, Lee-Sean and Ales-
sandra are developing interactive tools to promote civic participation. The images on this page
illustrate two of the concepts in development.
In the photo opposite, the “Rio Monocle” augmented reality mobile app helps contextual-
ize abstract data and indicators in physical urban space; a user points the app at a local public
school and is able to access data about the ranking, reviews and budget of the institution.
Below, Meu Mapa (“My Map”) is a social map that will help connect residents of Rio to
each other and to the hyperlocal issues that impact their neighborhoods.
On a floor of its own in the heart of Chelsea, our leed-certified
chair interview space is designed to foster deep thinking, collaboration, connection to nature,

Cheryl Heller
technology and diverse perspectives. In lieu of traditional classrooms, we have
an auditorium where we hear from and are heard by the most fascinating and
innovative people in the world, a play room where action and creativity reign,
Cheryl Heller, board chair of the Poptech organization and chair of sva’s new mfa Design for Social a quiet room for study and contemplation, a computer lab wired with the latest
Innovation program, never intended to become an educator, but a far-sighted colleague encouraged her technology, sound booths for podcasting, and a kitchen to crowd around. Stu-
not to dismiss the possibility. “About five years ago,” she recalls, “Richard Wilde, chair of the Graphic dents have access 24/7, and our space is home to visiting innovators—from this
Design and Advertising undergraduate program at sva, who I met when we were both on the board planet and beyond—who come to stir our thinking and open our minds.
of the Art Directors Club, suggested that I should try teaching. I told him it was a ridiculous idea, that
“We are creating this
I didn’t have the time. But I ended up doing it anyway, and I’ve been teaching the undergraduate Design
program to prepare
for Good course ever since.” It was Wilde too who proposed that the time might be right for a graduate
the next design
program in the same field. “It took a lot of refining and thinking through,” says Heller, “partly because
leaders in social

On any
we are creating a new learning path for designers into this field rich with career potential, but there isn’t
innovation, and
a model of an existing program.”
improve the impact
The lack of examples on which to draw seems strange now, given the popularity of the program’s
of social innovation

given day...
focus. “It’s rare to talk to anyone in business or the non-profit world today who doesn’t want to get
through design.”
involved in social innovation,” Heller reports. “They all want to ‘change the world,’ though they have
many different ways of expressing that desire. What we need now, and what we are aiming for with this
program, is to help students learn to use the process and tools of design to turn those good intentions
into positive outcomes. An abundant and sustainable future won’t be realized through the work of any
single silo of experts, country or generation. It will come from the integration of wisdom from all of
them, from game-changing collaboration between them, and from the creativity and discipline that 8am  First year students meet bright and early in the morning for one 2:30pm  In the afternoon, Francis Cholle, founder of The Human
only social innovation design can bring.” To this end, the mfa is aimed primarily at working design- final rehearsal of their 12:00 presentation to Jeffrey Hollender, the Company, leads a session on play and innovation where students
ers, especially those with a broad outlook. “It’s for those who are interested in more than just self-ex- founder of Seventh Generation and CommonWise. The work includes collaborate on solving real world design problems with a corporate client
pression,” says Heller, “this is for people who are compelled to influence, transform and lead. But we’ll strategy, communication design, and a multimedia campaign for a new who has come to experience first hand the new thinking coming out

also consider designers with related interests—engineering, architecture, science—who understand the green consumer brand that links cooperatively owned businesses of our program.
across the United States. Their work includes a new identity, website,
design’s value as a tool within those fields.”
video campaign and product packaging. 4pm  Eric Hersman is in town from Nairobi to tell us about the latest ways
Heller is keen that the program should intersect with sva’s other design initiatives, and that
Ushihidi’s mobile technology and mapping are saving lives and creating
students should project their studies into the world at large. “Throughout the program, students will
9am  The computer lab is full, with students finishing a social movement communities around the world.
be engaged by real clients to help them solve the challenges they face. They will be taught to use every
project for the government of Brazil, mentored by instructor Lee-Sean
relevant design process and medium to succeed, from data visualization, movement design, entrepre- Huang, creative director at Purpose. Silence reigns in the quiet room as 7pm  That evening during the guest lecture series, Paul Polak tells what he’s
neurship, living systems and game design. There are studio courses in which students will work with always, with study and serious thinking taking place. learned about “Design for the other 90%”, his vision for creating new markets
a widely diverse group of real clients. And there’s a focus too on data visualization, movement design, by putting design to work for the 90% of the world that needs it most.
entrepreneurship, living systems and game design.” The first year will also expose students to the inner- 10am  Second year students arrive later, having been there until 3:00 am
workings of corporations, foundations, and not-for-profit organizations, and confront them with issues the night before, and put on a pot of fair trade coffee. They are working
around ethics, leadership and collaboration. “You have to understand how to negotiate companies independently or on a shared thesis with a classmate, mentored by a group
and work with entrepreneurs. My desire is to give designers the potential to have a voice in that context of advisors like Dr. Mary Pearl of the Garrison Institute, Lisa Nugent,
and to have what it takes to create profound change.” Global Creative Director at Johnson & Johnson, or Mark Belinsky,

“My ultimate goal,” she concludes, “is to immerse students in that world the day they start, so they founder of Digital Democracy.

will have accomplished real things by the time they graduate, so that they have both experience and key
relationships. Design isn’t separate from life—neither is social innovation.”

Design for Social Innovation 192 193 www.sva.edu/grad/dsi


Faculty: Despina
Papadopoulos
Despina is a designer of wearable
technologies and a design strategist:
Her clients include IBM, IBM.com and
Pfizer. She’s conducted workshops
for the U.N. on thinking about global
relations in the 21st century. And she
just got back from a full year in
Kabul, Afghanistan–implementing
product development cycles with
other local artists and designers,
helping create an ethical and viable
economic system for that country.
Social Innovation Design has application everywhere innovation is needed, and Faculty member Asi Burak
is co-president of Games for
includes the design of everything: from conversations, communication campaigns, Change, and a world-renowned

experiences, structures, technology platforms, systems, products, business models, game designer and technologist.
PeaceMaker is a news-based video
strategies, art and culture. It has the potential to be the single integrating force we need game that simulates the Israeli-
to take on the challenges we face—systemically and sustainably. Palestinian conflict. Asi’s games
have been sold in over 60 countries
and seen in over 200 media
appearances worldwide including
ABC World News, BBC World, Fox
News, Al-Jazeera, NPR, The New
York Times, Washington Post,
Time magazine, Business Week
and Wired, among many others.

Among many other accomplish-


ments, faculty member Danny
Alexander has been a product de-
signer at Method and collaborator
with IDEO on a project in Kumasi,
Ghana, to research sanitation tech-
nologies and revise the design of
toilets for poor urban households.

Faculty member Lisa Nugent is global creative director of Cross-Sector


Innovation & Design for Johnson & Johnson, part of the Global Strategic
Design Office (GSDO), The “Future Map” here is from a project funded by the
Robert Wood Johnson Foundation called Living Profiles. It is a novel Health
Media Platform for teens with chronic illness, designed for and with teens to
facilitate positive health behaviors. The map reflects a teen’s perceived goals,
obstacles, and life events including college, temptations and travel.

Design for Social Innovation 196 197 www.sva.edu/grad/dsi


The Program  Degree candidates must successfully complete 60 credits, including all required cours-
es, with a cumulative grade point average of 3.0. A residency of two academic years is required. ¶ In the first Course Descriptions
year, students receive a review of social innovation in all its forms, from corporation programs, non-profit
organizations and social entrepreneurship, including the disciplines involved, from mobile and digital tech-
nology to science, conservation, ethics and human sciences. Skills, such as communication design, mapping,
visualization and community design are interspersed with lectures and hands-on assignments for real client
organizations. ¶ Throughout the two year program, the Guest Lecture Series will be delivered live or via
video conferencing from around the world—curated to inspire new thinking and dialogue about the nature of
human societies. Speakers will include business leaders, environmentalists, indigenous people, field workers, Designing Change concept of the triple bottom line (people, planet and profits). Case
This course extends the purview of design to the structure of society, studies of social innovation in action, using examples from poverty
researchers, academics, shamans, poets, artists, musicians, policy makers, physicians, astronomers, physi- government, education, healthcare and business. Students will be alleviation, human rights, environment, climate change, human/wild-
cists, dollar-a-day farmers, human rights activists and innovators in social issues. ¶ The second year’s goal is provided a thorough grounding in systems thinking and how to iden- life conflict, aging, women’s rights, food and agriculture, racism, fair
tify leverage points to create change. They will produce designs and trade, education, community development and health are presented by
the creation of a thesis, for which, with the help of a team of mentors and advisors, students will identify and models for a new product, as well as its launch and distribution in a leading innovators in these areas, along with demonstrations of how
research an issue of their choosing, then develop a thorough understanding of the context and challenges. developing country. Training will also be offered in Positive Deviance, design was used to solve challenges. Students will consider how each
a change model used with great success in childcare, women’s issues, social problem is connected to the others, what the unintended conse-
They will write a proposal that captures their recommended solution, then design it fully in a form ready to be healthcare and corporate innovation. quences of change are, how design impacts outcome and what defines
implemented. Each thesis must be reviewed and approved by the thesis committee and the department chairs success. The class will examine and evaluate the various forms that
Ethics and Social Innovation  design for social innovation can take, such as product design, commu-
for the student to be eligible for degree conferral. As designers, we have the ability to change people’s minds, inspire new nication design, business model, process, technology and distribution.
behaviors or support existing ones. This is a power we must learn to After choosing an area of personal interest, each student will develop
use responsibly. Living and working in our society—and truly espous- a concept and design a process and model for solving a social problem
Sample Program ing sustainability—is a complex proposition, one that raises conflicts using at least four types of design.
between our own needs, our clients’ needs, and those of society and
the environment. As we make decisions on the fly—how do we know Introduction to Thesis
first year what’s right, or understand the implications of our decisions? Truth Students will be encouraged to experiment with a variety of topics,
is sometimes hard to find, and the issues are often complicated. How researching each to the point of confirming their own interest and the
FALL Semester Credits SPRING Semester Credits
can designers become partners in helping their employers or clients viability of the concept. Thesis can include any type of social inno-
Employing Human and Social Technologies 3 Designing Change 3 reinforce an accurate public image that leads to greater success? In this vation, as long as it demonstrates a positive impact on its intended
Global Guest Lecture Series I 3 Ethics and Social Innovation  3 course, students will develop a strong foundation for ethical decision audience. Criteria include demonstration of need on the part of the
Introduction to Social Innovation 3 Global Guest Lecture Series II 3 making that will help them “think on their feet” to make ethics practi- audience, a clear articulation of the concept, and metrics for success. A
cal rather than intimidating. Models for success will be proposed and committee of thesis advisors will provide feedback and introductions
Making Communication Work 3 Introduction to Thesis 3 debated and guests from the design world, nonprofits and industry will to external resources with appropriate expertise. By the end of the
Mapping and Visualization Design I 3 Mapping and Visualization Design II 3 discuss the rewards and pitfalls. semester, students will have a fully vetted topic for their thesis.

Global Guest Lecture Series Leadership


This weekly series—delivered live or via video conferencing from A shift to sustainability cannot be affected without a change to the
second year around the world—will be curated to inspire new thinking and dia- dynamics of human interactions, values and communities. In this course,
logue about the nature of human societies. Speakers will include students will explore how to create healthy communities while expand-
FALL Semester Credits SPRING Semester Credits
business leaders, environmentalists, indigenous people, field workers, ing their capacity for collaboration and their ability to empathize. To
Global Guest Lecture Series III 3 Global Guest Lecture Series IV 3 researchers, academics, shamans, poets, artists, musicians, policy mak- develop leadership skills, students will participate in workshops where
Leadership3 Mapping and Visualization Design IV 3 ers, physicians, astronomers, physicists, dollar-a-day farmers, human they will lead teams and learn how to build trust among colleagues.
Mapping and Visualization Design III 3 Social Innovation Impact 3 rights activists and innovators in social issues. Debate and discussion
will take place at the end of every lecture. Making Communication Work
Thesis Consultation: Research, Writing, Presentation 6 Thesis: Implementation 6 To have a positive impact on society, designers must evolve beyond
employing Human and Social Technologies design as a form of self-expression and learn to create design that
All change, however great or small, begins with conversations among motivates their audience to action and change. This course combines
people. This course will investigate methods for designing successful rigorous design studio practice with lectures and discussions on brain
Optional Summer Fieldwork human interaction both in person and virtually. Team-building exercises science and linguistics, and uses multiple lenses to evaluate the nature
Students who choose this optional summer program will gain firsthand and processes for developing living human systems will be interspersed and purpose of communication. In the recent past, the understanding
with techniques and practice in building communities with common of how our brains work has made enormous strides, and scientists are
experience with the challenges and opportunities of social innovation concerns, using social networks and blogs, mobile technologies, video, reevaluating how we make choices and what motivates behavior. How
in practice. A selection of corporations and non-profit organizations Twitter and new techniques for fundraising. Each student will design can designers incorporate this new understanding and use it to appeal
will be available and students will choose an issue of importance that and implement a communication concept, attract a group that supports to what is noble in our fellow humans? Students will create communi-
a cause of his or her choice, and hold an event or tweetup. cation campaigns and observe them being presented to “focus groups”
they would like to explore, from muddy-boots conservation to poverty
in order to experience the gap between intention and the messages
alleviation, healthcare or education. Introduction to Social Innovation received. The practice of ethnographic research will be studied as well.
This course will provide an overview of the landscape, terminology
and various forms that social innovation can take, and the roles and
impact that design has in each of them. It includes a review of the
history of social innovation, the principles of sustainability (laws of
thermodynamics), systems thinking, living systems and the corporate

Design for Social Innovation 198 199 www.sva.edu/grad/dsi


Faculty

Mapping and visualization Design  Cheryl Heller, chair Asi Burak Julie Engel Manga
To visualize information is one way to understand it, and technology Chair, MFA Design for Social Innovation; founder, Heller Co-president, Games for Change Founder, Leadership Lab; social entrepreneur, Babson College
now makes it possible to illustrate and demonstrate concepts of human Communication Design; vice chair, Board of PopTech Education: BA, cum laude, Bezalel Academy of Arts and Design; Education: BFA, School of the Museum of Fine Arts; MA, PhD,
behavior and science that were previously too abstract to comprehend. Education: BFA, magna cum laude, Ohio Wesleyan University; MS, Carnegie Mellon University Boston College
Students will use crowd sourcing and aggregated data from the blogo- School of the Museum of Fine Arts, Boston Professional experience includes: Co-founder, chief product Professional experience includes: Business network manager,
sphere, as well as other types of social and scientific data, to design Current and former clients include: L’Oreal, Reebok, officer, Impact Games; vice president, marketing and product develop- Curriculum Development and Delivery, Boston College Center for
information that informs, provokes and educates. Techniques of visu- Kodak Professional, Bayer Corporation, BlackRock, Mars, Inc., ment, Axis Mobile; senior art director, Saatchi & Saatchi, Israel; Corporate Citizenship; organization development, consultant, Julie
alization design for a variety of applications, including law, science, Hearst Publishing, Marriott Corporation, Girl Scouts of America, art director, TBWA, Israel Manga & Associates
social networking and conservation will be examined. Hachette Filipacchi, Cemex, Marriott Corporation, Seagrams, Presentations for: TEDxGotham, Sundance Film Festival, Publications include: Talking Trash: The Cultural Politics of
Ford Motor Company, Discovery Networks International, Seventh Skoll World Forum, Nonprofit Technology Network, World Affairs Daytime TV Talk Shows; Off the Couch blog, Skoll Foundation;
Social Innovation Impact Generation, MeadWestvaco, Sappi, Audubon New York, International Councils of America Conference, South by Southwest, Game Integrating Corporate Citizenship: Leading from the Middle;
Students will be briefed by a green start-up business, a corporation, a Development Enterprises, The Cloud Institute for Sustainability Developers Conference Integration: Critical Link to Corporate Citizenship; Enduring
social entrepreneur and a non-profit, and will become involved in design- Education, SafeHorizon, Wings World Quest, Cambridge Programme Awards and honors include: News Game Award, John S. and Partnerships: Resilience, Innovation, Success
ing for a real client. The class will collaborate during reviews and discus- for Sustainability Leadership, Joyful Heart Foundation James L. Knight Foundation; Best Transformation Game, Games for
sions, acting as a team to advise one another on individual projects of Professional experience: Chief executive officer, Heller Breene, Change; Israel Advertising Association Lisa Nugent
choice. Work will include research, collaboration on the ground with the Boston; executive creative director, Wells, Rich, Greene; executive cre- Website: www.asiburak.com Global creative director, cross-sector innovation and design,
organization each student has chosen, and the design of a program that ative director, Siegel&Gale. Former board member: AIGA Executive Johnson & Johnson
will further that organization’s cause. Formal presentations will be made Committee, The Cloud Institute for Sustainability Education, Wings Jane Englebardt Education: BFA, California State University, Long Beach; MFA,
to the selected clients at the end of the semester. WorldQuest Principal, founder, Upshot Advisors, LLC; Leadership Council of the California Institute of the Arts
Publications include: The New York Times, Boston Globe, Support Center for Nonprofit Management; Advisory Board of the Professional experience includes: Principal, founder, ReVerb;
Thesis Consultation: Research, Writing, Presentation Business Week, Graphis, Communication Arts, Design Management Bellevue Literary Press (2010 Pulitzer Prize for Fiction) grant originator, Living Profiles for Project HealthDesign
With the help of a team of mentors and advisors, participants will Journal, Adobe Proxy Magazine, Step Inside Design, BSR Magazine, Education: BA, Connecticut College; MBA, New York University; Current and former clients include: Hewlett-Packard, Sony
conduct research to develop a thorough understanding of the context, CRO Magazine, Boston College Center for Corporate Citizenship professional certificate, Harvard University Electronics, Nike, MTV, IBM, Day Corporation, NetAid, Walker
landscape and challenges of their topic. A compelling presentation Awards and honors include: Matrix Award for Women in Professional experience: Formerly, president, chief executive Art Center
in book form will be created, which brings each vision’s potential to Communication officer, Bideawee; executive director, Hasbro Children’s Foundation; Exhibitions include: Le Mois du Graphisme d’Echirolles, Paris;
life through words, images and graphics. Presentation to the thesis website: Hellercd.com chairman, New York Regional Association of Grantmakers (now Neuberger Museum of Art, Purchase, New York; Pacific Design
advisory board for approval of the thesis topic is required. “Philanthropy New York”) Center, Los Angeles
Danny Alexander Collections include: Cooper-Hewitt, National Design Museum;
Thesis: Implementation Design specialist, Catapult Design DK Holland Getty Research Institute; San Francisco Museum of Modern Art
With the help of thesis advisors, students will complete a thesis and Education: BID, with honors, Pratt Institute Designer, creative director, teacher, strategist, writer Publications include: Knowledge, Technology and Policy; Type
develop it into a form ready to be implemented. Presentation of the thesis Professional experience includes: Consultant, IDEO; Education: Parsons School of Design and The New School Directors Club Annual; Vision (China); Design Week (London); I.D.;
to the full board of advisors is required, and each thesis will be included co-founder, Black and Blue Design; industrial design manager, Professional experience: Formerly, partner, Pushpin Studio; HOW; New Typographics 3: Global Vision; Graphis; Metropolis; Los
on a dedicated website with links to corporate and non-profit partners. Method Products; design researcher, Nest consultant, The Foundation Center, the Arts and Business Council Angeles Times; Fresh Dialogue 2, New Voices in Graphic Design
Awards and honors include: I.D. Annual Design Review; and Echoing Green; collaborator, Fred Friendly, Columbia School Awards and honors include: Chrysler Design Innovation Award;
AmeriStar Packaging Award; fellow, The Feast Conference of Journalism; consultant on ethics for IBM, Universal Studios, Good Site, ARCH’IT; Annual 100 Show, American Center for Design
Website: www.dannyalexander.me Hallmark Cards.
Author: Branding for Nonprofits Alessandra Orofino
Tracy Brandenburg Lead strategist, Purpose
Researcher, writer, anthropologist, semiotician; founder, Innovation Lee-Sean Huang Education: BA, Barnard College
Lab, Wells College Strategist, designer, Purpose; co-founder, producer, Professional experience includes: Junior researcher, Center for
Publications include: In Search of the Invisible World: Uncovering Hepnova Multimedia Health and Social Justice
Mesoamerican Pictorial Writing in Contemporary Oaxaca; Journey to Education: BA, cum laude, Harvard University; MPS, Publication: Beyond One
the Centre of Visual Thought; Rap and the Semiotically Real New York University Awards and honors include: Honorary president, Meu Rio;
Awards and honors include: Semiotic Society of America Professional experience includes: Development, outreach Fundação Estudar Scholar; social resident, Comunicarte
associate, Human Rights Watch; Web, multimedia consultant, Human
Rights Watch; campaigner, Avaaz; co-founder, webmaster, JetWit Despina Papadopoulos
Accounts include: Dove, General Electric, LiveStrong, United Interaction designer; consultant; founder, Studio 5050
Nations Foundation, Global Zero, Conservation International Education: BA, MA, Catholic University of Leuven; MPS,
Publications include: Freedom Vs. Security: The Struggle For New York University
Balance; Gizmondo; PSFK Projects include: Moi, Fabrickit
Website: www.leesean.net Exhibitions include: Victoria & Albert Museum, London;
Design Museum Holon, Israel; Science Center NEMO, Amsterdam;
Postmasters Gallery; San Francisco Museum of Modern Art, American
Museum of Natural History; Limn Art Gallery, San Francisco; Liberty
Science Center, Jersey City, NJ

Design for Social Innovation 200 201 www.sva.edu/grad/dsi


Guest Lecturers Advisors

Mary Pearl Marty Anderson Ben Flanner Bill McKibben Ivy Ross David C. Baker, founder, ReCourses, Inc.
Conservationist; scientist; chief executive officer, MBA professor, Babson founder, Brooklyn Grange environmentalist; Author, CMO, Gap
Jesse Dylan, founder, FreeForm
The Garrison Institute College, Extended Nuppu Gävert The End of Nature June Sarpong
Education: BS, PhD, Yale University
Enterprise Management Eric Hersman, founder, Ushihidi
Professional experience includes: President, Wildlife Trust. co-founder, Strategic Borjana Mikic founder, WIE Network,
Co-founder, Center for Conservation Medicine, a consortium of Gregor Barnum Consultant, WeVolve Rosemary Bradford Hewlett Women: Inspiration & Jeffrey Hollender, founder, Seventh Generation
Wildlife Trust with Tufts Cummings Veterinary School, Johns
former director of Higher ‘40 Professor, Director, Enterprise Cheryl Kiser, director, Lewis Foundation, executive
Hopkins Bloomberg School of Public Health, National Center for Edgar Rodriguez
Wildlife Health, Center for Health and the Global Environment at Consciousness, Seventh González Picker Engineering Kevin Starr Director, Babson Social Innovation Lab
Harvard Medical School, Center for Environmental Research and Generation VP market intelligence, Program, Smith College director, The Mulago
Conservation at Columbia University. Board member: Shine Global; Thomas Lockwood, PhD, editor-in-chief,
Elihu Club; Gomez Foundation for Mill House; Institute for Ecological Mark Belinsky Cemex Corporation Aimee Morgana Foundation past president, DMI, the Design Management Institute
Research, Brazil; advisory board, Belizean Grove. Member, Task co-founder, Digital Erik Hersman founder, The N’Kisi Institute Zenia Tata
Force on Environmental Sustainability, UN Millennium Development Democracy Andre Martin, chief learning officer, Mars, Inc.
Goals Project. Former board member, Environmental Enterprises founder, Ushahidi Warren Muir former managing director,
Assistance Fund, Sustainable Travel International, Liz Claiborne/Art Ayse Birsei executive director, Division IDE Warren Muir, executive director, Division on Earth
Noel Hidalgo and Life Studies, National Academies
Ortenberg Foundation co-founder, creative founder, New Amsterdam on Earth and Life Studies, Ville Tikka
Publications include: Discover, Methods and Cases in
Conservation Science, Conservation Medicine, Conservation for
director, Birsei + Seck Ideas National Academies and Nuppu Gävert Milbry Polk, founder, Wings Worldquest
the 21st Century. Associate editor, Ecohealth Brent Bucknam Jo Opot founders, WeVolve. Kevin Starr, director, Mulago Foundation
Awards and honors include: Elected Fellow, American Graham Hill
Association for the Advancement of Science; honorary doctorate,
founder, Hyphae Founder, treehugger.com global vice president Andrew Zolli, executive Director and Curator, PopTech
Marist College Design Labs Business Development,
Jolie Hunt TerraCycle
Marc Rettig
Anne Marie Burgoyne global head of public
Designer, researcher, founder, Fit Associates portfolio director, relations, Thompson Paul Polak
Education: BA, LeTourneau College; New York University Draper Richards Kaplan Reuters founder, IDE; founder,
Clients include: BBC, U.S. Army, Crate & Barrel, Microsoft, Foundation Design for the other 90%
Allstate, Caterpillar, Diamond Partners, Phillips, Texas Instruments Terry Irwin
Author: “The No-Nonsense Guide to Computing Careers,” Ann Christiano head, School of Design, Milbry Polk
Association for Computing Machinery; “Do and Think and Play and The Frank Karel Chair Carnegie Mellon University founder, Wings World
Show and Tell: Artifacts All the Time,” Artifact
in Public Interest Quest; author, Women of
Lina Srivastava Communications at the Emily Jacobi Discovery
Principal, Lina Srivastava Consulting LLC; website author, Strategy University of Florida  founder, Digital Democracy
for Social Change Initiatives; social change strategist, Resist Network;
Jason Rzepka
program evaluator, Chez Bushwick’s Capital B initiative Francis Cholle Grace Kim vice president, public affairs,
founder, Grace Kim Tel: 212.592.2205

Contact Us
Education: BS, Rensselaer Polytechnic Institute; JD, New York founder, The Human MTV
University; Hastings Center for Bioethics; Kennedy Institute of Ethics, Company; author, Intuitive Consulting
Georgetown University
Intelligence
Fax: 212.592.2308
Cheryl Kiser