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The Daily Hub

A roundup of ideas and projects from around the Institute

  • A solo exhibition by Jiwon Rhie, MFA Fine Arts ’19, at La MaMa Galleria in New York, “offer[s] a unique, thought-provoking probe into the lines between objectification and agency as an immigrant,” wrote Rhea Nayyar in her review for Hyperallergic

  • Sara Cedar Miller, MFA Photography ‘83, is retiring after 40 years as the Central Park historian and photographer. “It has never been an ordinary job—because, of course, the Park is extraordinary,” she told the West Side Rag.

  • Designer Ludovico Bruno, who studied fine arts at Pratt, was profiled in Vogue about his menswear brand Mordecai. 

  • Adjunct Assistant Professor of Fashion Claire McKinney, BFA Fashion Design ’15, and Sophie Andes-Gascon, BFA Fashion Design ’15, were featured in Interview Magazine about their collaborations and exhibitions. “There’s a lot of the times when we are presenting things to each other, and it’s just an exercise in partnership. It’s like you’re trying to give someone else the confidence to build upon something that you know is going to be great,” said Andes-Gascon. “We’re each other’s biggest hype people.”

  • Xuechen Chen, BArch ’19, was featured in e-architect for the innovative conceptual project Museum of Uncertainty, a contemporary tribute to the historic La Brea Tar Pit area. The museum “explores the profound mystery and historical significance hidden beneath the tar, emphasizing themes of excavation, discovery, and preservation.”

  • Dezeen showcased thirteen recent interior design projects by BFA and MFA students at Pratt. “The curriculum addresses emerging and innovative technologies, sustainable practices, interdisciplinary collaboration and issues of ethical and social responsibility in a diverse and global context,” Pratt wrote in a statement about the program. 

  • Subway mosaic artist and Visiting Instructor of Social Science and Cultural Studies Jackie Chang was featured in The New York Times. “Next semester I will be teaching art, culture and community development,” she said. “It’s not about acquiring skills to make art, but it’s acquiring skills, knowledge as to why you would make art, like how to apply it—not just as a decorative item to be sold on the market.”