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By Rachel Ellner, April 23, 2013 6:05 pm

Immersion in Ancient Rome happened easily for Fine Arts professor Vincent Arcilesi while on sabbatical in Rome in 2009.  His paintings of contemporary Romans wandering about the empire, seem to suggest a total accessibility to the ancient world.  His series “Arcilesi in Rome,” work he did while on sabbatical, will be on display at the   from May 2 to May 30.  The opening reception will be held on May 2nd from 6 p.m. to 9 p.m.

“I stayed in the historic center. The parliament was a block away,” says Arcilesi. “Lawyers and politicians were walking around, conducting business in these ancient buildings.  It’s not just a tourist place, contemporary life goes on. But there’s a new Rome as well that’s built outside the historic center.” 

“Bernini in the Roman Forum I” 20″ x 16″. Oil, 2013 by Vincent Archilesi

“Bernini in the Roman Forum I” is one of Arcilesi’s seven new paintings, many which show a commingling of ancient and contemporary figures.  They will be on display along with eleven drawings named for Roman goddesses.

Playful, anachronistic elements provide scale and humor in Arcilesi’s paintings. There are women on horseback appearing less like conquerors than tourists. In another there’s a tiny Dachshund facing the opposite direction of an imposing  Roman emperor on horseback in Piazza del Campidoglio. In another, four lazy cats appear nonplussed beside ancient nudes and a distressed goddess.

“Dreamer and Her Dream,” by Vincent Arcilesi

Vincent Arcilesi’s daughter, Francesca Arcilesi, runs the Arcilesi-Homberg Fine Art with Norma Homberg. The two recently made the transition from running a pop-up gallery to their current gallery, located at 111 Front Street in Brooklyn.  Hours are: Wednesday through Sunday 12 noon to 6 p.m. 

Photo by: Steven Tucker

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By Rachel Ellner, April 5, 2013 10:11 am

Prof. Suikang Zhao’s latest art installation, “Taokonick,” captures the grittiness and romance of firefighting and manufacturing. It’s a series of bronze and stainless steel pieces at the new Engine 38 firehouse in Tacony, PA. Prof. Zhao’s work was chosen for its permanence, historical detail, and reverence to the community.  Funded by Philadelphia’s Percent for Art Program, the installation is also, frankly, fun.

A laser cutout of an old Philadelphia fire truck. “They put water in it and a team pumps it and water comes out. In the old days everyone came out to help,” says Zhao. “Otherwise next time no one helps you.”

Zhao’s intent was to help knit the newly built firehouse and adjacent community center together and to connect the entire site more closely to the neighborhood.

“I can’t put up an isolated sculpture and walk away. I have to research the history, talk to firefighters and people in the neighborhood,” said Zhao. His site-specific installation includes elements of historical relevance like Disston saws (originally made nearby), images of old fire engines and an apparatus used to receive fire alarms from call-in boxes before telephones were common.  

“It really challenges the function and communication of art. Constructing permanent public art is a stricter process. Every nut and bolt has to be chosen with care, because it’s going to be up for 50 to 100 years, exposed to the weather.”

The Disston saw was manufactured by Philadelphia industrialist and saw maker Henry Disston. The small blade with disproportionately large teeth on the upper left of the right-hand panel is from a fireman’s saw that was used for demolition. Zhao’s re-creation is made of stainless steel.

“This way of art making – researching and respecting the community and the history that it’s a part of — is a way of integrating art into a sphere that is not necessarily art-savvy outside the universe of galleries and museums,” says Fine Arts Chair Stephanie DeManuelle. “It’s an excellent example for students and artists who are ready to go out into the world.”

“I bring art inside people’s lives,” said Zhao who teaches in the fine arts department. “It has to do with the context of this particular  site — the history of the neighborhood and Philadelphia, and the Disston saw.”

The Disston saw in this photo was from a collectible that Zhao borrowed and made a cast of. “Local kids didn’t know how to use it, or what it was used for,” Zhao said.

“I don’t believe art should superimpose any reality. It’s a part of the texture of reality. That’s why my work has a lot of overlapping, interweaving, texture in form and context.  To me it’s no longer about artifacts. The issue is, artifacts only work within a context in the surrounding environment.”

A fire alarm receiver. “When you pulled the handle on an alarm box — they were on many telephone poles and inside buildings — it sent an electrical signal to this machine, which typed out the alarm-box number indicating where the fire was.”

Hydrant and water gun from 50 years ago arranged as permanent art, sturdy enough for children to play on.

Most people think of public art as beautification, says Zhao. “They even have this term ‘the beautification of the site.’ But I’m ‘challenging’ the site, bringing my thinking process into this reality. Time is not linear but rather treads through different forms of social structures of past, present and future—overlapping simultaneously.”

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By Rachel Ellner, March 14, 2013 11:43 pm

Happen to have a collection of Victorian top hats, vintage ray guns and industrial bird sculptures? If so, you’re in luck. Second-semester interior design student Brianna Silva has created a space to display steampunk art and artifacts in a renovated New York City apartment. Her choice of furniture is in keeping with steampunk ethos.  Steampunk takes Victorian design elements and applies them to modern and semi-modern devices.  For instance, the Victorians didn’t really have ray guns, but if they did they would probably be steam-powered.

“For my unique second-semester project for our interior design studio course, I created a retro-futuristic apartment fit for a fashionably nerdy client,” says Silva. “I pulled inspiration from films like ‘Hugo,’ ‘Howl’s Moving Castle,’ and ’20,000 Leagues Under the Sea.’”

Collection of steampunk artifacts

The assignment, given by Prof. Shannon Leddy, was to combine two apartments in New York City. “We were to imagine our clients’ personalities, histories and needs and design the space accordingly,” says Silva.

“I am interested in designing for the less-considered types.  When you think of designing for a client, the more nerdy-inclined doesn’t come to mind as often as the upscale client with refined tastes surrounded by luxury. I can relate more toward that side, having attended the rather nerdy high school, A-Tech in Las Vegas.” 

Brianna’s rendered interior perspective of an apartment fit for fashionably nerdy clients

The interior is a “mixture of the ornamental and the hard-lined, which still feeling very cohesive through the color palate of rich browns, orange, reds and blues set in a more industrial enclosure,” says Silva.

“Brianna actually taught me something by introducing me to the SteamPunk genre,”  says Professor Leddy. “She challenged herself from the beginning of this project and the return on her efforts is an exciting, contrasting yet harmonious solution. The photos are great here in this post, and indicate how Brianna has grown with less than a year under her belt in this program. Her work ethic certainly shines through.”

Victorian, Victorian-inspired and industrial furniture for the retro-futuristic apartment

“In retrospect, I am glad with the way my design came together,” says Silva. “I was worried about the outcome of mixing these styles, but it all came together into one cohesive piece.”

Come to think of it, we all could use a good ray gun to shoot down those angry mechanical birds.

photos: Brianna Silva

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By Rachel Ellner, March 12, 2013 2:39 pm

In today’s media we often hear about the raging fire, but little about the aftermath. The story of the fire that destroyed the top two floors of Pratt Institute’s main building on February 15 has faded from the news, but the fallout, the destruction of art studios and student work still looms large. In an effort to help alleviate the hardship, FIT set up an art supply drop-off.

Response was immediate: Three boxes of art supplies were picked days after the fire. Three larger boxes are ready for pick-up. Now two more boxes “are waiting for your gently used or new art supplies to go to students at Pratt,” says Deborah Payton-Jones, volunteer coordinator of Student Life and organizer of the art supply drive.  

Art supplies destined for Pratt

A peek insides the boxes show stretched canvases, large sketch pads, mini wooden table easels, pocket sketch journals, oils and water colors and loads of paint brushes.

“It means a great deal to our students to know their peers are taking time to help them,” says Dina Weiss, the acting assistant chair of Pratt’s fine arts department.

art supplies piling up for Pratt

The bond of cooperation underlines the connection of art students throughout New York City.

“Whether it is Haiti, Japan, or our brothers and sisters in Brooklyn at Pratt Institute, our students demonstrate compassion, philanthropy and civility for those in need. Here at FIT, we’re fashion and so much more.”

 - Deborah Payton-Jones

Art supply donations for Pratt Institute are being accepted at Student Life through this Friday, during the hours of 9 a.m. to 9 p.m.

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By Rachel Ellner, February 28, 2013 6:47 pm

The Diana Rubio Backpack is proof that practicality and style can win the pocketbook wars and a student competition that gets your name all over town. When Ms. Rubio was an FIT student in 2011, she designed the student-friendly bag to be sold at Barnes & Noble. It was to be a short-term run for a back-to-school collection. But it went viral. The original khaki nylon bag, worn as a back-pack style or on the shoulder is now in four colors and plaid. It’s the bag that never quits, nor quits selling.

Diana Rubio

  “I think it is a fantastically designed bag. When I see it on the streets of NY I’m proud of our collaboration with Barnes & Noble. Diana created this bag with the student in mind, which created a best-seller.” – Sarah Mullins, Chair of Accessories Design Department

We met up with Diana to learn more about how her design implementation propelled her bag to the top:

“When I design I think what I would want function-wise that’s also stylish. I designed a backpack as opposed to a handbag. I wanted a durable, lightweight material, so my first thought was canvas.  Keeping the New Yorker and commuter in mind, I designed quick side pockets to function as easy access when juggling an on-the-go lifestyle.  When traveling I don’t want to deal with opening pockets, so that’s where drawstrings came in. I also wanted something versatile for both women and men so I made sure to design a neutral bag that anyone can wear.”

Diana Rubio leaving Moda w/ her Diana Rubio Backpack

 “I was looking for a bag because I commute…it fits my lunch and my textbooks and folders,”  says advertising & marketing communications student Brooke Micciola, a current intern at GoGorilla Media.  “I’m reading ‘Secrets of the Grave’ – it fits that.  I love the side pockets. I do the crossword puzzle so I put it there,”

“I don’t have to go digging. Even inside there’s a zipper one and two smaller ones. After I bought it I was looking at the tag and it said why she designed it. I thought it was so cool.”

Brooke Micciola with her Diana Rubio Backpack

Ms. Rubio said she never thought of competing with other designers. “I believe that skews your natural thinking process. It was a mandatory competition, for fashion and accessory design students with other schools involved.”

“I really like it. It’s rustic and urban. It’s like a rare find. It looks like it’s got some history. It’s something you might find in an antique store.”

- pocketbook maven and textile development & marketing major Ashley Ray

The instructions for the contest were loose. “We weren’t given too many specifics, we just were told to submit three to five different ideas. Barnes & Noble then came to FIT to select final entries and made a second decision for a final winner. We went over our designs as a class during our sketch class and had the opportunity to critique each others work. Professor Vasilios Christofilakos also came in to give further critique. It always helps to have others’ perspective.”

Diana reaching for her yarn. No digging required.

 Diana’s first love is jewelry design. She is at work developing an online website store to feature her jewelry designs. But not to worry, handbags will be there too. “It all comes with time and hard work!” she says.

Diana w/ her award-winning bag contemplates returning to FIT for another degree.

photos: Rachel Ellner

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By Rachel Ellner, February 15, 2013 4:44 pm

Two FIT photographer professors, Allison Wermager and Tim Soter, are participants in The New York Photo Festival presentation SANDY: Devastation, Document, Drive, a “visual document” of  Hurricane Sandy at the Powerhouse Arena in Brooklyn.  All proceeds from the exhibit benefit artists who have had their work spaces, homes and lives upturned by Hurricane Sandy.

photo by Allison Wermager

“I was on (a photography) assignment for the Daily Mail covering Hurricane Sandy’s affects just days after the storm hit Staten Island,” says Prof. Soter. “It was obviously a human interest piece as the writer talked to a mother who had just returned from the funeral of her husband and son. ”

photo by Tim Soter

Soter says he prefered to photograph the environments without people. “The viewers can place themselves in the situation a little easier and I think the devastation is so clear, that most viewers would connect with it immediately.”

photos by Tim Soter

Soter’s assignment put him in direct contact with fellow New Yorkers. “It’s really much different than watching coverage on the television or through the internet.”

The exhibit runs through March 1, 2013.  The Powerhouse Arena is located at 37 Main Street in Brooklyn. The gallery, boutique, bookstore, performance and events space is open weekdays from: 10 a.m. to 7 p.m. on weekends 11 a.m.  - 7 p.m. 

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By Rachel Ellner, February 14, 2013 7:13 pm

The gowns, dresses and a harem outfit designed by the late FIT instructor Rosario Rizzo are now on display in the Pomerantz (D) lobby. Professors Anne Kong and Glenn Sokoli of the Visual Presentation and Exhibition Design Department helped create a narrative for “The Master and His Muse” through the use of color and style representative of each era.

“The most interesting part of doing the exhibit was hearing about the history and life of Rosario Rizzo and how his wife Rose told the story, and then bringing to life the collection. Each garment represents a milestone in their lives,” said Professor Sokoli.

Rosario Rizzo was praised in American fashion for his fine hand-sewing, tailoring and embellishment techniques. He was also an opera singer and dedicated husband to Rose, who shared his passions and livelihood.

“Glenn and I strove to capture the time period of the garments through the styling, the hair and accessories to best illustrate for the viewer the era. The first garment we documented  is 1965 and the latest was 1987.”

- Anne Kong

Rizzo designed ensembles from silks, laces, rich wool and opulent brocades, with the finest surface detailing.  He considered every aspect of his client, her body type, coloring and the event she was attending. He draped the garment lining directly on his customer.

“The interiors of the garments were so finished off, the stitch work was so fine. We were amazed by the detail. That’s really where you get to appreciate the art of what he did.”

- Anne Kong 

 Most full-coverage beading was done on blocks, before the final garment was sewn, worked from under the frame unseen, much of which Rizzo did himself.  All the finishing was hand sewn in tiny, evenly spaced stitches. Seam allowances never showed, and unlined garments were all hand-bound.

Rose Rizzo

At the exhibit opening, Professor Sokoli had Rose stand on the red carpet with replicas of herself throughout the decades. “She still wears the clothes. Her husband designed the suit she’s wearing  in the photo with hand-beaded pockets,” says Sokoli

Rizzo was born to Italian immigrant parents in the Bronx. The family was rich with culture and hand craftsmanship. Rosario learned sewing from his mother and made wedding dresses for relatives and outfits for a girlfriend before attending Needle Trades High School on West 25 Street.

 “You know it was so much about the detail. He was like a sculptor the way he draped on the body.”

– Anne Kong

Rizzo showed singing ability at a young age. He sang on Italian radio, with the Metropolitan Opera school’s theater group, and at Carnegie Hall. It was his singing teacher, Maestro Fernando Maero, who introduced Rizzo to Rose Colaianni. The two shared many interests. Colaianni had studied mandolin, piano, singing and acting, and was also a graduate of Needle Trades High School.

“We learned from Rose that Rosario initially took jobs in fashion to pay for opera lessons. When he opened his own atelier she came to work for him.  She was there, side-by-side Rosario as he custom designed his couture fashions.”   – Glenn Sokoli

“Rose wore the red dress with the rhinestone belt [above] to President Jimmy Carter’s inaugural ball. Rosairo and Rose hobnobbed with many politicians like Tip O’Neil and Mayor Koch. I referenced from photos  of Rose wearing these gowns to create her actual hairstyles. Rose told us that Rosario did her hair and makeup for the major events they attended.” – Glenn Sokoli

In 1958 Rizzo proposed to Colaianni. He gave up his singing career and opened his atelier in Queens, where he and Rose began married life.

In 1993 Rizzo began teaching at FIT’s Fashion Design Department. He and Rose created and taught the wedding gown and beading courses in the School for Continuing and Professional Studies, as well as a range of fashion design courses. In 2000 he created the couture techniques certificate program designed to immerse students in couture hand sewing techniques through to the finished garment.

“Rose wore this  saffron and white beaded coat and dress ensemble [above] at a New Year’s gala, where she descended down a two-story marble staircase. The whole room turned and looked…What you don’t get from looking at this is that the gown weighs approximately 60 pounds.”

- Glenn Sokoli

Rosario and Rose said their life together was like a fairy tale. They were nearly inseparable for over 50 years. They traveled extensively, attended red carpet events, political parties and inaugural balls of presidents Jimmy Carter and Ronald Reagan.

“We wanted to create the atmosphere of his atelier by creating two large-scale doors, and then detailing them with two ‘Rs’ representing the unity between Rosairo and Rose, which are also the designer’s initials.”

- Anne Kong

Known throughout the world for his couture technique classes, Rizzo and his wife and muse Rose, inspired a generation of students with exquisite workmanship and skill.

photos: Alessandro Casagli & Rachel Ellner

The exhibit “The Master and His Muse” is open to the public until March 10.  The Pomerantz building is located on the corner of 27th and 7th Avenue.  

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By Rachel Ellner, February 12, 2013 6:24 pm

What are they doing there and how did they get there? That group of intriguingly weird, artistically cartoonist, sometimes beautiful and occasionally ghastly little Kidrobot Munny figures huddled under the display case in Pomerantz D3.  They sprang from illustration Professor Leslie Cober-Gentry’s off-the-2D-beat-and-path class assignment.

Ranky Huang

Kidrobot is a retail store that carries toys created initially by well-known artists.  When Munny is heated with a hairdryer, the vinyl becomes pliable and can be cut away and then molded said Cober-Gentry.  “Students get tired of the 2-D thing. So the 3-D project is really exciting. They’re stimulated by the new thought process.”

Rebekah Bennington

The instructions went something like this: paint a do-it-yourself Munny from Kidrobot; illustrate a background environment for the Munny — medium of the student’s choice.  “After creating and enlarging numerous thumbnail sketches, students created their own custom Munnys in their own environment,” says Cober-Gentry.

Emily Arlngton. Inspired by a mug shot, or most-wanted poster

Emily Arlington’s Munny was based on a 1960s mug shot with “humor and history.” She chose black and white to represent the time period and for its pronounced quality. “There is a working base where the Munny can turn as if posing for a mug shot, and there is a gun hidden in the women’s cat-covered undergarments,” she said.

Ian Hansen

“Ian paints beautifully. His pictures are truly meticulous,” says Cober-Gentry.

Veronica Stone

“On the East Coast there’s more emphasis on (illustrating) publications,” says Cober-Gentry. “California is more entertainment–movies and videos. This type of assignment shows the students there’s a world of opportunity out there. They will have to go out and look for different directions to show their abilities.” 

Kaitlin Gugel

“Kaitlin took my advise on values and composition throughout the semester. She came up with something wonderful,” says Prof. Cober-Gentry

Samantha Coatoro

“The Munny project provided students  with a common 3-D canvas to create something unique while working on identical items. A lot of students found their voice with this project. It was a fun way to shake things up at the end of a long semester.” - Emily Arlington

Kylie Derby

“Making the Munny was really fun,” says Michael Wong “The process took me back to my childhood, cutting papers and fabric, gluing things, molding. It was an exciting end result. I initially thought I would fail, but it actually went better than I thought. I learned new applications for illustration, and that different media is not just paint, ink, papers and canvas; it can be anything!”

Jennifer Tlkachov

Michael Wong

“I love that Michael worked within the box. They looked for all kinds of material and came up with incredible solutions,” said Cober-Gentry.

Catherine Notto – A young and old man

“Students often ask ‘What does this have to do with illustration?’ But it’s not just about 2-D publishing. It’s an assignment-based project. They’re answering the assignment — that’s what illustration is all about. It’s similar to something you’re asked to do,” said Cober Gentry.

Nina Moore – Strawberry Man

“It’s amazing what students do when they really love an assignment — when they’ve been working passionately throughout the semester, taking in critiques, studying established illustrators and noticing what’s being created around them. They become stars in the end,” says Cober-Gentry.

Alexander Rosenberg – cave carved out of styrofoam

photos: Leslie Cober-Gentry

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By Rachel Ellner, February 6, 2013 4:38 pm

A group of eco-focused artisans including FIT grads Zaida Adriana Goveo Balmaseda,  Melissa Kirgan and XZ Chung-Hilyard recently displayed their works at the Manhattan home of prominent fiber artist Abigail Doan. Known for her use of natural fibers and plant materials. Doan, who divides her time between New York, Bulgaria and Italy, describes herself as an “art-farmer.”  

“’Fete for the Senses’ allowed us to create something together while showing who we are as individuals with brands,” said Balmaseda via email. “We had three blissful days to connect, discuss, share with inspiring makers and guests from all sorts of backgrounds, industries and experience, something unforgettable!”

Diningroom table installation at Fetes for the Senses gathering. Photo: Abigail Doan

Balmaseda works with natural dyes and hand-spun yarns. Her “moss formation” dress was on display in one room of Doan’s botanical-scented, spacious apartment. “A lot of my pieces could be described as art, sustainable ‘fashion,’ versatile-reversible wearables, but also labor-intensive examples of handcrafted techniques and new fiber-textile concoctions.”

Zaida Adriana Goveo Balmaseda’s moss formation dress. photo: Jordan Cortese

“It was an event to celebrate the senses and show the work that can provoke the senses in very different, yet somehow connected ways,” said Balmaseda.

Sleeve detail from Zaida Adriana Goveo Balmaseda’s moss formation. Photo: Jordan Cortese

“All of the work included in Fete for the Senses was either handmade, artisan-produced, textile rich, or completely organic in nature”

Trend forecaster and curator Lidewij Edelkoort

 “Sometimes it is hard to find platforms to showcase work that helps an audience see and understand different layers,” said Balmaseda. “Fashion events often focus on style trends and marketability. Sustainability events celebrate the ethics of production and alternative business models, the environmental and social impact of the pieces. Textile-craft events usually attract people that appreciate heritage, traditional techniques and innovation. All are wonderful, but do not always allow for a combined picture.”

Zaida Adriana Goveo Balmaseda’s moss formation dress

“New York made me strong, gave me drive and incredible career opportunities,” Balmaseda says on a blog post about a recent knitting session with fellow FIT grads. “It’s incredible how much things have changed since we’ve stopped frequenting the classrooms on 27th street.”

Crystal necklace made by Melissa Kirgan and XZ of Eko-Lab.  Photo: Abigail Doan

“There’s no connection between people and their clothing anymore. It’s very sensual to ingest to bring the design into you.” – Melissa Kirgan

Melissa Kirgan and XZ Chung-Hilyard of Eko-Lab displayed their crystal necklace made of stones wrapped in organic cloth from Goods of Conscience, which is woven with reflective fiber from Guatemala.

“Abigail and I were talking before the Christmas holiday about multi-sensory designs” says Kirgan. “We were inspired to imagine what our designs would taste like. We thought of rock candy. XZ made rock candy for months in her kitchen to get a visual of the crystal. ”

“Rock candy is a little exotic and the coloring is beautiful. We wanted to bring that into the design. I know it’s weird and funny. But it worked out really nicely.”

Detail of Eko-Labs black sesame rock candy. Photo: Abigail Doan

The rope for the necklace was found at the Brooklyn Navy Yard near their studio. “It was a night-before piece! The eucalyptus leaves come from the farmers’ market that we got for the Fete for the Senses journey.”

“It was an intimate setting,” says Assistant Dean Sass Brown who attended fete along with other appreciators of art and craft. “It was a sensitive presentation and a sharing,” said Brown, who is author of “Eco Fashion,” and a leading expert on sustainable fashion design.

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By Rachel Ellner, January 28, 2013 3:51 pm

As Melissa Starke saw it, Art Basel provided an opportunity to try a new approach for students to participate in a world renowned art show.  Instead of a contest with a panel of judges, instead of it coming down to either: You’re in, versus “maybe next time,” students would participate in a mentoring program designed to prepare them for an exhibition of such a large magnitude.

For Melissa, coordinator of the Fine Arts department it meant an onrush of work and excitement. “We functioned as if we were an established gallery,” said Melissa who is also adviser for Urban Studio, an School-supported artists’ collective based out of the fine arts department.

Melissa Starke, coordinator of fine arts and adviser to Urban Studio

Here are some of the steps that Melissa and 20 students, faculty members and alumni followed that led to the culmination of their participation in Art Basel Miami in fall 2012.

1. End of spring 2012: Melissa sets up the student mentoring program with the goal of applying to Art Basel. Faculty mentors critique and hold “a dialog” about the collective work. “That’s what met the initial eligibility criteria” said Melissa. Students were also given assistance with practical matters, like writing bios and artists’ statements.

2. Students work throughout the summer 2012 into the fall on individual pieces that would be exhibited at the Art Fair. 

Students fundraising to cover costs for Art Basel

3.  Students fundraise during the months of preparation, to help cover costs for the trip to Miami. There are tote bag sales, a flea market and a raffle. 

Constructing a public art piece at Art Basel

4.  In addition to the exhibit, a proposal had been approved for a large-scale sculpture to be build in one of the public spaces. “We built an entire public art piece from 6:30 a.m. to 11:30 p.m.” said Melissa. The installation was a 20’ x 12’ metal rectangular form filled with cocoon-like shapes suspended above a swimming pool. Each artist filled a “cocoon” with objects of personal significance. 

The night before the VIP Art fair opening, students meet with Melissa, FIT grads and faculty member Joel Werring to discuss how to best approach patrons and visitors, as well as go over gallery materials.  

Urban Studio’s exhibition room

The day after they finished the public installation, Melissa and FIT alum Garrett Klein curated and installed the exhibition. The VIP opening was that same night.

Garrett Klein welcoming visitors

“You can see that this experience could not have happened without the commitment and collaboration of a small village!” said Melissa. “Having exhibited during Art Basel was an invaluable experience for everyone. It’s possible that an artist might not have this opportunity in their lifetime.”

It was the fourth successful year for FIT involvement in Art Basel.  To read about last year’s appearance go to: Urban studio creates a splash at Art Basel. 

Participating artists from the FIT community included: Greta Anderson, Katrina Avino-Barracato, Valentina Burzanovic, Mario Cardoza, Dimitri Dimizas, Slavko Djuric, Eric Gottshall, Brittany Gray, Jisu Kim, Garrett Klein, Chadbourne Oliver, Lydia Pfeffer, Jessica Planter, Rin Shen, Julia Sinelnikova, Joanna Skora, Melissa Starke, Jennifer Torres, Marcin Wlodarczyk, Joel Werring

Photos used with permission