Text
NESADSU Alumni Newsletter
& Then
Fa l l 2 0 0 7 I s s u e # 13
85-Year-Old Graduate has Great
Success with Women…
And great success with the general public as well.
NESA alum John Burbidge (1948 Fashion Design) is
currently exhibiting his collection of 59 costumed
mannequins, made to scale, which he calls Les
Petites Dames de Mode, at Ventfort Hall in Lenox,
MA. The exhibition, which was to end in September,
has been extended until December 31st (2007) due
to the unprecedented numbers of visitors it has
attracted, including the likes of cellist Yo-Yo Ma who
dropped by in August.
The “Little Ladies”, as John calls them, must be seen
to be believed and that’s why I’m urging everyone
to make the trip to Lenox, in the Berkshires of
western Massachusetts, before the end of the year.
This interest was fueled by a chance wartime trip to the
Louvre in Paris.There he found on exhibit nearly 300
27-inch mannequins dressed by the leading Parisian
couturiers of the day.
The “Ladies” are 29 inches tall and are dressed in
historically correct costumes, all designed and executed by John, of the Victorian and Edwardian eras
(1855 to 1914). Wedding gowns, tea dresses, ball
gowns, traveling suits, all are meticulously crafted
and completely original. Tiny hats, parasols, fans, jewelry and other accessories complete each ensemble.
John, who was associated for 40 years with Priscilla
of Boston, perhaps the premier bridal company in
the country (he designed Tricia
Nixon’s wedding gown), decided,
upon retirement, to resolve
his “mid-life creative crisis” by
indulging his long-time interest in
period costuming. This interest
was fueled by a chance wartime
trip to the Louvre in Paris. There
he found on exhibit nearly 300
27-inch mannequins dressed by
the leading Parisian couturiers of
the day and designed to demA costume for Ascot Races circa 1907
onstrate that, despite the war, French couture was
alive and well. From this experience came John’s
life-long fascination with period costume.
In addition to the exhibition at Ventfort Hall, you
can see (and you will be amazed by) John’s work in
his book, Les Petites Dames de Mode, which is available at Ventfort Hall, in the NESADSU library, and
through bookstores or on line. The book details the
evolution of the “Ladies”, the history behind each
one, and John’s biography as well. Liberally illustrated with amazing photographs of each creation,
and of John at work, the book is a feast of history,
craftsmanship and inspiration.
John Burbidge at work
Though it’s subject for another article, John’s wife
of 57 years, Cile, also a 1948 graduate of NESA,
has also been intimately involved with the bridal
industry for over 50 years, not dressing brides, but
feeding them. To call her a “cake designer” would be
a gross understatement, like calling Michaelangelo
a painter. While John creates in fabric and lace, Cile
works her magic in flour and sugar, creating cakes
that boggle the imagination. But I’ll leave that for
another time.
“Les Petites Dames de Mode” is available for viewing until December 31, 2007.Ventfort Hall Mansion
and Gilded Age Museum is located in Lenox, MA
at 104 Walker
Street. For
information, telephone (413) 6373206 or email
info@gildedage.
org. S.C. §
Afternoon dressing circa 1910
Inside
Editor’s Note . . . . . . . . 2
Lost Alumni . . . . . . . . . 2
Whatever Happened to? . 3
Did You Know? . . . . . . . 3
News & Tidbits . . . . . . . . 4
Little Cultural
Differences . . . . . . . . . 8
Class Notes . . . . . . . . . 10
Feedback . . . . . . . . . . . 15
Alumni Focus . . . . . . . 16
Faculty Interview . . . . 18
Dinner gown circa 1883
Gallery Schedule . . . . 20
When I first started this alumni magazine, I worried about whether I would
be able to fill an issue each semester. At
times I couldn’t imagine ever having
enough to write about, though should
have known better, after 29 years at the
school! So, here is the 13th issue, as large
as ever and still full of news I hope you
find interesting.
In this edition we offer you installment #2 of Kate McLean’s
series on the Paris design scene, called “Cultural Differences”,
along with a “Whatever Happened to…?” by its subject, former
faculty member Steve Lyons. Another welcome contributor is
Mish McIntyre, who, along with Jessie Schloss, has written about
a new collaborative effort among recent Fine Arts graduates.
(Part of the secret of filling this magazine is getting others to do
some of the writing…)
If you’re interested in finding out how our recent NASAD reaccreditation went, turn to page 5 for the verdict. And, as always,
check out the Class Notes, to find out what your friends are up
to. If you don’t see your name, it’s because I have no recent news
of you. C’mon, send it in!
Remember that this magazine exists for you, so please let me
know if there are things you’d like to see in it. If you feel like
contributing photographs or an article, let me know that too.
You can show off your work, talk about what you’re doing
design-wise, or write about something else that’s important to
you. If you just want to comment on something you’ve seen in a
previous issue, then Feedback is the section for you.
Lost Alumni
Does anyone know where I can find these NESA/D/SU alumni?
They’re no longer at the addresses I had for them and I haven’t been
able to trace them. If you know, please send me an email at
schadwic@suffolk.edu.
Many thanks, detectives!
Sara
P.S. Last time, this worked and I found Christine Jellow (Interior Design
1979), thanks to Laura Glen (Interior Design 2001).
Alyssa Weaver
Jessica (Chih Yun) Lu
Pedro Carrasquillo
Patricio Calderon
Rachel Lane (nee Miller)
Deborah (McCarthy) Richard
Aimee Whitlock
Interior Design
Interior Design
Graphic Design
Graphic Design
Interior Design
Graphic Design
Interior Design
2003
1995
1985
1989
1994
1982
2003
S.C. §
Please send your photographs and news for inclusion in the next issue. Send all
photographs, slides, or digital files, with an accompanying caption that identifies
who is in the picture and when and where it was taken. All photographs, slides
and digital files should be 300 dpi at 5”x7” (1500 x 2100 pixels, total filesize four
megabytes approximately), a high-resolution JPEG taken with at least a threemegapixel camera.
So stay in touch and please let me know if you change your
address or your job.
Thanks and happy Fall,
Sara
Th e N e w E n g l a n d S c h ool o f
A rt & D e s i g n at
S u f f ol k U n i v e r s i t y
Fa l l 2 0 0 7
A l u m n i N e w s l e t t e r, Fa l l 2 0 0 7 I s s u e # 13
& Th e n
2 3
EDITOR:
Sara Chadwick
design concept & DESIGN:
CONTRIBUTING designer:
special thanks:
Kate McLean
Rita Daly
Molly Ferguson, Suzanne McCarthy, Kate McLean, Mish McIntyre,
Jessie Schloss
printing:
Reynolds DeWalt, New Bedford, MA
web site: www.suffolk.edu/nesad
N e w s & Ti d b i t s
E d i t or ’ s N ot e
NEWS tidbits
&
Did You Know?
Whatever Happened To…?
Steve Lyons
“Upon leaving The New England School of Art & Design as an adjunct faculty
member in 1987, I went to work for the Boston office of Ligature, a Chicagobased educational development house. As a designer there, I worked with
editors and production staff conceptualizing and producing middle school and
high school textbooks for publishers including Houghton Mifflin and Holt,
Rinehart and Winston. I eventually became Managing Director of the Boston
office, overseeing a staff of 75 people. In 1991, I left Ligature with a colleague to
form DECODE, Inc., (www.decodeinc.com) a graphic design office dedicated to
providing creative services to the educational publishing market. DECODE has
produced textbooks for Houghton Mifflin, Glencoe/McGraw-Hill, Prentice Hall,
Silver Burdett and Ginn, and Holt, Rinehart and Winston, in a variety of content
areas including social studies, US and world history, science, math, literature, and
language arts.
“In 1994, my partner and I moved the company to Seattle, leasing space downtown on the 10th floor of a 14–story building overlooking Elliot Bay and ten
years later, along with other partners, I purchased a three–story, turn–of–the–
century brick building in historic Pioneer Square. DECODE has been operating
there with a staff of four ever since.
“In 2004, I co-founded Platform Gallery (www.platformgallery.com), a commercial contemporary art space dedicated to exhibiting sculpture, painting, works
on paper, installation, photography, and new media. The gallery works with artists
from Seattle, Los Angeles, Toronto, New York, Rhode Island, Wisconsin, and
Illinois. The gallery is located in the gallery district of Pioneer Square and is open
Thursdays to Saturdays, 11am to 5:30pm. One of the missions of Platform is to
take work beyond Seattle and we are participating in upcoming art fairs including
The Affair at the Jupiter Hotel in Portland, Oregon (Sept. 14-16),Year07, a fair
taking place in County Hall in London (Oct. 11-14), and Aqua Art Miami, the
Aqua Hotel, Miami Beach, Florida.
“And with all of that going on, I still maintain a
studio practice working on my own art. I’ve most
recently been working on conceptual drawings
and mixed media on paper and panel. I fondly
remember my teaching days in Boston and refuse
to believe that that part of my life was over 20
years ago!” Steve Lyons §
During the 2006-2007 school year, NESADSU
enrolled 426 art and design majors. 221 were
BFA candidates (108 in Interior Design, 82 in
Graphic Design, and 31 in Fine Arts) and 116
were graduate students (106 in the Master of
Arts program in Interior Design and 10 in the
MA program in Graphic Design). There were
also 12 Certificate students, one Diploma
candidate (the Diploma programs were discontinued in 2004), and 76 continuing education
students.
That same year, we spent $2,145,450 on fulland part-time faculty salaries.
We currently have in school 256 computers,
105 Macs and 151 PC’s, 36 in offices and the
rest in classrooms and other student areas.
Software is updated with every new release,
hardware every three years.
The cost of one roll of paper used in Foundation drawing classes is $60. We use about 30
rolls per school year. That’s $1800.
The NESADSU Library currently holds approximately 10,000 books, 53 periodical
subscriptions and 30,000 slides.
The retail price of one license for the
Adobe Creative Suite Premium Design CS3
is $1,700.00. NESADSU holds 50 licenses. At
retail this would equal $85,000 (yikes!).
The average cost of one ink cartridge is
$28.00. During the 2006-2007 academic year,
NESADSU spent $27,800 on ink and toner
(yikes again!).
The price of one AutoCAD license is $240.
NESADSU holds 75 licenses, costing $18,000
per year.
During the 2006-2007 academic year, we spent
$15,000 on models for figure drawing classes.
Last year, 84 art and design students took
advantage of workshops sponsored by the Ballotti Learning Center at NESADSU.
For 2006-2007, NESADSU’s operating budget
was $5,157,3000.
Who knew? S.C. §
N e w s & Ti d b i t s
NEWS tidbits
&
NESADSU Successfully Completes
Reaccreditation Process
G r a p h i c D e s i g n St u d e n t
Scores for Lupus
It was formally announced at the annual meeting of the National Association of Schools of Art and Design in Kansas City in October, that The New
England School of Art & Design at Suffolk University has been granted renewal of membership, for a ten-year period of accreditation.This decision
follows the March/April site visit described in the last edition of this magazine.
The focus in the Advertising Design (ADG S208)
course at NESADSU is to develop fully integrated
campaigns—a body of work with a cohesive brand
and campaign message and a look that seamlessly
translates into various print and interactive media
outlets. For their last class project of the Fall 2006
semester, students were tasked with developing
an integrated campaign for the Lupus Foundation
Event logo design by Stormi Knight.
the presentations with other partners within the
organization, Stormi Knight’s campaign was selected
to support the Fall 2007 efforts for the Walk on the
Charles. Her interactive campaign reached out nationally to those affected by Lupus by creating custom artwork to be used throughout the campaign,
and included a poster, booklet, website and banner
work. Knight was then able to work with the class
of New England, a campaign that would increase
awareness about Lupus, an autoimmune disease
affecting more than a million people in the U.S. and
millions more worldwide. Working from a written
strategy provided by the Foundation and detailing specific messaging goals, the students designed
posters, web banners, environmental design pieces,
booklets, and other support pieces to raise awareness about the disease, and to
promote the Lupus Walk on the
Charles supporting efforts towards
finding a cure.
instructor, the client, and various printing venders to
produce the campaign for publication.
Fa l l 2 0 0 7
& Th e n
•
The improvement of NESADSU faculty salaries, security and
advancement.
•
Well-maintained facilities with …many good studio spaces.
•
Arrangement attractive to students who are seeking the broad
resources of a university combined with the specialization of
art and design study.
•
A shared attitude toward student success and small freshman
classes.
•
Improved library support for NESADSU.
•
Expansion of cultural dimension to Suffolk University life.
•
A spirit of warm collegiality pervades both the University and
art/design school administration.
•
The wide-ranging liberal arts courses available to NESADSU
students.
•
NESADSU student access to University services, such as financial aid, counseling, learning center.
Suffolk University administrators including the Dean of
Arts and Sciences and the Provost appear very cognizant of
NESADSU needs and demonstrate willingness to advance the
integration of the art school within the University.”
The primary challenge cited in the Visitors’ Report involved the
need for additional facilities for NESADSU, to accommodate
increasing numbers of students, the specific needs of graduate students, and the need for work spaces for students outside of class.
In addition, the following challenges were mentioned:
NESADSU enjoys a loyal and dedicated faculty, highly committed to student success and who appear to work in a highly
cooperative manner.
Significant quantity of up-to-date computer hardware and software to support computer-dependent educational programs.
•
Evidence of high quality in undergraduate and graduate visual
arts education.
•
Poster design by Stormi Knight.
“The NESAD merger with Suffolk University made eleven
years ago appears to be a strongly supported integration
…(with) many positive results.
•
During the meeting, the Foundation
expressed to the presenting students how “beautiful”, “well thought
out” and “professional” all of the
campaigns were. After reviewing all
•
•
With congratulations to Stormi Knight, we present
her work here. Suzanne McCarthy, Instructor §
In hopes of giving at least some of
the students experience presenting
their work to clients, the instructor,
Suzanne McCarthy, contacted the
Lupus Foundation of New England
to request that the class’s best three
projects be considered for production. The class evaluated the work
produced and decided that the
campaigns designed by Nelia Brega,
Stormi Knight, and Megan Clarke
were the strongest for client review.
The students and instructor then
visited the Foundation in order to
present their choices.
4 5
The Visitors’ Report, presented to us in July, summarized the team’s
findings during their four-day visit, and, in all areas, it was stated that
NESADSU appeared “to meet all criteria for all applicable NASAD
standards”, as outlined in the NASAD handbook. The Visitor’s Report ended with a list of institutional strengths and challenges, the
former gratifyingly longer than the latter. We thought you might be
curious to know what they said. Among strengths, the team cited:
•
“The need to attend to the dichotomous views of faculty
and graduate students in regard to the mix of undergraduate
and graduate students in Graphic Design and Interior Design
classes. Grad students appear to view this as a negative aspect
to their programs; faculty members appear to feel that such
blending raises the quality bar for these classes.
•
The visiting team has concerns that the elastic completion time
for admitted MA students—from 30 to 99 credits—may be
unclear to graduate students and may compromise the stated
credit requirements for these graduate programs.
•
Need for further communication to address undergraduate
concerns about scheduling liberal arts requirements to mesh
with art and design classes in light of the University’s change to
4-credit courses.
•
Important to continue to improve art school’s ability to attract
art and design majors with demonstrated aptitude and accomplishment.”
As I said in the last article on the subject of reaccreditation, in the
Spring magazine, the reaccreditation process is long and exhausting and could not have been completed so successfully without the
cooperation of the entire NESADSU community, administrators,
faculty, students and alumni alike. The comments made by the Visiting Team, who have extensive experience reviewing the programs
of the country’s most prestigious art and design schools, should
make all of us—and you—very proud. S.C. §
NEWS tidbits
&
Artists: Jessie Schloss, Eileen Umba-Neuwinger, and Ali Horeanopou-
NEWS & TIDBITS
NESADSU Preps
Tomorrow’s Students
e · mer · gence
1. the act or process of emerging.
2. an outgrowth, as a prickle, on the surface of a plant.
3. evolution.The appearance of new properties or species in
the course of development or evolution.
Fa l l 2 0 0 7
Arduous does not even begin to encompass the tremendous shift in life from student to practicing studio
artist. From developing resumes and portfolios, securing studio work/ live space to facilitating income, it is
not surprising that many compromise the production
of artwork for rent and food. Most critical is the loss of
the peer art community that graduating students have
come to depend upon during their education.
& Th e n
6 7
Recently, some of the past three years’ Fine Arts alumni
have attempted to overcome the stress and pressure
of the first years out of school by developing a critique
group based in the Fort Point area of Boston. This
group aims to support each member to enable the
continued practice of studio art and provide a place of
critical review and experimentation.
The range of subject, material, content and execution
varies greatly and to that end the critique group has
engaged in a collaborative effort to create new works
that require the exchange of work and authorship from
one artist to the next in an attempt to explore the
overall visual language of the community as a whole.
The resulting work is an examination of process and
content at a micro and macro level, so much so that
the work has taken on the distinct appearance of biological and ecological systems, some real, others imagined. The mixture of several artists per piece changes
the visual language of the individual into an emergent
communal discourse.
Emergence is both an examination of the real world
struggle for these artists to establish their studio practice in the Boston community and an introspection of
the micro community of the critique group as it grows
and develops beyond the NESADSU community.
For five weeks over this past summer a
group of twenty-two high school students
and incoming college freshmen participated
in NESADSU’s Pre-College Program.
Guided by professors and adjunct instructors Randal Thurston, Paul Andrade, Matt
Templeton and Bebe Beard, this group of
talented young students explored the visual
vocabulary of art and design while learning
the basics of portfolio preparation.
Working in the School’s studios, students
expanded their knowledge of drawing,
painting and the principles of two- and
three-dimensional design. Our ’07 Pre-College Program participants were introduced
to the vibrant cultural scene here in Boston
through field trips to area museums and
artists’ studios. The program culminated in
a student-organized exhibition highlighting
work produced over the summer.
Summer Class of 2007
Responding to the remarkable success of
and enthusiasm generated by this summer’s
program, Continuing Education has begun
offering Pre-College workshops during
the school year. Adjunct Instructor Matt
Templeton is teaching a five-week Pre-College Portfolio Preparation Workshop this
fall designed to help prepare students to
present their work at Boston’s National
Portfolio Day.
For more information regarding the School
of Art & Design’s Pre-College programs
please contact Karianne Noble, Director
of Continuing Education and Preparatory
Programs, at knoble@suffolk.edu or call
(617) 994-4233. Molly Ferguson §
An exhibition of the critique group’s work will be held
in the White Box Gallery (room 208) at NESADSU
from May 12th until June 27th, 2008. There will be an
opening reception, to which all are invited, on Friday,
May 16th from 5 to 7pm. Mish McIntyre and Jessie Schloss §
All work featured on this poster was created by high school students.
Ov e r s e a s C or r e s p on d e n t
OVERSEAS
correspondent
Little Cultural Differences
Cultural differences are what make foreign
travel such a wonderful adventure, and they
are what make a country or a city unique
to work and live in. Here are some of the
cultural differences between Paris, France and
anywhere in the Anglo-Saxon world:
The working day. Parisians
Morning commute on the Paris métro.
really want to be Mediterranean. They love to
eat late and stay up late. The problem is waking
up; the morning métro is full of people still
soundly asleep despite being fully clothed for
work. The working day starts later here—usually between 9.00am and 10.00am—and
most people finish work between 6.00pm
and 7.00pm. The 35-hour working week only
applies to those employed by large companies
and government employees (who signed that
into law?). Most people work way in excess of
this figure. If you do the math it is clear something else must take up a part of the day…
The importance of
lunch. Lunch is a right.The French
Fa l l 2 0 0 7
Lunch time at the “Quatorze Juillet” bistro.
& Th e n
8 9
will happily work through later in the evenings
if a deadline is looming, but will absolutely not
skip lunch. It lasts between one and two hours,
often it is an event used to discuss business;
it is however sacrosanct. Indeed should you
munch a sandwich at your desk other people
will disparagingly refer to you as having lunch
“a ‘l’anglais” (like the English). At least a third
of Parisians lunch in restaurants and bistros
every day and the remainder of us bring in
creative options from home and stop work
to eat together. Lunch is a social occasion for
everybody and it is the height of bad manners
to start without asking your co-workers if they
are going to join you.
How to approach a
deadline. In December 2006
Anne-Claire and I shared the design work for a
program for an annual film festival. The overall
design was approved; all we were waiting for
was the copious copy to arrive as well as all
those small little program details such as name
of event, venue, time, price, etc., etc. for over
1000 events. The printing deadline was fixed, as
it had to piggyback on to another job so as to
save costs. We waited and we waited. Four days
before the printing deadline the text started to
trickle through… then even I started spotting
the spelling errors (yep, in French) and we
realized that none of the text had been proof
read. So the text went back to be checked and
a committee from the festival camped downstairs from our office fixing spelling errors on
the printed pages, meaning we had to correct
them electronically. In the end, with no leadership and even less organization Anne-Claire
and I worked from 9.00am to 11.00pm (without lunch) for three days to accommodate the
festival committee. This last minute approach
happens all the time. To deliver another project
on time another member of our team got on
his motorbike and sped through the streets of
Paris; he got the official stamp of receipt just 2
minutes before the deadline.
Fear of commitment.
The French fear of commitment and their
desire to leave everything open should suit my
personality very well, but as in all such cases
the most extreme party retains the behavior and forces the other party into inverse
behavior. I have been pushed to the inverse
as I try to work with Jean-Louis. One recent
project was (spéculatif of course) to develop a
POS for a company selling “Coffrets Cadeaux”
(www.wonderbox.fr). I did my research—I
photographed existing POS, looked at various
designs and came up with five or six options. I wanted, I needed, his direction. With
every design I showed him his response was
“pourqoui pas?” (why not?). I have to say I
found this distinctly unhelpful. In the end I
pushed and pushed and pushed for him to give
me a decision—he appeared to be in pain, and
immediately after making a decision went out
for lunch to forget all about it.
Fashion. Using public transport and
doing a lot of walking is my opportunity to
observe the latest fashions and styles. On the
métro and the bus I get to see the small but
essential details, mainly because the French
concept of personal space is non-existent. Thus
I have learned how to tie a scarf depending on
the time of year, what earrings are currently
fashionable and how to wear the collar of
a simple shirt so as to look decidedly chic.
A point to note is that Parisian women are
thinner than most, which of course aids their
ability to look good in almost everything. Two
other essential building blocks to acquiring
Parisian style are the requirement to wear
heels on your shoes (the sneaker-clad commuter is a rare sight) and to walk proudly with
a large designer bag and a good designer coat.
Ordinary French women do actually shop in
Hermes, Lancel and Chanel if only once every
five years. For the first time in my life my first
waking thought is what to wear, even at the
weekend!
POS proposal for “Wonderbox”, 2007
How much vacation?
As I write this (early September 2007) I, and
the majority of Parisians, have just returned
from a month of vacation. Everything you may
have heard is true. The city sleeps as millions
head for their second homes in the countryside or the coast. Until recently very few
French people ventured abroad, and if they
did it was to French-speaking places such as
the Reunion Islands near to Madagascar or
Martinique in the Caribbean. But this summer
has been a washout for northern Europe since
June and I heard much French being spoken as
I lay on the beach in very sunny Spain. Now,
after a month off work, we are all back, excited
to be in the city that has regained the buzz
but actively looking forward to the next main
vacation, which is Toussaint (a.k.a. Halloween). In total the French come second to the
Germans with an annual vacation entitlement
of 7.5 weeks. Being freelance I can take what
vacation I like, but there again if I don’t work
then I don’t earn any money to go on vacation!
Kate McLean §
“Polar dans laVille” film festival program
1962 – Dan McCarron (Graphic
Design) continues to keep up a heady
schedule of design work for Harvard, his
former employer. “I am in the process of producing a book on decorated papers for the
Department of Graphic Arts at Houghton
Library at Harvard, which will be published
this fall and distributed by the Harvard
University Press. I am also working on an
exhibit that celebrates the 75th anniversary
of Memorial Church at Harvard as well as
the 400th birthday of John Harvard. … The
exhibit will be mounted at Pusey Library in
Harvard Yard this fall. Finally, I am producing a DVD to celebrate the 45th reunion of
the Class of 1962, Harvard College…..All
great projects that I truly enjoy working on!
Who knew that, when I sat in a Huntington
Avenue classroom at [NESA] in the early
sixties, I would get to do such interesting
projects for Harvard University 45 years
later!” You can rdach Dan at dmccaron@
wordtechcorp.com.
Please be sure to send your updated information
to Sara Chadwick at schadwic@suffolk.edu (for
our database and/or for publication) and also, if
you wish, to classnotes@suffolk.edu for the Suffolk
Alumni Magazine.
Fa l l 2 0 0 7
1971 – Millicent (Busse) Swaine (Advertising Design) got in touch with us the
other day, wondering what we were up to.
Millie worked in advertising for Sears after
graduating from NESA, then had three children so gave up work to stay home and care
for them. Now she keeps busy “doing the
décor for parties, theatre, CET-TV and nonprofit organizations. I have been doing wedding planning too. Keeps me busy. I would
love to hear what others have done…I’m
sure it’s great things!” You can reach Millie at
millieswaine@aol.com.
& Th e n
10 11
1973 – Ellyn (Greenberg) Moller
(Fashion Illustration) is currently the
Director of the Akillian Gallery at Massasoit
Community College in Canton. She has also
served on the Board of Trustees for the Milton Art Museum for the past eight years, the
last four as Chairman, and has been named
Event Chairman for the 2008 Arts Affair on
the Boardwalk at Marina Bay in Quincy. In
addition to all of this, Ellyn continues to take
on freelance design projects as well as manage her husband’s entertainment business,
at the same time taking courses toward her
degree at Massasoit. You can reach Ellyn at
emoller@massasoit.mass.edu.
1974 – Steve Hodgdon (Graphic
Design) recently organized a min-reunion
in August of some of the members of the
Class of 1974, who currently live in New
Hampshire. Gail (Herbert) Kimball (Fashion
Illustration) and Jim Hankard (Fine Arts) attended, though Fred Durham (Fine Arts) and
his wife Connie (Wadleigh) Durham (1973
Fashion Illustration) were not able to attend.
They all met at Steve’s house in Contoocook
“and had a wonderful afternoon. Sorry I
don’t have any pictures to attach…we were
having too much fun catching up!” Well, Gail
supplied us with this one, which is great. If
you can offer Steve information on any other
members of the Class of 1974 (see the three
below, located since), I’m sure there’ll be another get-together in the offing. Contact Steve
at shodgdon@comcast.net.
1974 – Ronald Holl (Graphic Design)
is the Director of Operations/Art Director at LSHD Advertising, of which he is a
partner, in Chicopee, MA. LSHD, in business
since 1986, is western Massachusetts’ largest
advertising agency. You can reach Ron at ron.
holl@lshd.com.
1974 – William Kenney (Graphic
Design) is the Vice President/Creative of
BrandEquity International, with headquarters
in Newton. BrandEquity is a visual marketing and brand communication firm, which
was established in 1960 and which has such
clients as Staples, Harvard Pilgrim Healthcare,
Au Bon Pain, Massachusetts General Hospital,
Sheraton and many others. Check them out
at www.brandequity.com and contact Bill at
kenneydesign@comcast.net.
1974 – Stephen Krupsky (Graphic
Design) is a partner in Adrenaline Design
in Manchester-by-the-Sea, MA. Adrenaline
Design is a marketing-oriented design firm
that specializes in brand identity, logo development, package design, web design, etc.
Check them out at www.adrenaline-design.
com and get in touch with Steve at stevek@
adrenaline-design.com.
1979 – Christine Jellow (Graphic
Design) has parlayed her years of graphic
design experience and her coursework in
the Masters program in Interior Design into
a position with Urban Archaeology in the
Boston Design Center. Urban Archaeology is
a high-end lighting, bath and tile manufacturer
and retailer, with a wide range of top-quality
and beautifully designed products. Check out
their website at www.urbanarchaeology.com
and contact Christine at c.jellow@comcast.net.
1981 – Eli Cedrone (General Art)
had three of her paintings accepted into
the Guild of Boston Artists show at their
Newbury Street gallery in August. This
regional, juried exhibition featured the best
of representational painting and sculpture by
both emerging and established artists living in
New England. In addition, Eli’s painting “Journey’s End” was awarded Best in Show at the
Pembroke (MA) Arts Festival, also in August.
You can contact Eli at artfulhand@comcast.
net. Also, check out her online newsletter at
www.elicedrone.com for classes, exhibitions,
etc. Lots of news!
1983 – John Gonnella (Graphic Design) left Digitas about a year-and-a-half ago
and is starting his own “web branding gig”,
called Truth and Soul, Inc. (www.truthandsoulinc.com). John will be moving shortly
to the South End, “to pursue my painting, in
downtime…I always bump into James Kraus
[1982 General Art] and also saw Audrey
Goldstein last week”. You can get in touch
with John at johnny.g@truthandsoulinc.com.
1983 – Paul Harrington (General
Art) had an exhibition of his hand-painted
silkscreens during the month of September
at The Savings Bank, Lakeside Office in Wakefield. Paul’s web gallery, of drawings, paintings and sculpture, can be found at www.
luminism.net. You can reach Paul at paulharrington@luminism.net.
M o r e C l a s s N ot e s
C l a s s N ot e s
CLASS
notes
1985 – Merle Craig (Interior
Design) recently sent us a contribution to
NESADSU’s J.W.S. Cox Scholarship Fund, for
which we are very grateful! She is currently
on the faculty at Endicott College in Beverly,
as an Assistant Professor of Interior Design
(“I’m enjoying it very much”), and still owns
her own ID firm, Merle Craig Interiors in
Durham, NH. “I see quite a bit of Marge Lee
(1984 Interior Design) [also an Assistant
Professor at Endicott] and I also see Kris
Orr (1984 Interior Design) and Anne Lenox
(1987 Interior Design) occasionally. We
share the same birthdate and usually have
breakfast together sometime around September 11th. We discovered this when we
were assigned to the same ‘contract furniture
research committee’ in our sophomore year
and have gotten together many times since.”
You can reach Merle at mcraig@endicott.edu.
1987 – Deven Winters (Fine Arts)
emailed us In May to say he and his wife
were packing for a move back to Texas, this
time to Mesquite, where Deven will be taking a job at id Software, a pioneer in FPS PC
game titles. As a designer, he’ll be creating
levels, gameplay elements and some basic art
“for the artists to make beautiful. I want to
go there to be able to learn from the masters, develop my next gen art and become
even more well-rounded.” Deven also says
that he’ll be starting a children’s book this
fall with his wife as the writer. “The newest
member of our family is getting big…and is
almost as tall as his four-and-a-half-year-old
brother. My oldest son Joshua can read and
write a little bit. He also reconfigured my
X-Box to read Chinese and it took us two
hours to undo it. He’s is getting really good
at games and problem solving.” Deven is also
thinking of becoming a teacher of 3D graphics and perhaps starting his own company as
well. You can reach him at arxangel@gmail.
com and check out his website at www.
arxangel.net.
1989 – Dave Swanson (Graphic Design) recently got in touch with us, looking
for some freelance graphic design help for
the summer. (Editor’s Note: If you are interested in either full-time or freelance work,
please be sure to fill out the Alumni Update
Form on the NESADSU alumni page on
our website.) Dave, who is the Director of
Design for Fidelity Investments in Smithfield,
RI, lives in Foster with his wife and three
children, Zoe (2), Max (6) and Clara (4). As
Dave says, “Things are going well. We all have
our health and a routine. It’s just non-stop,
taking care of a house, a dog and three small
children, then trying to fit in my own stuff….
I’ve redefined patience. It’s not like the old
days when the world revolved around ME.
It has many more benefits but there was a
learning curve for me and still is to some
extent, but I’m getting better at it. I’m trying
not to forget the old worn out saying ‘They
grown up fast’. I remain conscious of that and
very much enjoy the simplicity of it all and
fostering good memories. Which reminds me
of another saying, ‘If I had a nickel” for every
time someone with grown children says that
to me, I’d be a millionaire!’ You can get in
touch with Dave at david.swanson@fmr.com.
1993 – Steinunn Jonsdottir (Interior
Design) returned to her native Iceland in
2004, bought
a farm in
northern
Iceland that
same year,
with an eye
toward starting an international art center there, earned
an MBA from Reykjavik University in 2006,
and started the Baer Art Center (www.baer.
is) in May of this year. She has since moved
into a new home and had a third child (Baldur, now one, brother to Nanna Katrin, now
13, and Jon Bragi, now 10). Take a look at the
Baer Art Center’s website and see whether
you might be interested in a residency. You
can also reach Steinunn at sj@sj.is.
1995 – Scott Truesdale (Graphic
Design) has left Malchow, Schlackman,
Hoppey, Cooper
Partners in Washington,
DC and has taken a
position as Vice President/Creative for the
Mack/Crounse Group
in Alexandria, VA. Both
are political advertising
firms, a field Scott has
been deeply involved in
for a number of years.
The Mack/Crounse
website cites Scott as
“one of the most experienced creative talents
in the political business.
He brings a unique and
fresh view to creative
and is a great addition
to our team.”. You can reach Scott at struesdale@mackcrounse.com.
1997 – Todd Fitz (Graphic Design)
is still living in Georgetown, MA and has a
design office in Newburyport. His former
company, Firecracker, has morphed into Fuel
73, which is heavily focused on the publishing industry, specifically magazines, and more
specifically Ocean Home Magazine (www.
oceanhomemag.com), northshore magazine (www.nshoremag.com), and Our Place
Magazine. You can reach Todd at todd@
fuel73.com.
1997 – Ken Harney (Graphic Design)
is still in New York, but is now the Deputy
Art Director for DNR Magazine, a Conde
Nast publication on men’s apparel, fashion
retailing and design. For fun he’s into Thai
boxing and is working on his blue belt in
Brazilian jiu-jitsu. That’s for exercise; he also
does yoga for relaxation. You can reach Ken
at kharney1@yahoo.com.
1998 – Ann Borwick (Fine Arts) has
moved from Seattle across the lake to Bainbridge Island, where she now owns a B&B.
Called Furin-Oka (“Wind-Bell Hill”) Futon
& Breakfast, it occupies a private, detached
house and garden built in traditional Japanese
style at the rear of the property on which
she lives, accommodates two people, and has
a tatami room as well as a kitchenette and
a bath with a Japanese soaking tub. Check it
out at www.futonandbreakfast.com. Besides
all of that, Ann’s gotten heavily into gardening,
which the lush northwest climate makes a
pleasure. You can reach Ann at afborwick@
yahoo.com.
Please be sure to send your updated information
to Sara Chadwick at schadwic@suffolk.edu (for
our database and/or for publication) and also, if
you wish, to classnotes@suffolk.edu for the Suffolk
Alumni Magazine.
Fa l l 2 0 0 7
1998 – Melissa Horvath (Graphic
Design) started a new job in May, as Senior
Interactive Art Director at VML in New
York. VML is an interactive ad agency with
such clients as Colgate-Palmolive, which will
be Melissa’s main account, Burger King and
TurboTax. Part of the WPP network, they
collaborate with sister agency Y&R on crossmedia campaigns. In addition to the new job,
Melissa is also making plans for her November 9th wedding. Check out her website at
www.melissahorvath.com and get in touch
with her at melissa@melissahorvath.com.
& Th e n
12 13
1998 – Scott MacGillivray (Fine Arts)
has increased his family by one (son, Odin,
was born on March 19th) and moved them
all to Indiantown, FL, where they have a 60acre ranch. On said ranch are four children
(presumably not within fences), “and a whole
menagerie of animals, including four horses,
three goats, a llama, a pot-bellied pig, three
dogs, more cats then I care to count, and a
few other small critters”. Scott also started a
new job in August, “teaching graphic design
at a vocational high school in a maximumsecurity prison. It sounds like a challenge and
I’m excited.” Send congratulations to Scott at
smacdad101@aol.com.
2001 – Helen (Carroll) Johnson (Fine
Arts) recently wrote to tell us all her news.
“I was married in 2005 so my last name is
now Johnson. Directly after graduating Suffolk I worked at Kids Are People School, a
multicultural and inclusive school in Boston,
first as a teacher’s aide and then as a teacher.
I received my Masters from Lesley University in Art Education in 2006…and began
working at the Children’s Learning Center
in Dorchester as a pre-school teacher. April
20th I gave birth to a beautiful baby girl
Alexandria! She was born seven weeks early
so she had a scary start but is doing great
now. Just recently my husband and I were
accepted into the Salvation Army’s School
for Officers’ Training. After two years of
schooling we will be ordained ministers, so
we are currently preparing to move to New
York….The newsletters have been going to
my parents’ house for three years, but that
was fine because we’ve moved three times
in the last year and a half!…It’s great to see
how the school is growing and what is happening!” You can reach Helen at helen_johnson@mrmumu.net.
2001 – Laura Glen (Interior Design)
has returned to her roots in Louisiana, in the
wake of hurricane Katrina. “I’m still working
on projects throughout New England (with
one studio in Wellesley, MA) but have my
main studio back home in New Orleans.
Katrina was devastating to my family and
friends and I just need to be here to help
rebuild….If you ever need an article on New
Orleans and the rebirth, I would be happy to
provide my insight, having evacuated, rebuilt
and worked with clients there.” We’re taking
Laura up on her kind offer and hope to have
an article for you in the next edition of “And
Then”. In the meantime, you can get in touch
with Laura at lauraglen@comcast.net.
2002 – Erin Fay (Graphic Design) has
moved to North Hampton, NH and is working as a kindergarten teacher at the Keystone
School in Chelmsford, MA. You can reach
Erin at erin_fay@msn.com.
2002 – Jonathan Hoysradt (Graphic
Design) emailed Jen Fuchel the other day
with an update on what he’s been doing
since leaving his first job, at 360Kid, after
graduation. “My quest for full-time work led
me to several non-design-related positions
including the mailroom of a financial company, the processing center for a mortgage
company, and a bouncer at a biker bar (just
kidding about that last one!). Oddly enough, I
found my niche at a computer company that
originally hired me as a temp to manage the
sales database. They found out I had some
design skills and asked me to update their
website (which, I think, was originally composed by a blind man using PowerPoint), so it
was uphill from there. …Soon enough I was
the graphic designer for the company…I’ve
also become the “Web Manager”, “Marketing
Manager”, and “Email Manager”. They hired
another graphic designer to work under me
[though] I’m still responsible for designing
most of the printed material. And while the
other designer manages the website, I do
all the Flash animation.” As Jonathan says, it’s
been a good way to gain a lot of experience
in a lot of different areas, especially management and computers. You can reach Jonathan
at jhoysradt02@comcast.net.
2002 – Nicole Wang (Graphic Design)
has relocated to Emeryville, CA and has
taken a position with Arc Worldwide in San
Francisco. Arc Worldwide deals in promotional, interactive, direct and shopper marketing, and is owned by the Publicis Group
which also owns Digitas, Nicole’s former employer. Nicole’s move followed a two-month
European vacation (“After working three
years straight in a fast-paced agency like that,
I felt I really needed a loooong vacation!”).
You can reach her at nwang@macbox.com.
2003 - Kseniya Galper (Graphic
Design) had her acrylic painting “Eugene”
chosen as Best in Show at the Quincy Art
Association’s Artsfest in September. There
were over 250 entries for this annual juried
show and it was the first time that she had
ever submitted her work anywhere, “so I was
N e a r l y t h e L a s t o f t h e C l a s s N ot e s
Ye t M o r e C l a s s N ot e s
CLASSotes
n
absolutely shocked when I was told that I’d
won “Best in Show :)”. Kseniya and Eugene
have just spent two weeks in Rome (“overwhelmingly beautiful”), perhaps celebrating
her success. You can reach her at kgalper@
gmail.com.
2004 – Juliana Abislaiman (Graphic
Design) has a new job with McCann
Erickson in Puerto Rico, having left Arteaga &
Arteaga Advertising. Contact her at abislaimanjuliana@hotmail.com.
2004 – Maryam Beydoun
(Graphic Design) caught up
with our designer Kate McLean
(2004 Graphic Design) in Paris
in July. Maryam was with Promoseven, a design firm in Jeddah, Saudi Arabia, then moved
to McCann Erickson, but has
since left and is freelancing while
she decides whether to return
to school. Maryam spends several weeks a year in France, with
some time for shopping in Paris.
She and Kate had breakfast, “then wandered
down to the Musee Quai Branly to take
photos”. You can reach Maryam at maryambeydoun@mac.com.
2004 – Victoria Masters (Graphic
Design) has left Charity Folks and is now a
Junior Creative Director at Creative Gorillas,
also in New York. Creative Gorillas is an advertising and marketing firm with a number
of clients in the real estate and development field. Check out their work at www.
creativegorillas.com and get in touch with Vic
at vicmasters@gmail.com. You can also see
both her professional work and her stunning
photography at www.victoriamasters.com.
2005 – Peter Ferreira (Graphic
Design) is working as a Senior Graphic
Designer for Cox Communications in West
Warwick, RI. In addition, he has his own
design firm, called Kemelyen Media Lab, with
two freelance artists working with him on
various projects in print, multimedia, corporate and web design. Check their website
at www.kmedialab.com and email Peter at
peter.ferreira@cox.com.
2005 – Jennifer Kokx (MA in Interior
Design) has taken a position with the Boston design firm Gauthier-Stacy, a residential
interiors firm with clients around the country.
You can reach Jennifer at jkokx@comcast.net.
2006 – Debra Folz (Interior Design)
has left her job at Tsoi/Kobus & Associates
in Cambridge and has enrolled in the MFA
program in Furniture Design at Rhode Island
School of Design in Providence. Deb’s hoping to teach furniture design one day, perhaps
at NESADSU. You can get in touch with her
at debba5@aol.com.
2006 – Jill Garzik (Interior Design)
has recently taken a position with the
architectural and interiors firm Tsoi/Kobus &
Associates in Harvard Square, where she is
currently working on a project for Children’s
Hospital. At TKA, she joins Laura Nathanson
(2006 Graphic Design) who is a graphic
designer for the firm. You can reach Jill at
jgarzik@hotmail.com.
2006 – Kelly Ginn (Interior Design) is
working for the Architectural Heritage Foundation, located in Old City Hall in Boston.
AHF is an historic preservation development
firm and a pioneer in adaptive reuse since its
founding in 1966. You can get in touch with
Kelly at keli2342@aol.com.
2006 – Meaghan Moynahan (Interior
Design) has left the Patterson Group and
is now a Project Manager at Kitchen Living in
the Boston Design Center. You can reach her
at meaghanm@kitchen-living.com.
2006 – Kelly Pearson (Fine Arts)
was among a group of artists featured in
a sculpture show at the Aaron Gallery in
Washington, DC. Her steelwork sculpture,
Exterior no. 7 (2005), was on exhibit during
the month of October. You can reach Kelly at
kmartypea@hotmail.com.
2006 – Lisa Sobolewski (Interior
Design) moved to New York in June and
is currently working at Dupoux Design, a
firm with “cross-market expertise in the
fields of hospitality, real estate, construction
management and brand identity”. Dupoux
has recently expanded their operations to
include the Asia market, opening Dupoux
Design Asia in Taipei. Check out their website
at www.dupouxdesign.com and contact Lisa
at yasuadio@yahoo.com.
2007 – Jessica Aponte (Interior Design) is currently working at Eric Nelson Architects in Charlestown, a firm that provides
a wide range of design services for both new
buildings and significant renovations. You can
reach Jessica at skittja22@yahoo.com.
2007 – Billie Jo Baril (BFA Fine Arts
2000, MA in Interior Design) is working
as an interior designer at Eric Roseff Designs
in Boston. Eric Roseff is a full-service residential and commercial design firm. You can
reach Billie Jo at barilb@hotmail.com.
2007 – Erica Edwards (Interior Design) is NESADSU’s latest addition to the
workforce at Duffy Design Group in Boston,
where Atsu Ishikawa (Interior Design 2000)
was before she left to join Kahila Hogarth
(Interior Design 2006) at Nannette Lewis
Design in Chestnut Hill. You can reach Erica
at lordy7_7@hotmail.com, Atsu at superatsu@hotmail.com, and Kahila at kahila329@
hotmail.com.
2007 – Rebecca Emanuel (Interior
Design) has joined Barbara Sherman (Interior Design 1994) at Wilson Butler Architects,
a Boston firm specializing in designing for
the arts and entertainment. You can reach
Rebecca at raemanuel@gmail.com.
2007 – Nico Flannery-Pitcher (MA in
Interior Design) is currently working
at Steffian Bradley Architects in Boston. In
addition, Nico was recently married to Dave
Pitcher, an industrial designer with Rose
Displays Ltd. in Salem. Dave, who designs
signage hardware, and Nico have bought and
are currently renovating a house in Swampscott and hope to be in by October. Send
your congratulations to Nico and Dave at
nicoflannery@hotmail.com.
2007 – Jade Jump (Graphic Design) has
landed a job at the Design Studio at Monitor in Cambridge, where she is a graphic
designer. The Design Studio has such clients
as MIT, Brandeis and Innovation Management
Inc., providing such services as marketing,
illustration, web design, logos and book
design. Check them out at www.designstudioatmonitor.com and get in touch with Jade
at jadejump@hotmail.com.
Fa l l 2 0 0 7
2007 – Kimberly Kelly (Interior Design) and Danielle Tappis (MA in Interior Design) have both joined the Boston
office of Perkins & Will, the internationally-based design firm offering “innovations
in architecture, planning, interiors, branded
environments and strategy”. You can reach
Kim at kimakelly@gmail.com and Danielle at
danielle_paige@hotmail.com.
& Th e n
14 15
2007 – Jessica Koff (MA in Interior
Design) has taken a position as an interior
designer with Bergmeyer in Boston. As such,
she is continuing another long-time tradition
with NESADSU graduates, many of whom
have passed through Bergmeyer’s door in
recent years. You can reach Jessie at jesskoff@
gmail.com.
2007 – Courtney Mitchell (Graphic
Design) has moved to New York and taken
a job as a Art Assistant at Women’s Wear
Daily, a division of Conde Nast and Fairchild
Publications. Women’s Wear Daily is a fashion
and business newspaper and “we also put
out dozens of magazines and supplements
every year. I deal primarily with the trafficking
of all the artwork and I also have been able
to design quite a lot so far. I wanted to thank
you [Laura Golly, to whom the email was
sent] because after I took your electronic
publications class I realized how much I love
publication design!” You can reach Courtney
at coumitch@verizon.net.
brown.com, Allison at allisonwrig@gmail.com,
Eduardo at eduardo_meza@gensler.com, and
Vy at vlan0525@yahoo.com.
2007 – Julianna Mongello (MA in Interior Design) and Pamela Muldowney
(MA in Interior Design) have both taken
positions with Cannon Design, an architectural, engineering and planning firm in Boston. You can reach Julianna at juliemongello@
hotmail.com and Pamela at pmuldowney@
mac.com.
2007 – Kaitlin Palaza (Interior Design)
has taken a job at Duncan Hughes Interiors
in Boston. Duncan Hughes is a full service
interior design firm specializing in commercial
and residential design. You can contact Kaitlin
at kaitlinpalaza@gmail.com.
2007 – Andrea Morin (Graphic
Design) is a Regional Marketing Coordinator at Great Source Education Group in
Wilmington, MA. Great Source, a division
of Houghton Mifflin Company, publishes
alternative, resource-based K-12 educational
materials. You can contact her at andrea_morin@hmco.com.
2007 – Naomi Nottingham (MA
in Interior Design) has joined fellow
NESADSU alumni Erika Brown (MA in
Interior Design 2004), Allison Wright (MA in
Interior Design 2006), Eduardo Meza (MA in
Interior Design 2003), and Vy Horwood (Interior Design 2003) at Gensler (all in Boston
except for Vy who is in the Arlington, VA office). With offices around the world, Gensler
is a multi-faceted firm that handles design
problems of all kinds, from city planning to
interior and graphic design. Check them out
at www.gensler.com. Contact Naomi at
naomi74@earthlink.net, Erika at riki@riki-
2007 – Elizabeth Olver (Interior
Design) has taken a position with TMD
Designs, a recently established firm in North
Hampton, NH. You can reach Liz at liz.olver@
gmail.com.
2007 – Helen Principio (Interior
Design) is a kitchen and bath designer at
the Expo Design Center in Burlington, MA.
You can reach her at hprincipio@yahoo.com.
2007 – Caitlin Ryan (Interior Design)
is an interior designer with JFS Design Studio
in Boston. JFS specializes in residential and
hospitality design. You can reach Caitlin there,
at caitlin@jfsdesignstudio.com.
2007 – Karen Urosevich (MA in
Interior Design) has joined the residential
design firm of Leslie Fine Interiors in Boston’s
Back Bay. You can reach Karen at karenurosevich@hotmail.com.
2007 – Shauna Wymyczak (Interior
Design) has taken a position at ADD, Inc. in
Cambridge, a firm that specializes in architecture, interior design, planning and branding.You
can reach Shauna at wymyczak@yahoo.com
SO SAD
TWO MORE CHILDREN
I just got the spring newsletter today and I am so sad
Olympia was considered a kook while she was at-
“I’ve been thinking about you guys over at NESA and
because I didn’t know Charles Giuliano retired! I was
tending BU’s theater arts school…but she was a good
realized I haven’t sent you a picture of the kids yet
reading the gallery schedule and I totally would have
actress. I was amazed when she suddenly started
gone to the reception. I was wondering why I would
appearing in movies, etc. Everyone from BU and
have just gotten the newsletter now?
NESA used to take a morning break and have lunch in
This came from Amy Joyce (Graphic Design
the cafeteria….I don’t remember anyone socializing
2000) and arrived on July 5th
with her except for a Greek girl who was in fashion
I had a feeling I was going to have to answer
for this and you all have my deepest apologies.
We have never had a firm publication deadline
for the newsletter (just sometime during the fall
and spring semesters) and all I can say is that
this semester several things conspired to make the
newsletter late in getting to you. First of all, the
NASAD reaccreditation took up an enormous
amount of time. I not only researched and wrote
the entire self-study (way over 300 pages of text
plus exhibits), but planned and saw to completion the three-day site visit. By the time that
was all over, we were into April.Then I got sick,
perhaps because the site visit coincided with the
first symptoms and there was no way I could stay
home and sleep! So I was out for a couple of
weeks and way behind on everything else by the
time I got back.Then Kate McLean, our designer,
was enjoying a very busy schedule herself. So,
one thing led to another and we were late. I’m
especially sorry as I know there are probably a
number of you who would have attended Charles’
party and did not know about it. At this late
date, all I can offer you is his email address
(charles_giuliano@yahoo.com) so that you can
write him and tell him….well, whatever you
wish to tell him.
design at NESA. I think her name was Athena.” [Good
THANKS FOR THE BLURB
said ‘Let’s skip this afternoon and go to the ball game.’
memory, James. That was probably Athena Doukakes,
class of 1957 and a Fashion Design major.)
“I was one of the ex-GI’s who were attending
NESA….Four of us lived together on Huntington
Avenue: Frank Raneo, Joe Almasian, Dick LaRoche and
me. Frank was one of the most talented of anyone I
went to school with. He was working for Remick’s
of Quincy while he was going to school, doing all the
newspaper ads for them. [Actress] Lee Remick was
the owner’s daughter. Frank promised to tell us when
she was around and set it up so we could meet her.
Never happened…. I always remember Frank had a
great sense of style. He always looked like one of his
ads. He’d also give us a critique when we dressed up
to go out. He also said two sport coats and three pair
of pants were all you need. I’m still using his advice!”
“Our life and anatomy instructor was John DanaBastian. He looked like Picasso. His favorite remark
gratulate you and the staff on the great articles and
work that you all continue to do. I’ve been busy taking care of the kids at home and also doing interior
design work. I just completed a Hookah Bar/Lounge
in Allston, the Nile Lounge…. It was a lot of fun creating and implementing the design.” George is also now
working as a teacher’s aide in the kindergarten at the
he took all of my watercolor brushes away from me
so I would ‘loosen up’…. I had a JWS Cox original
[watercolor]. Too bad I threw it out when I packed
to come home for the summer!… I bought a book
about Bill last summer. I never knew until then how
famous he had become. He had some of his work in
the Museum of Fine Arts when I was in school.”
“During my first year at NESA one of my classmates
I got my latest newsletter the other day and just
That was the first major league game I ever saw.
got the chance to sit down and read it. Another
September 1954. I was a Yankees fan at the time….
top-notch edition. Thanks for the blurb [a class note].
and used to go to the games when the Yankees were
The wording was perfect. I should have gotten to it
in town. Then, rather than risk getting beaten up by
[writing it myself] but the good news is I have been
Boston fans, I changed sides.
Bleacher seats were $1.50 at the time and Pinky Higgins was the manager…. Sometimes there were only
mer is going well and see you soon.
a few thousand people at the game…I remember
James Kraus (General Art 1982)
Mickey Mantle coming onto the field and talking to
the fans in the bleachers. I don’t think there is a Major
Barbara (Paine) Lyons of the NESA class of 1943 (Fashion
Illustration). Barbara was one of five alumnae, graduates of 1943
and 1944, who were honored at NESADSU’s 75th anniversary gala at
the Institute of Contemporary Art in November of 1998. Barbara was
originally from Randolph, MA. After graduating from NESA, she worked
as a fashion illustrator for a Boston department store, where she met her
future husband, Richard Lyons. She retired from Raytheon Corporation’s
publications department in 1989. Barbara is survived by two sons, Jeffrey
and Frederic Lyons, eight grandchildren and four great grandchildren.
I also just got the new newsletter and wanted to con-
favorite instructors was JWS Cox. I remember that
volunteer work that I never got to it. Hope the sum-
It is with great sadness that we announce the death of
[Editor’s Note: George and his partner, Joe (Suffolk
MPA 1998, JD 2000), adopted two more children
from Liberia in 2005. Now their family is made up
of Luke (age 5) and Noelle (4 1/2), plus Noah (4)
and Jocasta (2), who arrived in August of 2006.]
was ‘Make it go ‘round! Make it go ‘round!’ One of my
so busy with work, Little League [coaching] and other
Pa s s ag e s
T h e L a s t o f t h e C l a s s N ot e s
2007 – Jakob Grauds (Graphic Design)
took a job in June as a Graphic Designer
for Private Label Brands at CVS Corporate
Headquarters in Woonsocket, RI. “The job is
incredible, I get to be creative every day, and
I am learning an immense amount (not to
mention I now have a huge name like CVS
on my resume).” Before finishing at NESADSU, Jake worked as a Contributing Editor
on the new College of Arts and Sciences
magazine at Suffolk, contributing artwork and
photography along with past and present
students Jade Jump, Alison Balcanoff, Kevin
Banks, Colleen Barrett, Jeannie Belozersky,
Margaret Furlong, Matteo Gulla, Catherine
Headen, Kayla Hicks, Fanny Lau, Laura
Nathanson, Lisa Raad, Jessie Schloss, Eileen
Umba and Joanna Winters. You can reach
Jake at inhousejake@yahoo.com.
Fe e d b ac k : N ot e s F rom You
FEEDBACKfrom you
notes
CLASSotes
n
EVERYDAY LIFE…
I’ve also been emailing back and forth with
James Towslee (Advertising Design 1957), who
found us on the web and has been filling me in
on things he remembers from his days at NESA.
Here, from several emails, are some tidbits:
“Have any of the students from my era mentioned
that we used to have coffee every morning with a
future Academy Award winner, Olympia Dukakis?…
Leaguer today who would be able to get out of the
locker room, much less play, with the pain he must
have endured. I saw a picture of him once after he
had been taped up so he could play. He looked like a
mummy!… At least I’ve lived long enough to see the
Sox win a World Series.”
James Towslee (Advertising Design 1957)
Johnson School in Nahant, where the children are
enrolled. He would love to hear from classmates so
please email him at gsyrigos@comcast.net.
George Syrigos (Interior Design 2002)
THANKS AGAIN
“Just wanted to drop a note and say thanks again for
including us in the last alumni newsletter. It’s always a
kick to see our stuff in print! Thanks for the support!”
Lianne and Paul (and Gryffin) Stoddard
(Graphic Design 1992), regarding the article
in the Spring alumni magazine on Swirly
Designs and Yankee magazine publicity.
A l u m n i I n t e rv i e w
ALUMNI
focus
N E S A A l u m na S e rv e s H e r C ou n t ry: N ot i n I r aq
bu t i n Wor l d Wa r I I
S e c r e t i s ou t: S h e pu t I wo J i m a on t h e m a p
Local veteran was a mapmaker for the U.S. Navy in World War II
By James A. Kimble, Staff writer
SALEM, N.H. — Her role in helping to capture Iwo Jima was something she never told her husband or three children.
Now 83, a humble and soft-spoken Mary Habib still is reluctant to
go on about it. Her husband, Al, 86, shakes his head that he’s only
now learning how important his wife’s role was in World War II.
“She didn’t like to brag to the family,” he said, sitting at the couple’s
kitchen table. “I didn’t know about this until three weeks ago. We’ve
been married since 1950.”
Mary Habib softly adds with a smirk, “There’s some things I don’t tell.”
Mary Habib worked on a map used by the U.S. military in the critical
battle for Iwo Jima.That invasion ended with one of the most famous
moments in World War II, when five Marines and a sailor raised an
American flag atop the island’s highest point, Mount Suribachi.
Photographer Joe Rosenthal immortalized the flag raising with his
famous, posed, photograph — which became a topic of the recent
Clint Eastwood movie “Flags of Our Fathers.” While seeing a commercial for the movie on television, Mary Habib mentioned in front
of her oldest son, Bill, 55, she had worked on the Navy’s map for
the invasion.
Fa l l 2 0 0 7
Mary (McCluskey) Habib, NESA class of 1943.
& Th e n
16 17
This summer I had a call from former NESAD faculty member, Ed Germano, who told me that he had seen, on Fox TV, a story about a woman
who had served her country in World War II, by drawing maps for the invasion of Iwo Jima. Ed had noticed, while the story was being told, that the
camera had panned over a NESA diploma and he let me know he was going
to investigate. After a little detective work, through the mediums of both
television and newspaper, we found the story of Mary (McCluskey) Habib, a
1943 graduate of NESA. We are reprinting her story with the kind permission of the Eagle-Tribune Publishing Company and Mary Habib.
It was an incredible revelation for Bill Habib of North Andover,
who began peppering his mother with questions. “Then she went
into the next room and came out with a book and scrapbook,” Bill
Habib said. “That was the first time I ever saw it. I knew generally
of her naval background, her deployment and that she served as
a naval officer, but I didn’t know the extent of it.” The surprises
then came like one gigantic wave after another. Despite her years
of silence, Mary Habib kept a detailed record of her two and a half
years working as a Navy petty officer in the Washington, D.C., area.
Upon being honorably discharged from the Navy on July 22, 1946,
she was given a replica of the map of Iwo Jima she helped create
with her name embossed on it.
A ringed binder holds dozens of black-and-white photographs and
cartoon sketches she made of her office mates. They detail sightseeing around the city, too, serving as a guide to her memories.
One sketch shows a face, with eyebrows raised, looking down from
the top of the Washington Monument.
“I don’t like heights,” Habib said.
As the scrapbook reveals, it’s a dislike she overcame at times. A
half-dozen photos she took from a New York City rooftop give a
bird’s-eye view of a phalanx of soldiers marching down the street
in what seems like an endless parade. “It’s funny when you wear a
uniform, you can get in anywhere,” she said. “The funny thing about
a uniform is that it gives you a lot of courage.”
The highly detailed process of mapmaking was serious business,
but Mary Habib said workers in the cartography office were still
able to have fun. A favorite practical joke sailors played on newbies
was placing a fake blob of ink on top of a new girl’s work table
when they went to the bathroom, she recalled. “There was a lot of
civilian workers there, too. We had a good time. Those sailors were
quite the teasers,” Habib said.
A native of Lowell, Habib (then Mary Margaret McCluskey) enlisted
in an all-female division of the U.S. Navy known as WAVES, Women
Accepted for Volunteer Emergency Services. She graduated from
the New England College [School] of Art trained in graphic and
commercial design. The Navy sent her to Hunter College in New
York before she was assigned to the Pentagon’s Hydro-Graphics
Office in Suitland, Md. Mary Habib said in the 1940s mapmaking
was highly detailed but not what she expected when she first got
her assignment. “I was surprised,” she said. “There actually wasn’t
too much drawing. It was fine work. We did the coastline about
three miles in. The Air Force took pictures of the island, which we
had on a big drafting table.”
Houses were noted with spots the size of a pinhead. Precise details
of cliffs, craggy rocks and sandy areas were crucial so ship commanders would know where and how close vessels could approach
the shoreline. Habib said she was assigned to the WAVES not long
after it was formed. She worked there for two-and-a-half years
between 1944 to just after the war in 1946. A memorable highlight
from her stint in Washington, D.C., was an afternoon when Eleanor
Roosevelt invited Habib and female co-workers in the cartography office to tea at the White House. They spent time in the Blue
Room, one of three state parlors at the home of the president, and
later had punch and cakes in the dining room. “She was a lovely
woman,” Habib said of Roosevelt.
Like many families during the war, everyone in Habib’s family
contributed. Habib’s brother, Richard Jr., and sister, Kathleen, both
enlisted. Her mother, a nurse, worked part time in a parachute factory when not working her shifts at a hospital.
Habib said she had no idea the map she was helping create would
lead to such a significant turning point in the war. It wasn’t until
much later, when Rosenthal’s photograph of the flag raising on the
island became famous that she realized the significance of her con-
tribution to the war effort. Still, she refrained from speaking about
it. It simply wasn’t her way. “After the raising of the flag, I said to
myself, ‘OK, I was part of that,’” Habib said. “But I didn’t realize how
important it was at the time.”
Moved by his mother’s service, Bill Habib recently wrote a detailed
summary of her military career, which was displayed for Memorial Day with photographs of World War II veterans at St. Monica’s
Church in Methuen. “She’s not inclined to boast of herself,” Bill
Habib said. “Her humility is one of her many fine virtues. She would
consider talking about it bragging. That’s not her style.”
After the war, she married in 1950 and became a stay-at-home
mother raising three children. Her daughter, Mary Lee Pare, 50,
lives in Salem, N.H. Her youngest son, Michael, 45, lives in Methuen.
She worked briefly at General Electric and the Internal Revenue
Service, and only kept drawing as a hobby. She remains an active
member of American Legion Post 417, one of the few all-female Legion chapters in the area. The family lived in Methuen for 40 years.
Al and Mary Habib moved to Salem, N.H., about 10 years ago.
Al Habib has long been a fan of Mary’s artwork. He proudly shows
off drawings and sketches Mary etches in a room at the end of a
hallway inside their Azarian Road home. Bill Habib is thankful that
he’s finally learned the details of his mother’s military service. He
now believes there was greater meaning behind the television commercial being played.
“I don’t believe in coincidence anymore,” Bill Habib said. “I’m so
pleased and to a greater extent proud of her, even at this late stage
in life. If it was up to her, I think it would have remained hidden.”
Copyright © 2007 by Eagle-Tribune Publishing Company
Reprinted with permission S.C.
Fac u lt y I n t e rv i e w
FACULTY
interview
A n I n t e rv i e w w i t h Nac e r B e n k ac i
Nacer Benkaci joined the NESADSU faculty as an adjunct instructor
in 2004, then was a Visiting Assistant
Professor before being elevated to
tenure-track status in 2006. Nacer
was born in Algeria and came to the
States in 1984, to pursue his studies
in architecture and design. He holds
a Diplome d’etat d’Architect (the
equivalent of a Bachelor’s degree
in Architecture) from the Ecole Polytechnique d’Architecture et
d’Urbanisme in Algiers, as well as Masters degrees in Architecture
and Urban Planning from the University of Southern California
in Los Angeles. With over 20 years of experience in architectural
practice in the U.S., Nacer has worked on both commercial and
residential projects here and abroad.
Fa l l 2 0 0 7
Q. Let’s start with a bit of history. Tell us more about yourself.
I was born in 1959 in a small town by the sea, a few miles from
Algiers. My childhood was essentially marked by the Mediterranean
Sea which was a few feet from my parents’ home. Summer was the
occasion to literally live in it and be absorbed by its vast scale and
its potential to trigger a
multitude of voyages. The
I was surrounded by the large scale of the sea,
horizon was very close
the sky, and the mountains and that was in
to us at that time and we
dwelled in it as if it were
direct contrast with the smaller scale of the
part of our everyday lives.
homes and buildings along the edge of the sea.
It is perhaps why I still
I was interested in that relationship and the
have a keen interest in
forms, accidental or planned, that it generated. the concept and reality of
scale. I was surrounded by
the large scale of the sea,
the sky, and the mountains and that was in direct contrast with the
smaller scale of the homes and buildings along the edge of the sea.
I was interested in that relationship and the forms, accidental or
planned, that it generated.
& Th e n
18 19
that some of the meaningful architects had on me. I was very
interested in the work of Corbusier, Louis Kahn and the “modern
movement” in general. Later I grew to appreciate some of the less
known architects and took their works as a source of inspiration
for my own work.
Q. How did you decide on the U.S. for graduate school and what
path brought you to Boston?
I wanted to learn more about architecture and design and pursuing
my studies is one way to do that. At that time, some of the most
influential ideas about architecture were being generated by prominent U.S. architects and thinkers and I wanted to experience that
first hand. I first came to Boston to study English, then to California
for architecture and urban design. I have always been interested
by the city in general and I felt the need to learn more about the
formulation of its shape. Urban planning became obvious for me as
I sought to understand the other forces that shape our cities. I had
some friends that invited me back to Boston; subsequently I was
offered a job. Fall in this area is my favorite season and I wanted to
stick around for a while. I stayed ever since!
Q. Talk a little about your professional experience. Where did you
work and what kind of work did you do?
After my graduation, I sought work in Boston. I worked for several
companies in the area and the work ranged from residential and
commercial to institutional and retail. I learned a great deal and I
believe that experience made me a better architect.
Q. Why do you teach (besides the paycheck!)?
I taught while working professionally. I enjoy very much the
academic work and the exchange of ideas and processes. Also, stu-
“Indoor/Outdoor Museum Study” by Nacer Benkaci
dents are coming out with ingenious ways to resolve old problems
of design; perhaps the technology at their disposal allows them to
tackle issues from a different angle and make new uninvestigated
associations, new ways to manipulate space. Some of the projects
are just a leap forward in design thinking and I very much like being
a part of that. Teaching in reality goes both ways.
Q. How did you wind up at NESADSU? What do you like best
about the school and what keeps you here?
I first was invited to teach as an adjunct professor by Nancy [CoProgram Director Nancy Hackett]. She and I worked together on
several projects in the Boston area. Subsequently I have been hired
as a full time Assistant Professor.
One of the most impressive parts of the program in interior
design at NESADSU in my view is the fact that the ID department
is within a school of art and design. This association with art and
graphic design has a potential benefit for interior design students.
Interior architecture and architecture have always been inspired
by other disciplines and exposing students to a mutual influence is
enriching. The potential for innovation is greater.
Q. Why did you decide to become an architect?
I have always loved to draw and the landscape around me was
prone to that. Just think of the seascape. Obviously, this is just the
premise because as I was studying my passion for architecture
grew stronger. I found in architecture a total freedom of expression and a highly sophisticated creative process that embodies the
entire social, political, and economical issues that humans in general
face. I felt it was important. I also was interested by the theoretical
discourse that was developing in the profession and the influence
Another part that I appreciate greatly is the cooperative nature of the
faculty and the scholastic and pedagogical environment and the standard of care for the students’ progress. It really sets the school apart.
“Indoor/Outdoor Museum Study” by Nacer Benkaci
“House Study, Algiers” by Nacer Benkaci
The New England School of
Art & Design at Suffolk University
75 Arlington Street
Boston, MA 02116
G a l l e ry S c h e du l e
GALLERY
schedule
2007
2008
Never Been Seen: Susan Nichter
2008 Student Exhibitions
Recent paintings by a NESADSU faculty member.
October 11th to November 10th
Reception: Friday, October 12th 6 – 8pm
Work by current students of The New England School of
Art & Design at Suffolk University
Ozspirations
Art Inspired by The Wizard of Oz, curated by Associate
Professor of Graphic Design Jennifer Fuchel.
November 15th to December 22nd
Reception: Friday, November 16th 6 – 8pm
2008
The 2007 Stephen D. Paine Scholarship
Award Winners and Honorable Mentions
exhibition
January 14th to February 9th
Reception: Friday, January 18th 5 – 7pm
Foundation
March 24th to April 4th
Reception: Friday, March 28th 5 – 7pm
Graphic Design (Undergraduate)
April 7th to April 18th
Reception: Friday, April 11th 5 – 7pm
Fine Arts
April 22nd to May 2nd
Reception: Friday, April 25th 5 – 7pm
Interior Design (Graduate and
Undergraduate)
Interventions and Objects: New Work
by Bebe Beard and Liz Nofziger
May 5th to May 16th
Reception: Friday, May 9th 5 – 7pm
February 14th to March 15th
Reception: Thursday, February 14th 6 – 8pm
Summer exhibition:TBA
Graphic Design (Graduate)
September 2nd to September 14th
Reception: TBA
Please call (617) 573-8785 to confirm dates and times of
exhibitions and opening receptions.
& Then
Fa l l 2 0 0 7 I s s u e # 13
85-Year-Old Graduate has Great
Success with Women…
And great success with the general public as well.
NESA alum John Burbidge (1948 Fashion Design) is
currently exhibiting his collection of 59 costumed
mannequins, made to scale, which he calls Les
Petites Dames de Mode, at Ventfort Hall in Lenox,
MA. The exhibition, which was to end in September,
has been extended until December 31st (2007) due
to the unprecedented numbers of visitors it has
attracted, including the likes of cellist Yo-Yo Ma who
dropped by in August.
The “Little Ladies”, as John calls them, must be seen
to be believed and that’s why I’m urging everyone
to make the trip to Lenox, in the Berkshires of
western Massachusetts, before the end of the year.
This interest was fueled by a chance wartime trip to the
Louvre in Paris.There he found on exhibit nearly 300
27-inch mannequins dressed by the leading Parisian
couturiers of the day.
The “Ladies” are 29 inches tall and are dressed in
historically correct costumes, all designed and executed by John, of the Victorian and Edwardian eras
(1855 to 1914). Wedding gowns, tea dresses, ball
gowns, traveling suits, all are meticulously crafted
and completely original. Tiny hats, parasols, fans, jewelry and other accessories complete each ensemble.
John, who was associated for 40 years with Priscilla
of Boston, perhaps the premier bridal company in
the country (he designed Tricia
Nixon’s wedding gown), decided,
upon retirement, to resolve
his “mid-life creative crisis” by
indulging his long-time interest in
period costuming. This interest
was fueled by a chance wartime
trip to the Louvre in Paris. There
he found on exhibit nearly 300
27-inch mannequins dressed by
the leading Parisian couturiers of
the day and designed to demA costume for Ascot Races circa 1907
onstrate that, despite the war, French couture was
alive and well. From this experience came John’s
life-long fascination with period costume.
In addition to the exhibition at Ventfort Hall, you
can see (and you will be amazed by) John’s work in
his book, Les Petites Dames de Mode, which is available at Ventfort Hall, in the NESADSU library, and
through bookstores or on line. The book details the
evolution of the “Ladies”, the history behind each
one, and John’s biography as well. Liberally illustrated with amazing photographs of each creation,
and of John at work, the book is a feast of history,
craftsmanship and inspiration.
John Burbidge at work
Though it’s subject for another article, John’s wife
of 57 years, Cile, also a 1948 graduate of NESA,
has also been intimately involved with the bridal
industry for over 50 years, not dressing brides, but
feeding them. To call her a “cake designer” would be
a gross understatement, like calling Michaelangelo
a painter. While John creates in fabric and lace, Cile
works her magic in flour and sugar, creating cakes
that boggle the imagination. But I’ll leave that for
another time.
“Les Petites Dames de Mode” is available for viewing until December 31, 2007.Ventfort Hall Mansion
and Gilded Age Museum is located in Lenox, MA
at 104 Walker
Street. For
information, telephone (413) 6373206 or email
info@gildedage.
org. S.C. §
Afternoon dressing circa 1910
Inside
Editor’s Note . . . . . . . . 2
Lost Alumni . . . . . . . . . 2
Whatever Happened to? . 3
Did You Know? . . . . . . . 3
News & Tidbits . . . . . . . . 4
Little Cultural
Differences . . . . . . . . . 8
Class Notes . . . . . . . . . 10
Feedback . . . . . . . . . . . 15
Alumni Focus . . . . . . . 16
Faculty Interview . . . . 18
Dinner gown circa 1883
Gallery Schedule . . . . 20
When I first started this alumni magazine, I worried about whether I would
be able to fill an issue each semester. At
times I couldn’t imagine ever having
enough to write about, though should
have known better, after 29 years at the
school! So, here is the 13th issue, as large
as ever and still full of news I hope you
find interesting.
In this edition we offer you installment #2 of Kate McLean’s
series on the Paris design scene, called “Cultural Differences”,
along with a “Whatever Happened to…?” by its subject, former
faculty member Steve Lyons. Another welcome contributor is
Mish McIntyre, who, along with Jessie Schloss, has written about
a new collaborative effort among recent Fine Arts graduates.
(Part of the secret of filling this magazine is getting others to do
some of the writing…)
If you’re interested in finding out how our recent NASAD reaccreditation went, turn to page 5 for the verdict. And, as always,
check out the Class Notes, to find out what your friends are up
to. If you don’t see your name, it’s because I have no recent news
of you. C’mon, send it in!
Remember that this magazine exists for you, so please let me
know if there are things you’d like to see in it. If you feel like
contributing photographs or an article, let me know that too.
You can show off your work, talk about what you’re doing
design-wise, or write about something else that’s important to
you. If you just want to comment on something you’ve seen in a
previous issue, then Feedback is the section for you.
Lost Alumni
Does anyone know where I can find these NESA/D/SU alumni?
They’re no longer at the addresses I had for them and I haven’t been
able to trace them. If you know, please send me an email at
schadwic@suffolk.edu.
Many thanks, detectives!
Sara
P.S. Last time, this worked and I found Christine Jellow (Interior Design
1979), thanks to Laura Glen (Interior Design 2001).
Alyssa Weaver
Jessica (Chih Yun) Lu
Pedro Carrasquillo
Patricio Calderon
Rachel Lane (nee Miller)
Deborah (McCarthy) Richard
Aimee Whitlock
Interior Design
Interior Design
Graphic Design
Graphic Design
Interior Design
Graphic Design
Interior Design
2003
1995
1985
1989
1994
1982
2003
S.C. §
Please send your photographs and news for inclusion in the next issue. Send all
photographs, slides, or digital files, with an accompanying caption that identifies
who is in the picture and when and where it was taken. All photographs, slides
and digital files should be 300 dpi at 5”x7” (1500 x 2100 pixels, total filesize four
megabytes approximately), a high-resolution JPEG taken with at least a threemegapixel camera.
So stay in touch and please let me know if you change your
address or your job.
Thanks and happy Fall,
Sara
Th e N e w E n g l a n d S c h ool o f
A rt & D e s i g n at
S u f f ol k U n i v e r s i t y
Fa l l 2 0 0 7
A l u m n i N e w s l e t t e r, Fa l l 2 0 0 7 I s s u e # 13
& Th e n
2 3
EDITOR:
Sara Chadwick
design concept & DESIGN:
CONTRIBUTING designer:
special thanks:
Kate McLean
Rita Daly
Molly Ferguson, Suzanne McCarthy, Kate McLean, Mish McIntyre,
Jessie Schloss
printing:
Reynolds DeWalt, New Bedford, MA
web site: www.suffolk.edu/nesad
N e w s & Ti d b i t s
E d i t or ’ s N ot e
NEWS tidbits
&
Did You Know?
Whatever Happened To…?
Steve Lyons
“Upon leaving The New England School of Art & Design as an adjunct faculty
member in 1987, I went to work for the Boston office of Ligature, a Chicagobased educational development house. As a designer there, I worked with
editors and production staff conceptualizing and producing middle school and
high school textbooks for publishers including Houghton Mifflin and Holt,
Rinehart and Winston. I eventually became Managing Director of the Boston
office, overseeing a staff of 75 people. In 1991, I left Ligature with a colleague to
form DECODE, Inc., (www.decodeinc.com) a graphic design office dedicated to
providing creative services to the educational publishing market. DECODE has
produced textbooks for Houghton Mifflin, Glencoe/McGraw-Hill, Prentice Hall,
Silver Burdett and Ginn, and Holt, Rinehart and Winston, in a variety of content
areas including social studies, US and world history, science, math, literature, and
language arts.
“In 1994, my partner and I moved the company to Seattle, leasing space downtown on the 10th floor of a 14–story building overlooking Elliot Bay and ten
years later, along with other partners, I purchased a three–story, turn–of–the–
century brick building in historic Pioneer Square. DECODE has been operating
there with a staff of four ever since.
“In 2004, I co-founded Platform Gallery (www.platformgallery.com), a commercial contemporary art space dedicated to exhibiting sculpture, painting, works
on paper, installation, photography, and new media. The gallery works with artists
from Seattle, Los Angeles, Toronto, New York, Rhode Island, Wisconsin, and
Illinois. The gallery is located in the gallery district of Pioneer Square and is open
Thursdays to Saturdays, 11am to 5:30pm. One of the missions of Platform is to
take work beyond Seattle and we are participating in upcoming art fairs including
The Affair at the Jupiter Hotel in Portland, Oregon (Sept. 14-16),Year07, a fair
taking place in County Hall in London (Oct. 11-14), and Aqua Art Miami, the
Aqua Hotel, Miami Beach, Florida.
“And with all of that going on, I still maintain a
studio practice working on my own art. I’ve most
recently been working on conceptual drawings
and mixed media on paper and panel. I fondly
remember my teaching days in Boston and refuse
to believe that that part of my life was over 20
years ago!” Steve Lyons §
During the 2006-2007 school year, NESADSU
enrolled 426 art and design majors. 221 were
BFA candidates (108 in Interior Design, 82 in
Graphic Design, and 31 in Fine Arts) and 116
were graduate students (106 in the Master of
Arts program in Interior Design and 10 in the
MA program in Graphic Design). There were
also 12 Certificate students, one Diploma
candidate (the Diploma programs were discontinued in 2004), and 76 continuing education
students.
That same year, we spent $2,145,450 on fulland part-time faculty salaries.
We currently have in school 256 computers,
105 Macs and 151 PC’s, 36 in offices and the
rest in classrooms and other student areas.
Software is updated with every new release,
hardware every three years.
The cost of one roll of paper used in Foundation drawing classes is $60. We use about 30
rolls per school year. That’s $1800.
The NESADSU Library currently holds approximately 10,000 books, 53 periodical
subscriptions and 30,000 slides.
The retail price of one license for the
Adobe Creative Suite Premium Design CS3
is $1,700.00. NESADSU holds 50 licenses. At
retail this would equal $85,000 (yikes!).
The average cost of one ink cartridge is
$28.00. During the 2006-2007 academic year,
NESADSU spent $27,800 on ink and toner
(yikes again!).
The price of one AutoCAD license is $240.
NESADSU holds 75 licenses, costing $18,000
per year.
During the 2006-2007 academic year, we spent
$15,000 on models for figure drawing classes.
Last year, 84 art and design students took
advantage of workshops sponsored by the Ballotti Learning Center at NESADSU.
For 2006-2007, NESADSU’s operating budget
was $5,157,3000.
Who knew? S.C. §
N e w s & Ti d b i t s
NEWS tidbits
&
NESADSU Successfully Completes
Reaccreditation Process
G r a p h i c D e s i g n St u d e n t
Scores for Lupus
It was formally announced at the annual meeting of the National Association of Schools of Art and Design in Kansas City in October, that The New
England School of Art & Design at Suffolk University has been granted renewal of membership, for a ten-year period of accreditation.This decision
follows the March/April site visit described in the last edition of this magazine.
The focus in the Advertising Design (ADG S208)
course at NESADSU is to develop fully integrated
campaigns—a body of work with a cohesive brand
and campaign message and a look that seamlessly
translates into various print and interactive media
outlets. For their last class project of the Fall 2006
semester, students were tasked with developing
an integrated campaign for the Lupus Foundation
Event logo design by Stormi Knight.
the presentations with other partners within the
organization, Stormi Knight’s campaign was selected
to support the Fall 2007 efforts for the Walk on the
Charles. Her interactive campaign reached out nationally to those affected by Lupus by creating custom artwork to be used throughout the campaign,
and included a poster, booklet, website and banner
work. Knight was then able to work with the class
of New England, a campaign that would increase
awareness about Lupus, an autoimmune disease
affecting more than a million people in the U.S. and
millions more worldwide. Working from a written
strategy provided by the Foundation and detailing specific messaging goals, the students designed
posters, web banners, environmental design pieces,
booklets, and other support pieces to raise awareness about the disease, and to
promote the Lupus Walk on the
Charles supporting efforts towards
finding a cure.
instructor, the client, and various printing venders to
produce the campaign for publication.
Fa l l 2 0 0 7
& Th e n
•
The improvement of NESADSU faculty salaries, security and
advancement.
•
Well-maintained facilities with …many good studio spaces.
•
Arrangement attractive to students who are seeking the broad
resources of a university combined with the specialization of
art and design study.
•
A shared attitude toward student success and small freshman
classes.
•
Improved library support for NESADSU.
•
Expansion of cultural dimension to Suffolk University life.
•
A spirit of warm collegiality pervades both the University and
art/design school administration.
•
The wide-ranging liberal arts courses available to NESADSU
students.
•
NESADSU student access to University services, such as financial aid, counseling, learning center.
Suffolk University administrators including the Dean of
Arts and Sciences and the Provost appear very cognizant of
NESADSU needs and demonstrate willingness to advance the
integration of the art school within the University.”
The primary challenge cited in the Visitors’ Report involved the
need for additional facilities for NESADSU, to accommodate
increasing numbers of students, the specific needs of graduate students, and the need for work spaces for students outside of class.
In addition, the following challenges were mentioned:
NESADSU enjoys a loyal and dedicated faculty, highly committed to student success and who appear to work in a highly
cooperative manner.
Significant quantity of up-to-date computer hardware and software to support computer-dependent educational programs.
•
Evidence of high quality in undergraduate and graduate visual
arts education.
•
Poster design by Stormi Knight.
“The NESAD merger with Suffolk University made eleven
years ago appears to be a strongly supported integration
…(with) many positive results.
•
During the meeting, the Foundation
expressed to the presenting students how “beautiful”, “well thought
out” and “professional” all of the
campaigns were. After reviewing all
•
•
With congratulations to Stormi Knight, we present
her work here. Suzanne McCarthy, Instructor §
In hopes of giving at least some of
the students experience presenting
their work to clients, the instructor,
Suzanne McCarthy, contacted the
Lupus Foundation of New England
to request that the class’s best three
projects be considered for production. The class evaluated the work
produced and decided that the
campaigns designed by Nelia Brega,
Stormi Knight, and Megan Clarke
were the strongest for client review.
The students and instructor then
visited the Foundation in order to
present their choices.
4 5
The Visitors’ Report, presented to us in July, summarized the team’s
findings during their four-day visit, and, in all areas, it was stated that
NESADSU appeared “to meet all criteria for all applicable NASAD
standards”, as outlined in the NASAD handbook. The Visitor’s Report ended with a list of institutional strengths and challenges, the
former gratifyingly longer than the latter. We thought you might be
curious to know what they said. Among strengths, the team cited:
•
“The need to attend to the dichotomous views of faculty
and graduate students in regard to the mix of undergraduate
and graduate students in Graphic Design and Interior Design
classes. Grad students appear to view this as a negative aspect
to their programs; faculty members appear to feel that such
blending raises the quality bar for these classes.
•
The visiting team has concerns that the elastic completion time
for admitted MA students—from 30 to 99 credits—may be
unclear to graduate students and may compromise the stated
credit requirements for these graduate programs.
•
Need for further communication to address undergraduate
concerns about scheduling liberal arts requirements to mesh
with art and design classes in light of the University’s change to
4-credit courses.
•
Important to continue to improve art school’s ability to attract
art and design majors with demonstrated aptitude and accomplishment.”
As I said in the last article on the subject of reaccreditation, in the
Spring magazine, the reaccreditation process is long and exhausting and could not have been completed so successfully without the
cooperation of the entire NESADSU community, administrators,
faculty, students and alumni alike. The comments made by the Visiting Team, who have extensive experience reviewing the programs
of the country’s most prestigious art and design schools, should
make all of us—and you—very proud. S.C. §
NEWS tidbits
&
Artists: Jessie Schloss, Eileen Umba-Neuwinger, and Ali Horeanopou-
NEWS & TIDBITS
NESADSU Preps
Tomorrow’s Students
e · mer · gence
1. the act or process of emerging.
2. an outgrowth, as a prickle, on the surface of a plant.
3. evolution.The appearance of new properties or species in
the course of development or evolution.
Fa l l 2 0 0 7
Arduous does not even begin to encompass the tremendous shift in life from student to practicing studio
artist. From developing resumes and portfolios, securing studio work/ live space to facilitating income, it is
not surprising that many compromise the production
of artwork for rent and food. Most critical is the loss of
the peer art community that graduating students have
come to depend upon during their education.
& Th e n
6 7
Recently, some of the past three years’ Fine Arts alumni
have attempted to overcome the stress and pressure
of the first years out of school by developing a critique
group based in the Fort Point area of Boston. This
group aims to support each member to enable the
continued practice of studio art and provide a place of
critical review and experimentation.
The range of subject, material, content and execution
varies greatly and to that end the critique group has
engaged in a collaborative effort to create new works
that require the exchange of work and authorship from
one artist to the next in an attempt to explore the
overall visual language of the community as a whole.
The resulting work is an examination of process and
content at a micro and macro level, so much so that
the work has taken on the distinct appearance of biological and ecological systems, some real, others imagined. The mixture of several artists per piece changes
the visual language of the individual into an emergent
communal discourse.
Emergence is both an examination of the real world
struggle for these artists to establish their studio practice in the Boston community and an introspection of
the micro community of the critique group as it grows
and develops beyond the NESADSU community.
For five weeks over this past summer a
group of twenty-two high school students
and incoming college freshmen participated
in NESADSU’s Pre-College Program.
Guided by professors and adjunct instructors Randal Thurston, Paul Andrade, Matt
Templeton and Bebe Beard, this group of
talented young students explored the visual
vocabulary of art and design while learning
the basics of portfolio preparation.
Working in the School’s studios, students
expanded their knowledge of drawing,
painting and the principles of two- and
three-dimensional design. Our ’07 Pre-College Program participants were introduced
to the vibrant cultural scene here in Boston
through field trips to area museums and
artists’ studios. The program culminated in
a student-organized exhibition highlighting
work produced over the summer.
Summer Class of 2007
Responding to the remarkable success of
and enthusiasm generated by this summer’s
program, Continuing Education has begun
offering Pre-College workshops during
the school year. Adjunct Instructor Matt
Templeton is teaching a five-week Pre-College Portfolio Preparation Workshop this
fall designed to help prepare students to
present their work at Boston’s National
Portfolio Day.
For more information regarding the School
of Art & Design’s Pre-College programs
please contact Karianne Noble, Director
of Continuing Education and Preparatory
Programs, at knoble@suffolk.edu or call
(617) 994-4233. Molly Ferguson §
An exhibition of the critique group’s work will be held
in the White Box Gallery (room 208) at NESADSU
from May 12th until June 27th, 2008. There will be an
opening reception, to which all are invited, on Friday,
May 16th from 5 to 7pm. Mish McIntyre and Jessie Schloss §
All work featured on this poster was created by high school students.
Ov e r s e a s C or r e s p on d e n t
OVERSEAS
correspondent
Little Cultural Differences
Cultural differences are what make foreign
travel such a wonderful adventure, and they
are what make a country or a city unique
to work and live in. Here are some of the
cultural differences between Paris, France and
anywhere in the Anglo-Saxon world:
The working day. Parisians
Morning commute on the Paris métro.
really want to be Mediterranean. They love to
eat late and stay up late. The problem is waking
up; the morning métro is full of people still
soundly asleep despite being fully clothed for
work. The working day starts later here—usually between 9.00am and 10.00am—and
most people finish work between 6.00pm
and 7.00pm. The 35-hour working week only
applies to those employed by large companies
and government employees (who signed that
into law?). Most people work way in excess of
this figure. If you do the math it is clear something else must take up a part of the day…
The importance of
lunch. Lunch is a right.The French
Fa l l 2 0 0 7
Lunch time at the “Quatorze Juillet” bistro.
& Th e n
8 9
will happily work through later in the evenings
if a deadline is looming, but will absolutely not
skip lunch. It lasts between one and two hours,
often it is an event used to discuss business;
it is however sacrosanct. Indeed should you
munch a sandwich at your desk other people
will disparagingly refer to you as having lunch
“a ‘l’anglais” (like the English). At least a third
of Parisians lunch in restaurants and bistros
every day and the remainder of us bring in
creative options from home and stop work
to eat together. Lunch is a social occasion for
everybody and it is the height of bad manners
to start without asking your co-workers if they
are going to join you.
How to approach a
deadline. In December 2006
Anne-Claire and I shared the design work for a
program for an annual film festival. The overall
design was approved; all we were waiting for
was the copious copy to arrive as well as all
those small little program details such as name
of event, venue, time, price, etc., etc. for over
1000 events. The printing deadline was fixed, as
it had to piggyback on to another job so as to
save costs. We waited and we waited. Four days
before the printing deadline the text started to
trickle through… then even I started spotting
the spelling errors (yep, in French) and we
realized that none of the text had been proof
read. So the text went back to be checked and
a committee from the festival camped downstairs from our office fixing spelling errors on
the printed pages, meaning we had to correct
them electronically. In the end, with no leadership and even less organization Anne-Claire
and I worked from 9.00am to 11.00pm (without lunch) for three days to accommodate the
festival committee. This last minute approach
happens all the time. To deliver another project
on time another member of our team got on
his motorbike and sped through the streets of
Paris; he got the official stamp of receipt just 2
minutes before the deadline.
Fear of commitment.
The French fear of commitment and their
desire to leave everything open should suit my
personality very well, but as in all such cases
the most extreme party retains the behavior and forces the other party into inverse
behavior. I have been pushed to the inverse
as I try to work with Jean-Louis. One recent
project was (spéculatif of course) to develop a
POS for a company selling “Coffrets Cadeaux”
(www.wonderbox.fr). I did my research—I
photographed existing POS, looked at various
designs and came up with five or six options. I wanted, I needed, his direction. With
every design I showed him his response was
“pourqoui pas?” (why not?). I have to say I
found this distinctly unhelpful. In the end I
pushed and pushed and pushed for him to give
me a decision—he appeared to be in pain, and
immediately after making a decision went out
for lunch to forget all about it.
Fashion. Using public transport and
doing a lot of walking is my opportunity to
observe the latest fashions and styles. On the
métro and the bus I get to see the small but
essential details, mainly because the French
concept of personal space is non-existent. Thus
I have learned how to tie a scarf depending on
the time of year, what earrings are currently
fashionable and how to wear the collar of
a simple shirt so as to look decidedly chic.
A point to note is that Parisian women are
thinner than most, which of course aids their
ability to look good in almost everything. Two
other essential building blocks to acquiring
Parisian style are the requirement to wear
heels on your shoes (the sneaker-clad commuter is a rare sight) and to walk proudly with
a large designer bag and a good designer coat.
Ordinary French women do actually shop in
Hermes, Lancel and Chanel if only once every
five years. For the first time in my life my first
waking thought is what to wear, even at the
weekend!
POS proposal for “Wonderbox”, 2007
How much vacation?
As I write this (early September 2007) I, and
the majority of Parisians, have just returned
from a month of vacation. Everything you may
have heard is true. The city sleeps as millions
head for their second homes in the countryside or the coast. Until recently very few
French people ventured abroad, and if they
did it was to French-speaking places such as
the Reunion Islands near to Madagascar or
Martinique in the Caribbean. But this summer
has been a washout for northern Europe since
June and I heard much French being spoken as
I lay on the beach in very sunny Spain. Now,
after a month off work, we are all back, excited
to be in the city that has regained the buzz
but actively looking forward to the next main
vacation, which is Toussaint (a.k.a. Halloween). In total the French come second to the
Germans with an annual vacation entitlement
of 7.5 weeks. Being freelance I can take what
vacation I like, but there again if I don’t work
then I don’t earn any money to go on vacation!
Kate McLean §
“Polar dans laVille” film festival program
1962 – Dan McCarron (Graphic
Design) continues to keep up a heady
schedule of design work for Harvard, his
former employer. “I am in the process of producing a book on decorated papers for the
Department of Graphic Arts at Houghton
Library at Harvard, which will be published
this fall and distributed by the Harvard
University Press. I am also working on an
exhibit that celebrates the 75th anniversary
of Memorial Church at Harvard as well as
the 400th birthday of John Harvard. … The
exhibit will be mounted at Pusey Library in
Harvard Yard this fall. Finally, I am producing a DVD to celebrate the 45th reunion of
the Class of 1962, Harvard College…..All
great projects that I truly enjoy working on!
Who knew that, when I sat in a Huntington
Avenue classroom at [NESA] in the early
sixties, I would get to do such interesting
projects for Harvard University 45 years
later!” You can rdach Dan at dmccaron@
wordtechcorp.com.
Please be sure to send your updated information
to Sara Chadwick at schadwic@suffolk.edu (for
our database and/or for publication) and also, if
you wish, to classnotes@suffolk.edu for the Suffolk
Alumni Magazine.
Fa l l 2 0 0 7
1971 – Millicent (Busse) Swaine (Advertising Design) got in touch with us the
other day, wondering what we were up to.
Millie worked in advertising for Sears after
graduating from NESA, then had three children so gave up work to stay home and care
for them. Now she keeps busy “doing the
décor for parties, theatre, CET-TV and nonprofit organizations. I have been doing wedding planning too. Keeps me busy. I would
love to hear what others have done…I’m
sure it’s great things!” You can reach Millie at
millieswaine@aol.com.
& Th e n
10 11
1973 – Ellyn (Greenberg) Moller
(Fashion Illustration) is currently the
Director of the Akillian Gallery at Massasoit
Community College in Canton. She has also
served on the Board of Trustees for the Milton Art Museum for the past eight years, the
last four as Chairman, and has been named
Event Chairman for the 2008 Arts Affair on
the Boardwalk at Marina Bay in Quincy. In
addition to all of this, Ellyn continues to take
on freelance design projects as well as manage her husband’s entertainment business,
at the same time taking courses toward her
degree at Massasoit. You can reach Ellyn at
emoller@massasoit.mass.edu.
1974 – Steve Hodgdon (Graphic
Design) recently organized a min-reunion
in August of some of the members of the
Class of 1974, who currently live in New
Hampshire. Gail (Herbert) Kimball (Fashion
Illustration) and Jim Hankard (Fine Arts) attended, though Fred Durham (Fine Arts) and
his wife Connie (Wadleigh) Durham (1973
Fashion Illustration) were not able to attend.
They all met at Steve’s house in Contoocook
“and had a wonderful afternoon. Sorry I
don’t have any pictures to attach…we were
having too much fun catching up!” Well, Gail
supplied us with this one, which is great. If
you can offer Steve information on any other
members of the Class of 1974 (see the three
below, located since), I’m sure there’ll be another get-together in the offing. Contact Steve
at shodgdon@comcast.net.
1974 – Ronald Holl (Graphic Design)
is the Director of Operations/Art Director at LSHD Advertising, of which he is a
partner, in Chicopee, MA. LSHD, in business
since 1986, is western Massachusetts’ largest
advertising agency. You can reach Ron at ron.
holl@lshd.com.
1974 – William Kenney (Graphic
Design) is the Vice President/Creative of
BrandEquity International, with headquarters
in Newton. BrandEquity is a visual marketing and brand communication firm, which
was established in 1960 and which has such
clients as Staples, Harvard Pilgrim Healthcare,
Au Bon Pain, Massachusetts General Hospital,
Sheraton and many others. Check them out
at www.brandequity.com and contact Bill at
kenneydesign@comcast.net.
1974 – Stephen Krupsky (Graphic
Design) is a partner in Adrenaline Design
in Manchester-by-the-Sea, MA. Adrenaline
Design is a marketing-oriented design firm
that specializes in brand identity, logo development, package design, web design, etc.
Check them out at www.adrenaline-design.
com and get in touch with Steve at stevek@
adrenaline-design.com.
1979 – Christine Jellow (Graphic
Design) has parlayed her years of graphic
design experience and her coursework in
the Masters program in Interior Design into
a position with Urban Archaeology in the
Boston Design Center. Urban Archaeology is
a high-end lighting, bath and tile manufacturer
and retailer, with a wide range of top-quality
and beautifully designed products. Check out
their website at www.urbanarchaeology.com
and contact Christine at c.jellow@comcast.net.
1981 – Eli Cedrone (General Art)
had three of her paintings accepted into
the Guild of Boston Artists show at their
Newbury Street gallery in August. This
regional, juried exhibition featured the best
of representational painting and sculpture by
both emerging and established artists living in
New England. In addition, Eli’s painting “Journey’s End” was awarded Best in Show at the
Pembroke (MA) Arts Festival, also in August.
You can contact Eli at artfulhand@comcast.
net. Also, check out her online newsletter at
www.elicedrone.com for classes, exhibitions,
etc. Lots of news!
1983 – John Gonnella (Graphic Design) left Digitas about a year-and-a-half ago
and is starting his own “web branding gig”,
called Truth and Soul, Inc. (www.truthandsoulinc.com). John will be moving shortly
to the South End, “to pursue my painting, in
downtime…I always bump into James Kraus
[1982 General Art] and also saw Audrey
Goldstein last week”. You can get in touch
with John at johnny.g@truthandsoulinc.com.
1983 – Paul Harrington (General
Art) had an exhibition of his hand-painted
silkscreens during the month of September
at The Savings Bank, Lakeside Office in Wakefield. Paul’s web gallery, of drawings, paintings and sculpture, can be found at www.
luminism.net. You can reach Paul at paulharrington@luminism.net.
M o r e C l a s s N ot e s
C l a s s N ot e s
CLASS
notes
1985 – Merle Craig (Interior
Design) recently sent us a contribution to
NESADSU’s J.W.S. Cox Scholarship Fund, for
which we are very grateful! She is currently
on the faculty at Endicott College in Beverly,
as an Assistant Professor of Interior Design
(“I’m enjoying it very much”), and still owns
her own ID firm, Merle Craig Interiors in
Durham, NH. “I see quite a bit of Marge Lee
(1984 Interior Design) [also an Assistant
Professor at Endicott] and I also see Kris
Orr (1984 Interior Design) and Anne Lenox
(1987 Interior Design) occasionally. We
share the same birthdate and usually have
breakfast together sometime around September 11th. We discovered this when we
were assigned to the same ‘contract furniture
research committee’ in our sophomore year
and have gotten together many times since.”
You can reach Merle at mcraig@endicott.edu.
1987 – Deven Winters (Fine Arts)
emailed us In May to say he and his wife
were packing for a move back to Texas, this
time to Mesquite, where Deven will be taking a job at id Software, a pioneer in FPS PC
game titles. As a designer, he’ll be creating
levels, gameplay elements and some basic art
“for the artists to make beautiful. I want to
go there to be able to learn from the masters, develop my next gen art and become
even more well-rounded.” Deven also says
that he’ll be starting a children’s book this
fall with his wife as the writer. “The newest
member of our family is getting big…and is
almost as tall as his four-and-a-half-year-old
brother. My oldest son Joshua can read and
write a little bit. He also reconfigured my
X-Box to read Chinese and it took us two
hours to undo it. He’s is getting really good
at games and problem solving.” Deven is also
thinking of becoming a teacher of 3D graphics and perhaps starting his own company as
well. You can reach him at arxangel@gmail.
com and check out his website at www.
arxangel.net.
1989 – Dave Swanson (Graphic Design) recently got in touch with us, looking
for some freelance graphic design help for
the summer. (Editor’s Note: If you are interested in either full-time or freelance work,
please be sure to fill out the Alumni Update
Form on the NESADSU alumni page on
our website.) Dave, who is the Director of
Design for Fidelity Investments in Smithfield,
RI, lives in Foster with his wife and three
children, Zoe (2), Max (6) and Clara (4). As
Dave says, “Things are going well. We all have
our health and a routine. It’s just non-stop,
taking care of a house, a dog and three small
children, then trying to fit in my own stuff….
I’ve redefined patience. It’s not like the old
days when the world revolved around ME.
It has many more benefits but there was a
learning curve for me and still is to some
extent, but I’m getting better at it. I’m trying
not to forget the old worn out saying ‘They
grown up fast’. I remain conscious of that and
very much enjoy the simplicity of it all and
fostering good memories. Which reminds me
of another saying, ‘If I had a nickel” for every
time someone with grown children says that
to me, I’d be a millionaire!’ You can get in
touch with Dave at david.swanson@fmr.com.
1993 – Steinunn Jonsdottir (Interior
Design) returned to her native Iceland in
2004, bought
a farm in
northern
Iceland that
same year,
with an eye
toward starting an international art center there, earned
an MBA from Reykjavik University in 2006,
and started the Baer Art Center (www.baer.
is) in May of this year. She has since moved
into a new home and had a third child (Baldur, now one, brother to Nanna Katrin, now
13, and Jon Bragi, now 10). Take a look at the
Baer Art Center’s website and see whether
you might be interested in a residency. You
can also reach Steinunn at sj@sj.is.
1995 – Scott Truesdale (Graphic
Design) has left Malchow, Schlackman,
Hoppey, Cooper
Partners in Washington,
DC and has taken a
position as Vice President/Creative for the
Mack/Crounse Group
in Alexandria, VA. Both
are political advertising
firms, a field Scott has
been deeply involved in
for a number of years.
The Mack/Crounse
website cites Scott as
“one of the most experienced creative talents
in the political business.
He brings a unique and
fresh view to creative
and is a great addition
to our team.”. You can reach Scott at struesdale@mackcrounse.com.
1997 – Todd Fitz (Graphic Design)
is still living in Georgetown, MA and has a
design office in Newburyport. His former
company, Firecracker, has morphed into Fuel
73, which is heavily focused on the publishing industry, specifically magazines, and more
specifically Ocean Home Magazine (www.
oceanhomemag.com), northshore magazine (www.nshoremag.com), and Our Place
Magazine. You can reach Todd at todd@
fuel73.com.
1997 – Ken Harney (Graphic Design)
is still in New York, but is now the Deputy
Art Director for DNR Magazine, a Conde
Nast publication on men’s apparel, fashion
retailing and design. For fun he’s into Thai
boxing and is working on his blue belt in
Brazilian jiu-jitsu. That’s for exercise; he also
does yoga for relaxation. You can reach Ken
at kharney1@yahoo.com.
1998 – Ann Borwick (Fine Arts) has
moved from Seattle across the lake to Bainbridge Island, where she now owns a B&B.
Called Furin-Oka (“Wind-Bell Hill”) Futon
& Breakfast, it occupies a private, detached
house and garden built in traditional Japanese
style at the rear of the property on which
she lives, accommodates two people, and has
a tatami room as well as a kitchenette and
a bath with a Japanese soaking tub. Check it
out at www.futonandbreakfast.com. Besides
all of that, Ann’s gotten heavily into gardening,
which the lush northwest climate makes a
pleasure. You can reach Ann at afborwick@
yahoo.com.
Please be sure to send your updated information
to Sara Chadwick at schadwic@suffolk.edu (for
our database and/or for publication) and also, if
you wish, to classnotes@suffolk.edu for the Suffolk
Alumni Magazine.
Fa l l 2 0 0 7
1998 – Melissa Horvath (Graphic
Design) started a new job in May, as Senior
Interactive Art Director at VML in New
York. VML is an interactive ad agency with
such clients as Colgate-Palmolive, which will
be Melissa’s main account, Burger King and
TurboTax. Part of the WPP network, they
collaborate with sister agency Y&R on crossmedia campaigns. In addition to the new job,
Melissa is also making plans for her November 9th wedding. Check out her website at
www.melissahorvath.com and get in touch
with her at melissa@melissahorvath.com.
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1998 – Scott MacGillivray (Fine Arts)
has increased his family by one (son, Odin,
was born on March 19th) and moved them
all to Indiantown, FL, where they have a 60acre ranch. On said ranch are four children
(presumably not within fences), “and a whole
menagerie of animals, including four horses,
three goats, a llama, a pot-bellied pig, three
dogs, more cats then I care to count, and a
few other small critters”. Scott also started a
new job in August, “teaching graphic design
at a vocational high school in a maximumsecurity prison. It sounds like a challenge and
I’m excited.” Send congratulations to Scott at
smacdad101@aol.com.
2001 – Helen (Carroll) Johnson (Fine
Arts) recently wrote to tell us all her news.
“I was married in 2005 so my last name is
now Johnson. Directly after graduating Suffolk I worked at Kids Are People School, a
multicultural and inclusive school in Boston,
first as a teacher’s aide and then as a teacher.
I received my Masters from Lesley University in Art Education in 2006…and began
working at the Children’s Learning Center
in Dorchester as a pre-school teacher. April
20th I gave birth to a beautiful baby girl
Alexandria! She was born seven weeks early
so she had a scary start but is doing great
now. Just recently my husband and I were
accepted into the Salvation Army’s School
for Officers’ Training. After two years of
schooling we will be ordained ministers, so
we are currently preparing to move to New
York….The newsletters have been going to
my parents’ house for three years, but that
was fine because we’ve moved three times
in the last year and a half!…It’s great to see
how the school is growing and what is happening!” You can reach Helen at helen_johnson@mrmumu.net.
2001 – Laura Glen (Interior Design)
has returned to her roots in Louisiana, in the
wake of hurricane Katrina. “I’m still working
on projects throughout New England (with
one studio in Wellesley, MA) but have my
main studio back home in New Orleans.
Katrina was devastating to my family and
friends and I just need to be here to help
rebuild….If you ever need an article on New
Orleans and the rebirth, I would be happy to
provide my insight, having evacuated, rebuilt
and worked with clients there.” We’re taking
Laura up on her kind offer and hope to have
an article for you in the next edition of “And
Then”. In the meantime, you can get in touch
with Laura at lauraglen@comcast.net.
2002 – Erin Fay (Graphic Design) has
moved to North Hampton, NH and is working as a kindergarten teacher at the Keystone
School in Chelmsford, MA. You can reach
Erin at erin_fay@msn.com.
2002 – Jonathan Hoysradt (Graphic
Design) emailed Jen Fuchel the other day
with an update on what he’s been doing
since leaving his first job, at 360Kid, after
graduation. “My quest for full-time work led
me to several non-design-related positions
including the mailroom of a financial company, the processing center for a mortgage
company, and a bouncer at a biker bar (just
kidding about that last one!). Oddly enough, I
found my niche at a computer company that
originally hired me as a temp to manage the
sales database. They found out I had some
design skills and asked me to update their
website (which, I think, was originally composed by a blind man using PowerPoint), so it
was uphill from there. …Soon enough I was
the graphic designer for the company…I’ve
also become the “Web Manager”, “Marketing
Manager”, and “Email Manager”. They hired
another graphic designer to work under me
[though] I’m still responsible for designing
most of the printed material. And while the
other designer manages the website, I do
all the Flash animation.” As Jonathan says, it’s
been a good way to gain a lot of experience
in a lot of different areas, especially management and computers. You can reach Jonathan
at jhoysradt02@comcast.net.
2002 – Nicole Wang (Graphic Design)
has relocated to Emeryville, CA and has
taken a position with Arc Worldwide in San
Francisco. Arc Worldwide deals in promotional, interactive, direct and shopper marketing, and is owned by the Publicis Group
which also owns Digitas, Nicole’s former employer. Nicole’s move followed a two-month
European vacation (“After working three
years straight in a fast-paced agency like that,
I felt I really needed a loooong vacation!”).
You can reach her at nwang@macbox.com.
2003 - Kseniya Galper (Graphic
Design) had her acrylic painting “Eugene”
chosen as Best in Show at the Quincy Art
Association’s Artsfest in September. There
were over 250 entries for this annual juried
show and it was the first time that she had
ever submitted her work anywhere, “so I was
N e a r l y t h e L a s t o f t h e C l a s s N ot e s
Ye t M o r e C l a s s N ot e s
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absolutely shocked when I was told that I’d
won “Best in Show :)”. Kseniya and Eugene
have just spent two weeks in Rome (“overwhelmingly beautiful”), perhaps celebrating
her success. You can reach her at kgalper@
gmail.com.
2004 – Juliana Abislaiman (Graphic
Design) has a new job with McCann
Erickson in Puerto Rico, having left Arteaga &
Arteaga Advertising. Contact her at abislaimanjuliana@hotmail.com.
2004 – Maryam Beydoun
(Graphic Design) caught up
with our designer Kate McLean
(2004 Graphic Design) in Paris
in July. Maryam was with Promoseven, a design firm in Jeddah, Saudi Arabia, then moved
to McCann Erickson, but has
since left and is freelancing while
she decides whether to return
to school. Maryam spends several weeks a year in France, with
some time for shopping in Paris.
She and Kate had breakfast, “then wandered
down to the Musee Quai Branly to take
photos”. You can reach Maryam at maryambeydoun@mac.com.
2004 – Victoria Masters (Graphic
Design) has left Charity Folks and is now a
Junior Creative Director at Creative Gorillas,
also in New York. Creative Gorillas is an advertising and marketing firm with a number
of clients in the real estate and development field. Check out their work at www.
creativegorillas.com and get in touch with Vic
at vicmasters@gmail.com. You can also see
both her professional work and her stunning
photography at www.victoriamasters.com.
2005 – Peter Ferreira (Graphic
Design) is working as a Senior Graphic
Designer for Cox Communications in West
Warwick, RI. In addition, he has his own
design firm, called Kemelyen Media Lab, with
two freelance artists working with him on
various projects in print, multimedia, corporate and web design. Check their website
at www.kmedialab.com and email Peter at
peter.ferreira@cox.com.
2005 – Jennifer Kokx (MA in Interior
Design) has taken a position with the Boston design firm Gauthier-Stacy, a residential
interiors firm with clients around the country.
You can reach Jennifer at jkokx@comcast.net.
2006 – Debra Folz (Interior Design)
has left her job at Tsoi/Kobus & Associates
in Cambridge and has enrolled in the MFA
program in Furniture Design at Rhode Island
School of Design in Providence. Deb’s hoping to teach furniture design one day, perhaps
at NESADSU. You can get in touch with her
at debba5@aol.com.
2006 – Jill Garzik (Interior Design)
has recently taken a position with the
architectural and interiors firm Tsoi/Kobus &
Associates in Harvard Square, where she is
currently working on a project for Children’s
Hospital. At TKA, she joins Laura Nathanson
(2006 Graphic Design) who is a graphic
designer for the firm. You can reach Jill at
jgarzik@hotmail.com.
2006 – Kelly Ginn (Interior Design) is
working for the Architectural Heritage Foundation, located in Old City Hall in Boston.
AHF is an historic preservation development
firm and a pioneer in adaptive reuse since its
founding in 1966. You can get in touch with
Kelly at keli2342@aol.com.
2006 – Meaghan Moynahan (Interior
Design) has left the Patterson Group and
is now a Project Manager at Kitchen Living in
the Boston Design Center. You can reach her
at meaghanm@kitchen-living.com.
2006 – Kelly Pearson (Fine Arts)
was among a group of artists featured in
a sculpture show at the Aaron Gallery in
Washington, DC. Her steelwork sculpture,
Exterior no. 7 (2005), was on exhibit during
the month of October. You can reach Kelly at
kmartypea@hotmail.com.
2006 – Lisa Sobolewski (Interior
Design) moved to New York in June and
is currently working at Dupoux Design, a
firm with “cross-market expertise in the
fields of hospitality, real estate, construction
management and brand identity”. Dupoux
has recently expanded their operations to
include the Asia market, opening Dupoux
Design Asia in Taipei. Check out their website
at www.dupouxdesign.com and contact Lisa
at yasuadio@yahoo.com.
2007 – Jessica Aponte (Interior Design) is currently working at Eric Nelson Architects in Charlestown, a firm that provides
a wide range of design services for both new
buildings and significant renovations. You can
reach Jessica at skittja22@yahoo.com.
2007 – Billie Jo Baril (BFA Fine Arts
2000, MA in Interior Design) is working
as an interior designer at Eric Roseff Designs
in Boston. Eric Roseff is a full-service residential and commercial design firm. You can
reach Billie Jo at barilb@hotmail.com.
2007 – Erica Edwards (Interior Design) is NESADSU’s latest addition to the
workforce at Duffy Design Group in Boston,
where Atsu Ishikawa (Interior Design 2000)
was before she left to join Kahila Hogarth
(Interior Design 2006) at Nannette Lewis
Design in Chestnut Hill. You can reach Erica
at lordy7_7@hotmail.com, Atsu at superatsu@hotmail.com, and Kahila at kahila329@
hotmail.com.
2007 – Rebecca Emanuel (Interior
Design) has joined Barbara Sherman (Interior Design 1994) at Wilson Butler Architects,
a Boston firm specializing in designing for
the arts and entertainment. You can reach
Rebecca at raemanuel@gmail.com.
2007 – Nico Flannery-Pitcher (MA in
Interior Design) is currently working
at Steffian Bradley Architects in Boston. In
addition, Nico was recently married to Dave
Pitcher, an industrial designer with Rose
Displays Ltd. in Salem. Dave, who designs
signage hardware, and Nico have bought and
are currently renovating a house in Swampscott and hope to be in by October. Send
your congratulations to Nico and Dave at
nicoflannery@hotmail.com.
2007 – Jade Jump (Graphic Design) has
landed a job at the Design Studio at Monitor in Cambridge, where she is a graphic
designer. The Design Studio has such clients
as MIT, Brandeis and Innovation Management
Inc., providing such services as marketing,
illustration, web design, logos and book
design. Check them out at www.designstudioatmonitor.com and get in touch with Jade
at jadejump@hotmail.com.
Fa l l 2 0 0 7
2007 – Kimberly Kelly (Interior Design) and Danielle Tappis (MA in Interior Design) have both joined the Boston
office of Perkins & Will, the internationally-based design firm offering “innovations
in architecture, planning, interiors, branded
environments and strategy”. You can reach
Kim at kimakelly@gmail.com and Danielle at
danielle_paige@hotmail.com.
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14 15
2007 – Jessica Koff (MA in Interior
Design) has taken a position as an interior
designer with Bergmeyer in Boston. As such,
she is continuing another long-time tradition
with NESADSU graduates, many of whom
have passed through Bergmeyer’s door in
recent years. You can reach Jessie at jesskoff@
gmail.com.
2007 – Courtney Mitchell (Graphic
Design) has moved to New York and taken
a job as a Art Assistant at Women’s Wear
Daily, a division of Conde Nast and Fairchild
Publications. Women’s Wear Daily is a fashion
and business newspaper and “we also put
out dozens of magazines and supplements
every year. I deal primarily with the trafficking
of all the artwork and I also have been able
to design quite a lot so far. I wanted to thank
you [Laura Golly, to whom the email was
sent] because after I took your electronic
publications class I realized how much I love
publication design!” You can reach Courtney
at coumitch@verizon.net.
brown.com, Allison at allisonwrig@gmail.com,
Eduardo at eduardo_meza@gensler.com, and
Vy at vlan0525@yahoo.com.
2007 – Julianna Mongello (MA in Interior Design) and Pamela Muldowney
(MA in Interior Design) have both taken
positions with Cannon Design, an architectural, engineering and planning firm in Boston. You can reach Julianna at juliemongello@
hotmail.com and Pamela at pmuldowney@
mac.com.
2007 – Kaitlin Palaza (Interior Design)
has taken a job at Duncan Hughes Interiors
in Boston. Duncan Hughes is a full service
interior design firm specializing in commercial
and residential design. You can contact Kaitlin
at kaitlinpalaza@gmail.com.
2007 – Andrea Morin (Graphic
Design) is a Regional Marketing Coordinator at Great Source Education Group in
Wilmington, MA. Great Source, a division
of Houghton Mifflin Company, publishes
alternative, resource-based K-12 educational
materials. You can contact her at andrea_morin@hmco.com.
2007 – Naomi Nottingham (MA
in Interior Design) has joined fellow
NESADSU alumni Erika Brown (MA in
Interior Design 2004), Allison Wright (MA in
Interior Design 2006), Eduardo Meza (MA in
Interior Design 2003), and Vy Horwood (Interior Design 2003) at Gensler (all in Boston
except for Vy who is in the Arlington, VA office). With offices around the world, Gensler
is a multi-faceted firm that handles design
problems of all kinds, from city planning to
interior and graphic design. Check them out
at www.gensler.com. Contact Naomi at
naomi74@earthlink.net, Erika at riki@riki-
2007 – Elizabeth Olver (Interior
Design) has taken a position with TMD
Designs, a recently established firm in North
Hampton, NH. You can reach Liz at liz.olver@
gmail.com.
2007 – Helen Principio (Interior
Design) is a kitchen and bath designer at
the Expo Design Center in Burlington, MA.
You can reach her at hprincipio@yahoo.com.
2007 – Caitlin Ryan (Interior Design)
is an interior designer with JFS Design Studio
in Boston. JFS specializes in residential and
hospitality design. You can reach Caitlin there,
at caitlin@jfsdesignstudio.com.
2007 – Karen Urosevich (MA in
Interior Design) has joined the residential
design firm of Leslie Fine Interiors in Boston’s
Back Bay. You can reach Karen at karenurosevich@hotmail.com.
2007 – Shauna Wymyczak (Interior
Design) has taken a position at ADD, Inc. in
Cambridge, a firm that specializes in architecture, interior design, planning and branding.You
can reach Shauna at wymyczak@yahoo.com
SO SAD
TWO MORE CHILDREN
I just got the spring newsletter today and I am so sad
Olympia was considered a kook while she was at-
“I’ve been thinking about you guys over at NESA and
because I didn’t know Charles Giuliano retired! I was
tending BU’s theater arts school…but she was a good
realized I haven’t sent you a picture of the kids yet
reading the gallery schedule and I totally would have
actress. I was amazed when she suddenly started
gone to the reception. I was wondering why I would
appearing in movies, etc. Everyone from BU and
have just gotten the newsletter now?
NESA used to take a morning break and have lunch in
This came from Amy Joyce (Graphic Design
the cafeteria….I don’t remember anyone socializing
2000) and arrived on July 5th
with her except for a Greek girl who was in fashion
I had a feeling I was going to have to answer
for this and you all have my deepest apologies.
We have never had a firm publication deadline
for the newsletter (just sometime during the fall
and spring semesters) and all I can say is that
this semester several things conspired to make the
newsletter late in getting to you. First of all, the
NASAD reaccreditation took up an enormous
amount of time. I not only researched and wrote
the entire self-study (way over 300 pages of text
plus exhibits), but planned and saw to completion the three-day site visit. By the time that
was all over, we were into April.Then I got sick,
perhaps because the site visit coincided with the
first symptoms and there was no way I could stay
home and sleep! So I was out for a couple of
weeks and way behind on everything else by the
time I got back.Then Kate McLean, our designer,
was enjoying a very busy schedule herself. So,
one thing led to another and we were late. I’m
especially sorry as I know there are probably a
number of you who would have attended Charles’
party and did not know about it. At this late
date, all I can offer you is his email address
(charles_giuliano@yahoo.com) so that you can
write him and tell him….well, whatever you
wish to tell him.
design at NESA. I think her name was Athena.” [Good
THANKS FOR THE BLURB
said ‘Let’s skip this afternoon and go to the ball game.’
memory, James. That was probably Athena Doukakes,
class of 1957 and a Fashion Design major.)
“I was one of the ex-GI’s who were attending
NESA….Four of us lived together on Huntington
Avenue: Frank Raneo, Joe Almasian, Dick LaRoche and
me. Frank was one of the most talented of anyone I
went to school with. He was working for Remick’s
of Quincy while he was going to school, doing all the
newspaper ads for them. [Actress] Lee Remick was
the owner’s daughter. Frank promised to tell us when
she was around and set it up so we could meet her.
Never happened…. I always remember Frank had a
great sense of style. He always looked like one of his
ads. He’d also give us a critique when we dressed up
to go out. He also said two sport coats and three pair
of pants were all you need. I’m still using his advice!”
“Our life and anatomy instructor was John DanaBastian. He looked like Picasso. His favorite remark
gratulate you and the staff on the great articles and
work that you all continue to do. I’ve been busy taking care of the kids at home and also doing interior
design work. I just completed a Hookah Bar/Lounge
in Allston, the Nile Lounge…. It was a lot of fun creating and implementing the design.” George is also now
working as a teacher’s aide in the kindergarten at the
he took all of my watercolor brushes away from me
so I would ‘loosen up’…. I had a JWS Cox original
[watercolor]. Too bad I threw it out when I packed
to come home for the summer!… I bought a book
about Bill last summer. I never knew until then how
famous he had become. He had some of his work in
the Museum of Fine Arts when I was in school.”
“During my first year at NESA one of my classmates
I got my latest newsletter the other day and just
That was the first major league game I ever saw.
got the chance to sit down and read it. Another
September 1954. I was a Yankees fan at the time….
top-notch edition. Thanks for the blurb [a class note].
and used to go to the games when the Yankees were
The wording was perfect. I should have gotten to it
in town. Then, rather than risk getting beaten up by
[writing it myself] but the good news is I have been
Boston fans, I changed sides.
Bleacher seats were $1.50 at the time and Pinky Higgins was the manager…. Sometimes there were only
mer is going well and see you soon.
a few thousand people at the game…I remember
James Kraus (General Art 1982)
Mickey Mantle coming onto the field and talking to
the fans in the bleachers. I don’t think there is a Major
Barbara (Paine) Lyons of the NESA class of 1943 (Fashion
Illustration). Barbara was one of five alumnae, graduates of 1943
and 1944, who were honored at NESADSU’s 75th anniversary gala at
the Institute of Contemporary Art in November of 1998. Barbara was
originally from Randolph, MA. After graduating from NESA, she worked
as a fashion illustrator for a Boston department store, where she met her
future husband, Richard Lyons. She retired from Raytheon Corporation’s
publications department in 1989. Barbara is survived by two sons, Jeffrey
and Frederic Lyons, eight grandchildren and four great grandchildren.
I also just got the new newsletter and wanted to con-
favorite instructors was JWS Cox. I remember that
volunteer work that I never got to it. Hope the sum-
It is with great sadness that we announce the death of
[Editor’s Note: George and his partner, Joe (Suffolk
MPA 1998, JD 2000), adopted two more children
from Liberia in 2005. Now their family is made up
of Luke (age 5) and Noelle (4 1/2), plus Noah (4)
and Jocasta (2), who arrived in August of 2006.]
was ‘Make it go ‘round! Make it go ‘round!’ One of my
so busy with work, Little League [coaching] and other
Pa s s ag e s
T h e L a s t o f t h e C l a s s N ot e s
2007 – Jakob Grauds (Graphic Design)
took a job in June as a Graphic Designer
for Private Label Brands at CVS Corporate
Headquarters in Woonsocket, RI. “The job is
incredible, I get to be creative every day, and
I am learning an immense amount (not to
mention I now have a huge name like CVS
on my resume).” Before finishing at NESADSU, Jake worked as a Contributing Editor
on the new College of Arts and Sciences
magazine at Suffolk, contributing artwork and
photography along with past and present
students Jade Jump, Alison Balcanoff, Kevin
Banks, Colleen Barrett, Jeannie Belozersky,
Margaret Furlong, Matteo Gulla, Catherine
Headen, Kayla Hicks, Fanny Lau, Laura
Nathanson, Lisa Raad, Jessie Schloss, Eileen
Umba and Joanna Winters. You can reach
Jake at inhousejake@yahoo.com.
Fe e d b ac k : N ot e s F rom You
FEEDBACKfrom you
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EVERYDAY LIFE…
I’ve also been emailing back and forth with
James Towslee (Advertising Design 1957), who
found us on the web and has been filling me in
on things he remembers from his days at NESA.
Here, from several emails, are some tidbits:
“Have any of the students from my era mentioned
that we used to have coffee every morning with a
future Academy Award winner, Olympia Dukakis?…
Leaguer today who would be able to get out of the
locker room, much less play, with the pain he must
have endured. I saw a picture of him once after he
had been taped up so he could play. He looked like a
mummy!… At least I’ve lived long enough to see the
Sox win a World Series.”
James Towslee (Advertising Design 1957)
Johnson School in Nahant, where the children are
enrolled. He would love to hear from classmates so
please email him at gsyrigos@comcast.net.
George Syrigos (Interior Design 2002)
THANKS AGAIN
“Just wanted to drop a note and say thanks again for
including us in the last alumni newsletter. It’s always a
kick to see our stuff in print! Thanks for the support!”
Lianne and Paul (and Gryffin) Stoddard
(Graphic Design 1992), regarding the article
in the Spring alumni magazine on Swirly
Designs and Yankee magazine publicity.
A l u m n i I n t e rv i e w
ALUMNI
focus
N E S A A l u m na S e rv e s H e r C ou n t ry: N ot i n I r aq
bu t i n Wor l d Wa r I I
S e c r e t i s ou t: S h e pu t I wo J i m a on t h e m a p
Local veteran was a mapmaker for the U.S. Navy in World War II
By James A. Kimble, Staff writer
SALEM, N.H. — Her role in helping to capture Iwo Jima was something she never told her husband or three children.
Now 83, a humble and soft-spoken Mary Habib still is reluctant to
go on about it. Her husband, Al, 86, shakes his head that he’s only
now learning how important his wife’s role was in World War II.
“She didn’t like to brag to the family,” he said, sitting at the couple’s
kitchen table. “I didn’t know about this until three weeks ago. We’ve
been married since 1950.”
Mary Habib softly adds with a smirk, “There’s some things I don’t tell.”
Mary Habib worked on a map used by the U.S. military in the critical
battle for Iwo Jima.That invasion ended with one of the most famous
moments in World War II, when five Marines and a sailor raised an
American flag atop the island’s highest point, Mount Suribachi.
Photographer Joe Rosenthal immortalized the flag raising with his
famous, posed, photograph — which became a topic of the recent
Clint Eastwood movie “Flags of Our Fathers.” While seeing a commercial for the movie on television, Mary Habib mentioned in front
of her oldest son, Bill, 55, she had worked on the Navy’s map for
the invasion.
Fa l l 2 0 0 7
Mary (McCluskey) Habib, NESA class of 1943.
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16 17
This summer I had a call from former NESAD faculty member, Ed Germano, who told me that he had seen, on Fox TV, a story about a woman
who had served her country in World War II, by drawing maps for the invasion of Iwo Jima. Ed had noticed, while the story was being told, that the
camera had panned over a NESA diploma and he let me know he was going
to investigate. After a little detective work, through the mediums of both
television and newspaper, we found the story of Mary (McCluskey) Habib, a
1943 graduate of NESA. We are reprinting her story with the kind permission of the Eagle-Tribune Publishing Company and Mary Habib.
It was an incredible revelation for Bill Habib of North Andover,
who began peppering his mother with questions. “Then she went
into the next room and came out with a book and scrapbook,” Bill
Habib said. “That was the first time I ever saw it. I knew generally
of her naval background, her deployment and that she served as
a naval officer, but I didn’t know the extent of it.” The surprises
then came like one gigantic wave after another. Despite her years
of silence, Mary Habib kept a detailed record of her two and a half
years working as a Navy petty officer in the Washington, D.C., area.
Upon being honorably discharged from the Navy on July 22, 1946,
she was given a replica of the map of Iwo Jima she helped create
with her name embossed on it.
A ringed binder holds dozens of black-and-white photographs and
cartoon sketches she made of her office mates. They detail sightseeing around the city, too, serving as a guide to her memories.
One sketch shows a face, with eyebrows raised, looking down from
the top of the Washington Monument.
“I don’t like heights,” Habib said.
As the scrapbook reveals, it’s a dislike she overcame at times. A
half-dozen photos she took from a New York City rooftop give a
bird’s-eye view of a phalanx of soldiers marching down the street
in what seems like an endless parade. “It’s funny when you wear a
uniform, you can get in anywhere,” she said. “The funny thing about
a uniform is that it gives you a lot of courage.”
The highly detailed process of mapmaking was serious business,
but Mary Habib said workers in the cartography office were still
able to have fun. A favorite practical joke sailors played on newbies
was placing a fake blob of ink on top of a new girl’s work table
when they went to the bathroom, she recalled. “There was a lot of
civilian workers there, too. We had a good time. Those sailors were
quite the teasers,” Habib said.
A native of Lowell, Habib (then Mary Margaret McCluskey) enlisted
in an all-female division of the U.S. Navy known as WAVES, Women
Accepted for Volunteer Emergency Services. She graduated from
the New England College [School] of Art trained in graphic and
commercial design. The Navy sent her to Hunter College in New
York before she was assigned to the Pentagon’s Hydro-Graphics
Office in Suitland, Md. Mary Habib said in the 1940s mapmaking
was highly detailed but not what she expected when she first got
her assignment. “I was surprised,” she said. “There actually wasn’t
too much drawing. It was fine work. We did the coastline about
three miles in. The Air Force took pictures of the island, which we
had on a big drafting table.”
Houses were noted with spots the size of a pinhead. Precise details
of cliffs, craggy rocks and sandy areas were crucial so ship commanders would know where and how close vessels could approach
the shoreline. Habib said she was assigned to the WAVES not long
after it was formed. She worked there for two-and-a-half years
between 1944 to just after the war in 1946. A memorable highlight
from her stint in Washington, D.C., was an afternoon when Eleanor
Roosevelt invited Habib and female co-workers in the cartography office to tea at the White House. They spent time in the Blue
Room, one of three state parlors at the home of the president, and
later had punch and cakes in the dining room. “She was a lovely
woman,” Habib said of Roosevelt.
Like many families during the war, everyone in Habib’s family
contributed. Habib’s brother, Richard Jr., and sister, Kathleen, both
enlisted. Her mother, a nurse, worked part time in a parachute factory when not working her shifts at a hospital.
Habib said she had no idea the map she was helping create would
lead to such a significant turning point in the war. It wasn’t until
much later, when Rosenthal’s photograph of the flag raising on the
island became famous that she realized the significance of her con-
tribution to the war effort. Still, she refrained from speaking about
it. It simply wasn’t her way. “After the raising of the flag, I said to
myself, ‘OK, I was part of that,’” Habib said. “But I didn’t realize how
important it was at the time.”
Moved by his mother’s service, Bill Habib recently wrote a detailed
summary of her military career, which was displayed for Memorial Day with photographs of World War II veterans at St. Monica’s
Church in Methuen. “She’s not inclined to boast of herself,” Bill
Habib said. “Her humility is one of her many fine virtues. She would
consider talking about it bragging. That’s not her style.”
After the war, she married in 1950 and became a stay-at-home
mother raising three children. Her daughter, Mary Lee Pare, 50,
lives in Salem, N.H. Her youngest son, Michael, 45, lives in Methuen.
She worked briefly at General Electric and the Internal Revenue
Service, and only kept drawing as a hobby. She remains an active
member of American Legion Post 417, one of the few all-female Legion chapters in the area. The family lived in Methuen for 40 years.
Al and Mary Habib moved to Salem, N.H., about 10 years ago.
Al Habib has long been a fan of Mary’s artwork. He proudly shows
off drawings and sketches Mary etches in a room at the end of a
hallway inside their Azarian Road home. Bill Habib is thankful that
he’s finally learned the details of his mother’s military service. He
now believes there was greater meaning behind the television commercial being played.
“I don’t believe in coincidence anymore,” Bill Habib said. “I’m so
pleased and to a greater extent proud of her, even at this late stage
in life. If it was up to her, I think it would have remained hidden.”
Copyright © 2007 by Eagle-Tribune Publishing Company
Reprinted with permission S.C.
Fac u lt y I n t e rv i e w
FACULTY
interview
A n I n t e rv i e w w i t h Nac e r B e n k ac i
Nacer Benkaci joined the NESADSU faculty as an adjunct instructor
in 2004, then was a Visiting Assistant
Professor before being elevated to
tenure-track status in 2006. Nacer
was born in Algeria and came to the
States in 1984, to pursue his studies
in architecture and design. He holds
a Diplome d’etat d’Architect (the
equivalent of a Bachelor’s degree
in Architecture) from the Ecole Polytechnique d’Architecture et
d’Urbanisme in Algiers, as well as Masters degrees in Architecture
and Urban Planning from the University of Southern California
in Los Angeles. With over 20 years of experience in architectural
practice in the U.S., Nacer has worked on both commercial and
residential projects here and abroad.
Fa l l 2 0 0 7
Q. Let’s start with a bit of history. Tell us more about yourself.
I was born in 1959 in a small town by the sea, a few miles from
Algiers. My childhood was essentially marked by the Mediterranean
Sea which was a few feet from my parents’ home. Summer was the
occasion to literally live in it and be absorbed by its vast scale and
its potential to trigger a
multitude of voyages. The
I was surrounded by the large scale of the sea,
horizon was very close
the sky, and the mountains and that was in
to us at that time and we
dwelled in it as if it were
direct contrast with the smaller scale of the
part of our everyday lives.
homes and buildings along the edge of the sea.
It is perhaps why I still
I was interested in that relationship and the
have a keen interest in
forms, accidental or planned, that it generated. the concept and reality of
scale. I was surrounded by
the large scale of the sea,
the sky, and the mountains and that was in direct contrast with the
smaller scale of the homes and buildings along the edge of the sea.
I was interested in that relationship and the forms, accidental or
planned, that it generated.
& Th e n
18 19
that some of the meaningful architects had on me. I was very
interested in the work of Corbusier, Louis Kahn and the “modern
movement” in general. Later I grew to appreciate some of the less
known architects and took their works as a source of inspiration
for my own work.
Q. How did you decide on the U.S. for graduate school and what
path brought you to Boston?
I wanted to learn more about architecture and design and pursuing
my studies is one way to do that. At that time, some of the most
influential ideas about architecture were being generated by prominent U.S. architects and thinkers and I wanted to experience that
first hand. I first came to Boston to study English, then to California
for architecture and urban design. I have always been interested
by the city in general and I felt the need to learn more about the
formulation of its shape. Urban planning became obvious for me as
I sought to understand the other forces that shape our cities. I had
some friends that invited me back to Boston; subsequently I was
offered a job. Fall in this area is my favorite season and I wanted to
stick around for a while. I stayed ever since!
Q. Talk a little about your professional experience. Where did you
work and what kind of work did you do?
After my graduation, I sought work in Boston. I worked for several
companies in the area and the work ranged from residential and
commercial to institutional and retail. I learned a great deal and I
believe that experience made me a better architect.
Q. Why do you teach (besides the paycheck!)?
I taught while working professionally. I enjoy very much the
academic work and the exchange of ideas and processes. Also, stu-
“Indoor/Outdoor Museum Study” by Nacer Benkaci
dents are coming out with ingenious ways to resolve old problems
of design; perhaps the technology at their disposal allows them to
tackle issues from a different angle and make new uninvestigated
associations, new ways to manipulate space. Some of the projects
are just a leap forward in design thinking and I very much like being
a part of that. Teaching in reality goes both ways.
Q. How did you wind up at NESADSU? What do you like best
about the school and what keeps you here?
I first was invited to teach as an adjunct professor by Nancy [CoProgram Director Nancy Hackett]. She and I worked together on
several projects in the Boston area. Subsequently I have been hired
as a full time Assistant Professor.
One of the most impressive parts of the program in interior
design at NESADSU in my view is the fact that the ID department
is within a school of art and design. This association with art and
graphic design has a potential benefit for interior design students.
Interior architecture and architecture have always been inspired
by other disciplines and exposing students to a mutual influence is
enriching. The potential for innovation is greater.
Q. Why did you decide to become an architect?
I have always loved to draw and the landscape around me was
prone to that. Just think of the seascape. Obviously, this is just the
premise because as I was studying my passion for architecture
grew stronger. I found in architecture a total freedom of expression and a highly sophisticated creative process that embodies the
entire social, political, and economical issues that humans in general
face. I felt it was important. I also was interested by the theoretical
discourse that was developing in the profession and the influence
Another part that I appreciate greatly is the cooperative nature of the
faculty and the scholastic and pedagogical environment and the standard of care for the students’ progress. It really sets the school apart.
“Indoor/Outdoor Museum Study” by Nacer Benkaci
“House Study, Algiers” by Nacer Benkaci
The New England School of
Art & Design at Suffolk University
75 Arlington Street
Boston, MA 02116
G a l l e ry S c h e du l e
GALLERY
schedule
2007
2008
Never Been Seen: Susan Nichter
2008 Student Exhibitions
Recent paintings by a NESADSU faculty member.
October 11th to November 10th
Reception: Friday, October 12th 6 – 8pm
Work by current students of The New England School of
Art & Design at Suffolk University
Ozspirations
Art Inspired by The Wizard of Oz, curated by Associate
Professor of Graphic Design Jennifer Fuchel.
November 15th to December 22nd
Reception: Friday, November 16th 6 – 8pm
2008
The 2007 Stephen D. Paine Scholarship
Award Winners and Honorable Mentions
exhibition
January 14th to February 9th
Reception: Friday, January 18th 5 – 7pm
Foundation
March 24th to April 4th
Reception: Friday, March 28th 5 – 7pm
Graphic Design (Undergraduate)
April 7th to April 18th
Reception: Friday, April 11th 5 – 7pm
Fine Arts
April 22nd to May 2nd
Reception: Friday, April 25th 5 – 7pm
Interior Design (Graduate and
Undergraduate)
Interventions and Objects: New Work
by Bebe Beard and Liz Nofziger
May 5th to May 16th
Reception: Friday, May 9th 5 – 7pm
February 14th to March 15th
Reception: Thursday, February 14th 6 – 8pm
Summer exhibition:TBA
Graphic Design (Graduate)
September 2nd to September 14th
Reception: TBA
Please call (617) 573-8785 to confirm dates and times of
exhibitions and opening receptions.