Pratt Institute - Prattonia Yearbook (Brooklyn, NY)

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The neophyte Pratt photo stu- dent comes to the department after one year of Foundation, generally having had limited ex- posure to the medium, differing for the most part from other fine art students who were born with pencils and brushes in their hands. During the next three years the students are trans- formed by a dedicated faculty and a rigorous program, grap- pling with technical problems and aesthetic issues, into pho- tographers capable of working independently. The photo faculty generally has a great effect upon the students at the early impres- sionable stages, with such memorable observations as “a good teacher is a biased teacher,” “photography is real important to me,” and the ever popular “that’s blix, not grape juice.” Most important, however, it that another group of students not only survived but really prof- ited from their punctilious training. Here, then, are the awards bestowed in their honor upon the 1982 graduates. Amy Berg—The Diane Arbus “Life is a Breeze” Color Pho- tography Award. Kathlyn Cantone—The Candice Bergen Acute Aperture Award. Eloy Clarke—The Jacques Henri Lartigue Honorary Autochrome Coloring Book Award. Peter Connolly—The “Health is Happiness” in Photography Award. Barbara Davidson—The Helen Levitt Nice Little Old Lady Award. Cat Fisher—The George Knob- lach Montauk Travelogue Prize. John Freeman—The Judith Linn Meritorious Achievement Award for Photographing Mass Quan- tities of Cheese. Lee Friedman—tThe Minor White Video and Slide Show Award. Josh Harrison—The Olivia Par- ker Prize for Tiny, Little, Small, Minute, Precious Conceptual Art Photography. Luis Luge—The Alfred Hitch- cock Look-a-like Award. Raymond Simonelli—The “I Would Be Famous If I Were Ansel Adams” Award. Ralph Senzamici—The Lewis Hine Honorary Prize for Engag- ing in View Camera Photography in Life Threatening Situations. Marta Serra-Jovenich—The Gary Winegrand Honorary Beautiful Woman Prize for Subtle Visua l Abuse. Danielle Van Gennepp—The Art Linkletter “Kids Say the Darndest Things” Photography Award. Katherine Withers—tThe William Mortensen Immoral Memorial Award. In the second category are the film majors, who have suffered most of the same duress as the photographers. However, in view of the fact that this department is hidden in the back of the ARC, operates with a small faculty, and even smaller number of gradu- ates, an overall award is given to them for their tenacity to go through Pratt answering the UW Nair Vaal Va Vai Vea Va Va Va Va Vai Ca Vue Van Vim Vat Va Vi Vimy Vai Vaid Vim Pay Vim Vine Viney Vim Vimy iY Vim Vimy Vay Vimy Van) Via Pai Vili Via amy Vey Vay Vy Vay Vid Vimy Vimy statement “I never knew there was a film department here.” Furthermore, the following awards are bestowed upon these graduates for their bravery in battle. William Godbey—The “Inner Ear Award” for his work on the film “How to Balance a Thirty- five Pound Camera on Your Shoulder and Not Blur Any- thing.” Wilfred Caban—tThe “This is Really Gross” Award for the film “Rubber Face.” Alex Aurichio—The “No Frills Spaghetti” Award for the movie “Is This Chair Sinking or Are the Film Scraps Growing?” Front: Jan, Marta Serra-Jovenich Amy Berg Back John Freeman Cathlyn Cantone, Ed, Josh Harrison, Barbara Davidson, Daniella Van Gennep, Phil

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SPEC LAI EFFECTS Alexander D. Aurichio, Wilfred Caban, James Godbey, Esq oa 2 © oe ye ee ee ee ee ee ee es es le eS es ee le ee ee ee © lew

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THEATRE DANCE Walking down into Higgins Hall’s basement, the last thing you would expect to find is a theatre. Among the empty coffee cups, cigarette butts, loose floor boards, broken props, old furni- ture, wood scraps, and dirt, there lies a theatre. It is here that the miracle of Pratt theatre reveals itself. What appears to be a storage room for the campus becomes an intimate theatre for the highest in quality produc- tions. The sets are built, the cos- tumes sewn, the lights are all put in place. You've read the script a hundred times and by now you have learned your lines. The early mornings, late nights, and endless rehearsals are all behind you. You know who you are, what you are, where you are, where you've PFT IT VW TT TITTY TT been, where you're going, and what you want to do, just as long as you're not thinking about that when you say you're lines you'll be fine. As the final touches are applied to your make-up, but- terflies fill your stomach. We've all been told a million times about the world being a stage and it’s people mere play- ers—now you're about to find out. The time has come. The stage is set. The house lights are turned down. That magical mo- ment has arrived where dreams can become realities. Pratt sud- denly looks different. You're given your cue...the curtain has risen...the spotlight awaits you... and the applause. Gregg Ross and Lori Abramson ToUse A YL