AY 2014-2015 ACADEMIC PROGRAM REVIEW SELF-STUDY TEMPLATE
Reporting School/College: St. John’s College
Program Reviewed: Photography BFA Q
Date Submitted to Department/Division Chair: 12/5/2014; section 6D revised 6/22/15
Overview and Program Review Summary: Please summarize this program’s mission and its relationship to the vision
and mission of St. John’s University, and the program’s School/College. Identify similar programs regionally and
nationally and distinguish this program from them. In addition, summarize your findings as they relate to (1) program
quality, (2) market growth potential, and (3) student learning. Also, summarize any significant changes, achievements
(by faculty and students and the program itself), and plans for the future. Finally, based on the information gleaned
from the data in the self-study, give an overall rating of the program’s Enrollment/Market Potential by categorizing it as
one of the following: (1) Enhance; (2) Maintain; (3) Reduce support, Phase out, Consolidate, or Discontinue.
(Suggested limit 1 page)
(1) Program Quality
St. John’s University’s BFA programs are the only programs within New York City that are part of a large
comprehensive university, which is accredited by the National Association of Schools of Art and Design
(NASAD). This fact positions us as a leader in offering a visual arts curriculum of the highest quality,
within a university, while providing students access to a broad liberal arts education. Our Photography
program’s affiliation with the International Center of Photography is also indicative of the high
standards the program strives for since ours is the only undergraduate program ICP collaborates with.
(The others being graduate programs from Bard, and New York University.)
(2) Market Growth Potential
Photography majors can seek employment opportunities in a variety of markets: Portrait, Commercial,
Industrial, Scientific, Fine Arts, University/School Photography, Education, Image Editing, Web Design and
Production, Video and Film.
The BLS (U.S. Bureau of Labor Statistics) predicted that between 2010 and 2020, open positions in the photography
industry would increase by 13%. Corporations will require a constant stream of new images, which could benefit
commercial photographers in particular. The BLS showed that freelance photographers should also have a slightly
higher potential for finding employment.
Salary statistics from May 2012 BLS records show that the median salary for photographers was $28,490 per year. In
comparison, during that same year photographers in the top 90th percentile earned an annual salary of $66,990.
Accurate salary statistics are difficult to examine, since photographer rates are not universal, especially with freelance
photographers.
The median expected annual pay for a typical Photographer in the United States is $55,417 in December 2014 as per,
http://www1.salary.com/-Salaries.html and in Payscale.com.
In above source, the salary for a photographer who is skilled in Adobe Photoshop ranges from $36,895 - $122,162
nationally. Product photographer ranges from: $39,494 - $142,545 nationally. A Photographer with Product
Photography skills in New York, New York earns an average salary of $67,500 per year.
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Enrollment / Market Potential:
From 2009 to 2010 the Photography program has seen a marked increase in the BFA program, from 19
majors in 2009 to 28 in 2010, a 49 % increase. The 2010 increase was marked by a large number of
freshmen that year, the largest we have had to date. The program’s fluctuation in numbers is expected,
and has maintained a count of majors between 21-28 from 2010 – 2014. The “marketing” aspect of the
program suffers from a program title of “Creative Photography”, which is listed in all university
marketing and recruiting material under “C”, which is not where potential students are looking under
when seeking out photography programs. After years of attempts to correct this, the Department,
Curriculum Committee and LAFC approved a change of name to “Photography” in 2014, but
unfortunately, this name change has still not been filed by the Provost office for approval by NYS and
thus it remains listed under “C”. Prospective students have commented countless times on their
surprise to know that we have this major, only to become aware of it through the recruiting efforts and
events that the Department of Art and Design engages and participates in via high school visits and NPD
Events.
(3) Student Learning
Small studio classes, limited to 15, offer a competitive edge against other programs in the region,
which usually average 25-30 students in studio classes. Students in our program benefit from much
individualized attention both in class and through frequent communication with their departmental
mentor or advisor. Faculty engagement outside the classroom, is an assumed responsibility of our
faculty.
During their senior year, students have the opportunity to transform the knowledge they have acquired in
the classroom into valuable, sought after skills, either through the completion of a thesis project or an
internship, depending on their selected profession within the field. They work closely with a faculty
member of their choice, and receive feedback from the department as a whole.
Our rigorous assessment methods, which are listed in section 2i, emphasize individual and group portfolio
critiques that access the student’s progress in all areas of creative and personal development. These
critiques allow students to get thoughtful and comprehensive feedback from the broad array of
perspectives that our faculty embodies. Students have many opportunities to exhibit their creative work
on the Queens campus. The most prestigious of these events is the end of the year student exhibition held
in the Dr. M. T. Geoffrey Yeh Art Gallery and the Thesis/Senior exhibition held at the Dorsky Gallery in
Long Island City.
The Photography program’s pedagogical affiliation with the International Center for Photography, gives
our students an additional professional edge and offers them the opportunity to study with a wide array
of photography professionals, who are actively working in a diverse number of fields. During their Junior
year, students attend classes at the International Center for Photography, usually applying for and
selecting one of their certificate program tracks: General Studies in Photography, or Photojournalism. The
rigor of both of these programs cannot be overstated. Students work along side prestigious faculty,
photographers and graduate students, engaging in all aspects of the medium and taking advantage of both
the ICP School’s extraordinary facilities and New York City’s resources.
Our photography students can also take advantage of the University’s Global Studies Programs. Professors
from the photography program often run special courses abroad such as “Photography In Paris”, or
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“Documentation of the Culture of Southern Italy”. In addition, our students have the opportunity to
spend a semester abroad, expanding their visual resources and global opportunities. Being immersed in an
entirely new culture and language gives the students the opportunity to learn and engage in an
international setting where they encounter new challenges and opportunities for growth. Outside of the
familiar walls of the classroom, the students are able to learn about art, culture and religion in its native
and historical context. It is our sincere hope that we will continue to provide a model for the University to
follow as it recommits to student engagement and Global learning.
Additional educational components that give our programs a competitive edge include field trips to
museums, galleries, and pertinent New York City locations. We tap the wealth of New York City’s diverse
creative talents and invite numerous guest speakers to address our students in their classrooms and at the
University Gallery.
(4) Significant Changes and Achievements, Plans for the Future
In 2012, the Agreement with the International Center for Photography was renewed and clarified to include two
possible tracks for students who meet the requirements of ICP: the General Studies Certificate Program and the
Photojournalism Program. The addition of the Photojournalism, Certificate Program track offers an important
choice to our students who are interested in this career path. A course in Video Art was also introduced in
2013. Photography students can now benefit from this important elective that will better prepare them for
documentary jobs that assume both stills and video. Our majors have made significant strides in the field as well
as in the Vincentian Commitment of the University. In 2013, one of our senior photography majors was asked
upon graduation to document the work of GLOBE with Professor Linda Sama in Nicaragua. One of our present
seniors, Rachel King, spend her sophomore spring semester in Rome, as an Ozonam Scholar, documenting the
challenges of the gypsy community in Italy. Alex and Rachel are just two specific examples, as most of our
majors involve themselves in some type of social justice project during their years here. It is important to also
note that Alexander Arpag received one of the most prestigious awards given to students in photography during
his ICP studies, the Wall Street Journal Scholarship for Photojournalism, for his documentary work of the Amish
Community aiding victims of Sandy in the Rockaways.
Our students accomplish great strides during their years here. During the 2013-14 Academic year, our
photography students, in addition to their academic responsibilities, also achieved the following:



Kalen Roach, published in Specter Magazine, May 2014 issue
http://www.spectermagazine.com/twenty-four/roach/
Photography BFA senior, Don O’Brien–Russell was accepted into the 9th juried all-media art exhibition at
the Castel Gallery in the College of New Rochelle. The exhibition titled, The Ninth Westchester Biennial,
runs from April 22 – June 22, 2014. (A series from Donald’s Independent Study work is featured in the
biennial.)
Kalen Roach, one of our senior BFA seniors had a solo exhibition at:Dougherty Gallery at Crescent Grill in
Long Island City. The show will opened on April 3, 2014 and ran through May 11, 2014.
In the future, we hope to offer more career-targeted course here in our Queens campus. An upper level course,
the Visual Narrative, will be in introduced this spring as a Distance Learning course, and we are working on two
other courses, Urban Documents, and the Alternative Darkroom, that will collaborate with other majors while
introducing multi-disciplinary thoughts and collaboration within coursework. The course, Urban Documents,
which is in the drafting stage, hopes to collaborate with the Department of English and the Department of
Sociology and engage faculty and projects that bridge interdisciplinary learning.
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As mentioned in section (2), it is also pertinent to also note that the program has been listed under “C” as
“Creative Photography”. This continues to be our “plague” as we await NYS approval of the program change to
simply “Photography”, which has been requested for years, and finally approved in the spring of 2014. This
simple correction of the proper listing will positively affect enrollment since prospective students will son be
able to find this program under its proper heading.
What is greatly needed in the photography program is centralized studio spaces, that include proper lighting
studios and critique spaces. Centralized facilities is a need for all the BFA programs that are offered by the
Department of Art and Design. It is our hope that the photography program be maintained and enhanced.
STANDARD 1. The purpose of the program reflects and supports the strategic vision and mission of St. John’s
University, and the program’s School/College.
1a.
What evidence can you provide that demonstrates that the program embodies the Catholic, Vincentian, and
metropolitan identity of St. John’s University? www.stjohns.edu/about/out-mission. (Suggested limit 1/3 page)
The Department of Art and Design considers the deeply personal nature of the education our students receive as strong
evidence of St. Vincent’s call to serve with deep empathy and humility. Two of our Department’s professors, Prof.
Joseph Adolphe and Prof. Belenna Lauto, are Senior Fellows of the Vincentian Center for Church and Society. Each year
exhibitions and events are planned by our faculty to enhance student community awareness regarding our Vincentian
traditions and values. Founders Week lends itself to specifically focus on issues of social justice, and as such, our
department has, over the years, been committed and involved with activities and exhibitions that bring awareness to
our founding patrons. During the last 5 years, in cooperation with the University Gallery, which our department
collaborates with, we have curated and/or worked with the Gallery Director, Parvez Mohsin on the following exhibitions
that exemplify our commitment to the mission and values of the University:







"Jeff Mermelstein: 9.11.01," Curated by Alex Morel
September 1 - October 26, 2011
Muslim/American, American/Muslim: Portrait of a Brooklyn Masjid
August 31 - October 28, 2011
Crafting the Bible: From Scriptoria to Printing House
April 4 - May 2, 2011
"Unpacking the FSA"
March 20 - May 2, 2012, (Curated and organized by Photography Majors under the
guidance of Prof. Morel)
Silent Beaches, Untold Stories: New York City’s Forgotten Waterfront
September 13 - November 2, 2013
Sublime Porte: An Exhibition of Contemporary Turkish Art
March 14 - May 2, 2013
Artist in Exile: Creativity, Activism, and the Diasporic Experience
April 1 — May 3, 2014
In addition to the above, the following departmental initiatives provide evidence that our program supports the Catholic
Identity of St. John’s University:

The Development of Study Abroad Programs in Rome and Paris that are designed in part to provide students a
deep connection to the rich cultural heritage of Christianity.

All students in the Department of Art and Design summer program in Rome participated in service activities
designed to allow them to interact with and serve the poor.
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
Department of Art and Design students’ involvement in grant funded programs targeted at social issues on
campus.

Students are always encouraged and mentored to use their skills to advance causes that affect those who are
less fortunate.

Students participate in Service Learning both voluntarily and as part of class requirements.
Our two full-time photography professors: Prof. William Morel, and Belenna Lauto, are both engaged in on-going
photographic research and documentary projects that serve to benefit social justice, develop awareness for the
underprivileged, the poor, and those challenged by the circumstances of their life as a whole. In addition, Prof. Morel
and Prof. Lauto encourage and inspire students to use their photographic work as a vehicle for positive, social change.
As part of his professional documentary work, Prof. Morel has been worked on documentaries that bring awareness to
issues of poverty and prostitution in Haiti and the Dominican Republic. This semester, he is continuing photographic
work on the border of DR and Haiti, documenting the extreme poverty and social and political divide that haunt these
two countries. Prof. Lauto has been involved in documentary work that brings awareness to homeless mothers and
their children, especially through the organization, MOMMAS House, recently documenting the plight of an 8 year old
boy, who was born without legs. (Details on this work can be found in both respective faculty AFAR’s and websites.)
Since the program’s inception our photography students/majors have embarked on a variety of projects that reflect the
Catholic, Vincentian and Metropolitan identity of the University as a whole. The following exhibitions, documentary
projects, missionary work, and presentations are a few of examples of the work a few of our photography students have
involved themselves in during the last three years alone:

Alex Arpag: missionary work, Sandy work by all majors, Rachel: Italy and here, also metropolitan…also list
themed bodies of work: eg: Tatoinia, Kalen: liquor store ….etc., aging, etc.]

Alexander Arpag spent a summer in Africa documenting orphanages for a missionary group druing his
sophomore year. The resulting photographic work was featured in a department exhibition the following fall.

Tatoina Mundy and Sharlotte Fondeur-Casas explored issues of intimacy and family relationships with their
camera during their years here, resulting in two separate bodies of documentary work which were exhibited in
and out of campus.

Kalen Roach, during an Independent Study class, focused his documentary work on the strategic marketing of
alcohol in under-privileged neighborhoods in Brooklyn.

Rachel King, spend a semester in Rome documenting the plight of the gypsy community. She also volunteered in
mentoring an tutoring the children.

Alexander Arpag, BFA in Photography senior/alumni, was hired by St. John’s University to document the social
work in Ecuador that Tobin graduate students were implementing under the direction and supervision of Dr.
Linda Sama, May 19 – 30, 2014.

Elizabeth Egan explored, through a series of photographs, issues of physical abuse women face in contemporary
society.
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LAS_FA_PHOTO_BFA_Q
The photography program, by its very nature, depends greatly on the rich resources of New York City. Our juniors take
30 credits of their photography course work at the International Center for Photography, which is located on 43 rd Street
and 6th Avenue. Every semester, individual classes design filed trips so that students are exposed to the rich artistic and
cultural offerings of New York City. During the last year alone, our photo faculty has accompanied the students to view
current work at a variety of Chelsea Galleries, ICP Galleries, the Museum of Modern Art, Metropolitan Museum of Art
and a viewing of the documentary, Finding Vivian Maier, in the East Village. In addition, students are encouraged to
explore photographically many diverse areas of New York City, documenting culturally rich neighborhoods such as:
Flushing, Chinatown, Little Italy and Harlem. Our seniors are also honored by allowing them to exhibit their Thesis work
at the prestigious Dorsky Gallery in Long Island City and those who choose to do an Internship as one of their Senior
Capstone courses, also embark in the work place in New York City, taking advantage of career focused resources and
networking opportunities they established while at St. John’s and ICP.
1b.
What evidence can you provide that demonstrates that the program embodies the University’s vision.
http://www.stjohns.edu/about/our-mission (Suggested limit 1/3 page)
The B.F.A. program in Photography within the Department of Art and Design is commitment to studentcentered teaching to prepare young artists/photographers, to pursue careers in their chosen field upon
graduation. This is achieved through small class size (15 student maximum) and six credit hours of
contact in each studio class. Each of our BFA programs is committed to instruct young artists in the
tools, techniques, vocabulary, traditions and history of their chosen profession, as well as to provide
them with visual communication skills to address issues of poverty and social justice. Our BFA programs
all strive to: “to preserve and enhance an atmosphere in which scholarly research, imaginative
methodology, global awareness and an enthusiastic quest for truth serve as the basis of a vital
teaching-learning process and the development of lifelong learning.”
Photography has become an integral part of the world we live in. It is a universal language that we often
take for granted. One only has to look around to be aware of the tremendous amount of images that we
are confronted with each day. We have, in many ways, become dependent on photographic imagery for
both educational and entertainment purposes. Photographs make the world more tangible, they allow
an empathetic understanding of our humanity and can inspire social action and positive change. In our
program we strive to help our students understand the positive potential of this powerful medium and
align it with their responsibility as human beings and as benefactors of a Catholic, Vincentian University.
1c.
What evidence can you provide that demonstrates that the program embodies the vision and mission of the
program’s School/College? (Suggested limit 1/3 page)
Specific to the Photography BFA program are five pedagogical goals that clearly reflect the Mission Statement of
our College:
1. Mastery of technical skills.
2. Enhanced knowledge of visual history.
3. Develop critical thinking skills.
4. Develop Proficiency in a variety of photographic practices.
5. Demonstrate enhanced knowledge, skills and values consistent with the Core Curriculum.
All courses, both required and electives, of the Photography Program engage students in an active learning
environment. Weekly critiques and discussion sessions within the framework of the courses help students to
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LAS_FA_PHOTO_BFA_Q
develop advanced critical thinking skills as they are challenged to look, see, resolve, notice, analyze and compare
their work within the context of assigned research topics, readings, gallery viewings, and course pedagogical
content.
Standard 1.
Additional comments if needed. (Suggested limit 1 page)
Beyond the above stated program goals, it is our hope that students from all of the Department of Art and Design BFA
programs will create works of art and engage in creative activities that embody a level of poetic communication
expressive of our shared humanity, and that the classroom environment cultivates and environment of individual
responsibility. It is also fundamental to our programs that students understand that they are part of a global community
and that art-making is a very powerful form of communication with the potential to effect positive change in the world.
STANDARD 2. The program attracts, retains, and graduates high quality students.
2a.
Undergraduate SAT and High School Average
SAT
2005
2006
2007
High School Average
2008
2009
2005
2006
2007
2008
2009
Program
1130
1055
1152
1065
1045
92
82
91
85
86
School/
College
1104
1099
1085
1093
1093
88
88
88
88
89
University
1068
1075
1075
1087
1092
86
87
87
87
88
Freshmen SAT Scores
Fall 2010
Fall 2011
Computed
FNA2 CREATIVE PHOTO
Fall 2012
Computed
1,086
Fall 2013
Computed
1,120
Computed
1,110
1,085
Freshmen High School Average
Fall 2010
Fall 2011
High School
FNA2 CREATIVE PHOTO
Fall 2012
High School
87
Fall 2013
High School
89
High School
86
87
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LAS_FA_PHOTO_BFA_Q
SAT Scores
High School Average
2010
2011
2012
2013
2010
2011
2012
2013
School/
College - Q
1089
1077
1087
1098
88
88
88
88
Total University
1097
1087
1096
1104
87
87
88
89
SAT
Test-Takers
Intended College Major
Mean Scores
Number Percent (%) Critical Reading
Visual and Performing Arts
10,424
7.7%
Mathematics
Total
481
969
488
*For further information, please visit http://www.ets.org/s/gre/pdf/gre_guide.pdf.
Undergraduate 1st Year Retention Rate
2b.
Fall
2003
2004*
2005
2006
2007
2008**
# Fresh
# Ret
%
Program
100%
33%
100%
100%
83%
4
4
100%
School/
College
77%
79%
77%
77%
73%
1005
768
76%
University
78%
78%
78%
79%
76%
3268
2557
78%
Note*The % of students started in Fall 2004 and returned to the program in Fall 2005
**The % of students started in Fall 2008 and returned to the program in Fall 2009
2009
Total
FNA2
4
2010
Returned
DNR
#
%
#
%
2
50%
2
50%
Total
8
2011
Returned
DNR
#
%
#
%
7
88%
1
13%
Total
4
2012
Returned
DNR
#
%
#
%
3
75%
1
25%
Total
2
Returned
DNR
#
%
#
%
1
50%
1
50%
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LAS_FA_PHOTO_BFA_Q
Fall
2009
2010
2011
2012*
# Fresh
# Ret
%
School/
College - Q
76%
74%
72%
905
683
76%
Total University
78%
78%
76%
2757
2195
80%
*The % of students started in Fall 2012 and returned to the program in Fall 2013
2c.
Undergraduate 6 Year Graduation Rate
Fall
1999
2000
2001
2002
2003
Program
100%
67%
50%
100%
67%
School/
College
Average Rate
61%
59%
58%
60%
57%
University
64%
59%
61%
61%
58%
Fall 2004 cohort
Total
FNA2
3
Graduated
1
33%
Fall 2005 cohort
Total
Graduated
1
1
100%
Fall 2006 cohort
Total
2
Graduated
2
100%
Fall 2007 cohort
Total
6
Graduated
5
83%
Fall
2004
2005
2006
2007
School/College
Average Rate - Q
57%
57%
57%
51%
Total University
58%
58%
59%
55%
2d.
Graduate Standardized Test Scores
N/A
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Comments: Refer to Charts 2a – 2d in your response. (Suggested limit 1/2 page)
From 2005-2013, we have seen an increase in the photography program student SAT scores. Overall the program
SAT scores and high school averages were in line with the College average, and higher than the national averages
for students entering the visual and performing arts.
In 2003, 2005, 2006,and 2008, the photography program had a retention rate of 100%. In 2007 and 2010, the
program had a retention rate substantially higher than the college and university’s average for the same time
period, at 83% and 88%. Unfortunately, the program’s retention rate fell to 50% in 2009 and 2012, but this is due
to a small freshmen class, half (1) of who was not able to keep up with the curricular demands of the program and
failed several of the major classes during the second semester, which caused them (in both cases) to lose their
financial aid/scholarships.
St. John’s University freshman retention rate 78.3 percent; source U.S. News & World Report.
Graduation rate average from 2005 – 2007 for Photography major ranged from 83-100% %, which is substantially
higher than the college and university’s average for the same time period, which was 51-57%.
St. John’s University 6 year graduation rate 56.9 percent; source College Factual.
2e.
Please describe how the program compares with peer and aspirational institutions.
(Suggested limit 1/2 page)
In 2011 the our freshman B.F.A. Photography retention rate was 75% percent compared to SVA’s (School of Visual
Arts) over all First-Time in College (FTIC) rate of 80 percent. SVA is a peer NASAD accredited institution with a much
larger enrollment within the New York metropolitan market and our 2011 freshmen class had only 4 students, of
which 1 left due to financial and/or academic reasons.
NASAD accredited institution retention rates:
- Pratt Institute freshman retention rate 83 percent; source U.S. News & World Report.
- Syracuse University freshman retention rate 91.8 percent; source U.S. News & World Report.
- Skidmore College freshman retention rate 93.5 percent; source U.S. News & World Report.
- Alfred University freshman retention rate 74 percent; source U.S. News & World Report.
- Fashion Institute of Technology freshman retention rate 86 percent; source U.S. News & World Report.
Non-NASAD accredited institution retention:
- Adelphi University freshman retention rate 83 percent; source U.S. News & World Report.
- Columbia University freshman retention rate 99 percent; source U.S. News & World Report.
- CUNY Queens College freshman retention rate 87 percent; source U.S. News & World Report.
- Fordham University freshman retention rate 89 percent; source U.S. News & World Report.
- Hofstra University freshman retention rate 78.3 percent; source U.S. News & World Report.
2f.
If applicable, describe the program’s student performance over the past five years on licensure or professional
certification exams relative to regional and national standards. (Suggested limit 1/4 page)
N/A
2g.
Number of majors and minors enrolled over the past five years. See table below.
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Fall
Number of
Students
2006
2007
2008
2009
Majors
18
14
15
18
19
Minors
5
3
6
9
11
Total
23
17
21
27
30
MAJORS
2h.
2005
FNA2
Fall 2010
Fall 2011
Fall 2012
Fall 2013
Majors
Majors
Majors
Majors
BFA
28
26
23
21
Number of degrees granted during the past five years. See table below.
Academic Year
Degrees
Granted
4/5
5/6
6/7
7/8
8/9
BFA
1
5
6
4
3
SJC -UG-Q
FNA2
Creative Photography
BFA
10/11
11/12
12/13
Degrees
Conferred
Degrees
Conferred
Degrees
Conferred
4
5
5
Below is comparison degrees conferred data for local and national institutions based on data retrieved from the IPEDS
website. This is based on the Classification of Instructional Program (CIP) Code of 50-Visual and Performing Arts.
20092010
20102011
20112012
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Local
1,938
1,974
2,017
National
95,797
91,802
93,956
1
Local institution include: Adelphi University, Columbia University, CUNY Queens College, Fordham University,
Hofstra University, Iona College, C.W. Post University, Manhattan College, New York University, Pace University,
Seton Hall University, Stony Brook University, and Wagner College.
Comments : Based on the data in 2g and 2h, how do these trends compare to institutional, regional and national
patterns? (Suggested limit 1/2 page)
The BFA in Photography major has seen a moderate and steady growth since 2005. The program, however, suffers from
a lack of marketing and a NYS name coding for the major, “Creative Photography”, which forces the university to list the
major under “C” instead of under “P” so that prospective students might find it and apply. The name change has been
requested over the years, and was finally approved by the LAFC in 2013. We are still waiting, however, for the
paperwork to be filed by the Office of the Provost so that the State can approve the name change. In addition, since our
facilities cannot accommodate many students, we cannot compare our numbers to other art schools which all have a
“School for Art” with a building designed and used exclusively for visual arts programs.
Our graduation rates are comparable to that of the university, though the data provided is not complete enough for us
to make specific comparisons. It is important to note that the BFA in Photography requires 132 credits, 84 of which are
studio related classes which each meet for 6 hours a week, while providing 3 credits of course work. Our students are
required to take 18 credits for most of their semesters during their 4 years, and some simply opt to stay longer in order
to better address their course work.
NASAD accredited institution in the New York market 4-year Graduation rates:
- Pratt Institute 4-year Graduation rate 42 percent; source U.S. News & World Report.
- Syracuse University 4-year Graduation rate 69 percent; source U.S. News & World Report.
- Skidmore College 4-year Graduation rate 83 percent; source U.S. News & World Report.
- Alfred University 4-year Graduation rate 44 percent; source U.S. News & World Report.
- Fashion Institute of Technology 4-year Graduation rate 70 percent; source U.S. News & World Report.
NASAD accredited institution 4-year Graduation rates:
- Adelphi University 4-year Graduation rate 53 percent; source U.S. News & World Report.
- Columbia University 4-year Graduation rate 88 percent; source U.S. News & World Report.
- CUNY Queens College 4-year Graduation rate 25 percent; source U.S. News & World Report.
- Fordham University 4-year Graduation rate 76 percent; source U.S. News & World Report.
- Hofstra University 4-year Graduation rate 50 percent; source U.S. News & World Report.
The National Association of Schools of Art and Design (NASAD) conducts bi-annual surveys of enrollment at their
member institutions. The data included here was taken from NASAD surveys from 2009-2014 for peer
institutions, which are defined as private universities with 100-200 majors. For the purposes of comparison, the
data provided by NASAD is more accurate than what is in this document because the code used to gather the
data for the charts above include both visual and performing arts and therefore over counts enrollment and
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degrees given compared with the more limited program offerings in the Department of Art and Design at St.
John’s University.
TABLE BELOW- NASAD Accredited Private Institutions: 100-200 majors offering Bachelor of Fine Arts
or Equivalent :
Number of
Institutions with
Majors
Art/Design Major
Enrollment Fall
2009-2010
13
1311
Number of Degrees
Awarded July
through June of the
years given
274
2011-2012
22
2525
527
2013-2014
20
2058
476
When looking at program specific data the information given is more general because it includes all NASAD
institutions and is not available with more specific size criteria. As the number of NASAD accredited degree
granting institutions has increased so has the number of students who are awarded degrees each year. Overall
the graduation rate for peer institutions has remained relative consistent and we see that trend mirrored within
our own program. The NASAD data cited here can be found in the National Association of Schools of Art and
Design (NASAD) Higher Education Data Services’ report on Art and Design Data Summaries from 2009-2014
(https://secure3.verisconsulting.com/HEADS/ )
2i.
What mechanisms are in place to monitor students’ progress toward degree? And, to what extent is there a
collaborative effort to provide quality advising and support services to students? (Suggested limit 1/4 page)
The Photography program participates in an assessment and implementation process shared by
the Department of Art and Design. Photography students are subject to a rigorous portfolio review every semester.
There is also a juried Student exhibition each year. Ongoing exhibitions are displayed on the fourth floor and on the
“B” level display cases. Each student is personally reviewed during Professional Portfolio to assess preparedness for
internships and future careers. Faculty members are always available by appointment for portfolio review and the
annual report summarizes student accomplishments within our major.
Types of Student Assessment:






Student portfolio reviews: one per semester.
Annual juried student show at the Dr. M. T. Geoffrey Yeh Art Gallery.
Students are scheduled to meet each semester with an Art Department advisor to review their academic
progress toward the completion of their degree program.
At the end of each semester, most Faculty members hold individual student conferences and critiques in
order to review the term's work and individual progress and effort.
Exhibition Areas on the fourth floor and on the “B” level display class work and/or Senior Thesis work.
Reviews are conducted each semester of the "Professional Portfolios" that seniors have produced in
order to be considered for Internships.
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






Each student has individualized conferences with Chairperson/Internship Advisor concerning internship
placement and or Thesis readiness.
Faculty member is assigned to individualized supervision of interns. Two group meetings are scheduled
each semester with the students who are on internship and an “on the job site” visit is planned with the
intern, faculty and internship supervisor. Interns have recently been asked to put their internship work
and personal Internship Logs on disks, which are gradually creating an “Internship Library” located in the
Art Office.
Students may request an individualized critique of their artwork by faculty.
Annual report summarizes student accomplishments.
Course evaluations are distributed to students at the end of each semester.
Assessment sheets are provided to the University annually after spring portfolio reviews.
Portfolios accepted for program as freshmen are now kept in student’s file in order to better assess the
artistic growth of each student.
Further opportunities for professional assessment of student work are provided through exhibition initiatives
that have enabled students to exhibit their work in professional venues, and, since 2005, an after school open
critique session.
Since Outcome Assessments are quickly becoming an institutional priority, the Department has developed the
following additional methods for determining current status and future strategies:
a.
Assessment forms were sent to approximately 340 alumni during 2008-09. A new assessment form has
recently been finalized and is scheduled for distribution to BFA alumni in December 2014.
b.
Student-Faculty Forum was established in April 2001 and has become a valuable tool to foster direct
communication with students.
c.
An alumni outreach plan is being further developed. Since 2002 we have had several alumni programs
including a dinner and lecture with Milton Glaser in our Manhattan campus, three Alumni Art Exhibitions in the
University Gallery, as well as a very successful 50 year BFA Alumni reunion/exhibition, which took place in
December 2013. In the summer of 2014, we also hosted an alumni barbecue on campus. Our alumni often serve
as mentors to our seniors and often come to visit and share their stories.
2j.
If available, provide information on the success of graduates in this program as it relates to employment or
attending graduate school. (Suggested limit 1/4 page)
Specific to the BFA in Photography program, the following alumni have kept close communication with us and provided
us with their career status:
Courtney Brown, BFA 2007
Current: Photo Editor at Trip Advisor GENIUS.
Previous: Editorial Assistant, Marie Clare
Sean Hanratty, BFA 2007
Sean Hanratty is a photographer from New York City, currently based in Shanghai as a photojournalist.
MFA in Photography from The School of Visual Arts.
http://www.seanhanratty.com/
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Natalie Loizzo, BFA 2007
Portrait/wedding photographer, Long Beach, NY
http://www.natalieloizzophotography.com/
Polina Nezvankina, BFA 2007
Professional photographer and owner of Laika Studio
Specialty: Weddings, portraits and fine art photography.
http://www.polinanezvankina.com
NEW YORK CITY |
MOSCOW www.laikastudio.com
Michelle Zuccaro, BFA 2007
Photographer: portraits, editorial and family, Long Island based.
http://www.michellezphotography.com/
Katharine Decker, BFA 2004
Owner of LightSplash Studios
Portrait and Corporate Event Photographer for San Jose, Silicon Valley, Carmel, Monterey, Los Gatos, Santa Cruz, Palo
Alto, Santa Clara and San Francisco Bay Area. www.lightsplash.com
Norimichi Tsubouchi (Exchange International student - Photo major)
Still Life Commercial photographer represented by: Wave in the USA, Schirke in Germany, Angela Woods in the UK, and
D-Cord in Tokyo
Partial client list: American Airlines, Avon, Bausch & Lomb, Bosch, Citibank, L’Oreal Paris, Louis Vuitton Moet, Henessy
Group, Mastercard, Pierre Cardin, Samsung, Vanity Fair, Vogue http://norimichi.com/
Michael Marfione, BFA 2001
MFA, University of Pennsylvania
From 2007-2012 he has worked for the artist Chuck Close and is currently also an adjunct of photography at St. John’s
University and is a freelance documentary and fine art video artist and photographer. http://michaelmarfione.com/
Michael Pineiro, BFA 1999
Photographer, www.michaelpineiro.com
John Holtschneider, BFA 1998
Present position: Art Director, Harry & David, Medford, Oregon
past positions: Senior Graphic Designer, Sears Holdings Corp.; Senior Art Director, Roberft Brandt & Associates; Art
Director, Leo Burnett, Chicago; Production Designer, JWT
Alana Abel, BFA 2009
Present Position: Senior Coordinator at Capital One
Jason Tinacci, BFA 1997
Jason Tinacci is an editorial and travel photographer based in California’s San Francisco Bay Area. Tinacci is also the
founder and owner of TrellisCreative, a boutique stock photography agency that focuses on wine, food and lifestyle
themed stock photography. http://www.tinacciphoto.com/
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Robert DeSantos, BFA 2008
Senior Photographer at PhotoOp and Venture Photography, http://www.photoopnyc.com
William Morel, BFA 1996
MFA, Visual Arts, Rutgers University
Alex is a documentary photographer and associate professor at St. John’s University. http://www.alexmorel.net/
Iris Cooley, BFA 2003
Marketing and Advertising Project Manager at Leo Burnett, Chicago, Illinois
Hiroko Shono, BFA 2010
Portrait and Editorial photographer based in NYC. www.hirokoshono.com
Kylie McMinn, BFA 2009
Artist/Photographer, www.kyliemcminn.com
Brian Lentini, BFA 2001
Staff photographer and writer, Long Island Institute of Professional Studies; freelance photographer and writer for Juice
Magazine. www.juicemagazine.com
Katrin Bodyikoglu, BFA 1999
Photo Editor, Mother Earth News, Sussex Publications, NYC
Andrea Coukoulis, BFA 2006
Marketing Analist at U-Haul International, Inc. Phoenix, Arizona
past: Photo Assistant, Soap Opera Digiest, NYC
Trudy Laltoo, BFA 1995
Picture Desk Editor and Product Owner, Getty Images
Past jobs all as Photo Editor or Sports Photographer - Sports Ilustrated for Kids, ESPN, New York Times, NewSports,
WireImage Sports (just to name a few)
.
Robert Raeihle, BFA 1993
Chair of Art Department at Commack High School
MA, Studio Art, New York University, 1995
Georgina M Diaz, BFA 2014
Job status: currently working full time with benefits at B &H photo and video as a photo kiosk sales person.
Kenneth Pizzo, BFA 2013
Photo retoucher for Box Services, and KiDS Creative.
Clients: Alexander Wang, Balenciaga, Vera Wang, Prada
K Jasmer Nelson, BFA 2004
Founder and President of MacLifestyle, Marina del Rey, California
We will have more recent information once the results of our 2014 assessment are received in 2015.
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(We are in the process of distributing an alumni survey, which will gather more information regarding the success and
graduate status of our alumni. The survey was drafted by the department and we are awaiting its completion and final
approval.)
2k.
Please comment on the students’ competencies in the program. Support your response using data provided
below and any other data available. (Suggested limit 1/3 page)
BFA in Photography students maintain a CUM GPA ranging from 3.2-3.4, which is consistent with the SJC average that
ranges from 3.1-3.2. It is important to also note that our students are challenged with a major that requires 132 credits,
18 credits in most semesters.
Standard 2.
Additional comments if needed: (Suggested limit 1 page)
STANDARD 3. The program engages in ongoing systematic planning that is aligned with the University and
School/College planning, direction, and priorities.
3a.
How does your program’s strategic goal/objectives link to your School/College plan and the University’s strategic
plan? http://www.stjohns.edu/about/leadership/strategic-planning
Student engagement within the photography program at St. John’s University is deeply committed to providing
individualized attention to students in the classroom and to creating and planning activities outside of the class that
expand on concepts being discussed with in the classroom while at the same time exposing students to the rich
cultural offerings of the Greater New York area. Our record of engagement with students inside and outside of the
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LAS_FA_PHOTO_BFA_Q
classroom is exceptional and serves to support The Strategic Plan: 2011-2014, providing a quality education,
student experience, career placement and furthering education. In the context of the university’s Catholic and
Vincentian Mission while promoting diversity and global Awareness.
Working with the student organization Art Club has allowed the Department of Art and Design to collaborate on off
campus activities and guest lectures that engage students in learning and experiences beyond the confines of the
classroom. Additionally, faculty who teach in the photography program have organized numerous events that
provide off campus activities. These events provide informal venues that facilitate student-faculty interactions, they
provide collaborate learning experiences, and allow students from different years to meet and interact with each
other. Engagement also occurs among students both within and outside our program.
In the B.F.A. Photography Program we recognize that one of the ways that service and learning can be most
relevant and meaningful is when it is directly connected to and tailored to a student’s field of study. To that end we
have developed service learning opportunities that are seamlessly integrated into classroom projects and curricula.
We also realize that service can be defined in multiple ways. We have students who are engaged in projects that
serve the university and the local community, such as the work photography students have done with organizations
such as Mainchance, Briarwood, Mommas House, Chapin Home, Ozonam Home, and St. Mary’s Hospital, just to
name a few. Photography students have also created work for exhibition based on each years Vincentian Theme for
Founders Week. The documentation of social concerns is a focus within the photography curriculum and students
are encouraged to use the camera as a vehicle for positive social change.
Through the Global Studies Program professors from the photography Program have taught classes in Rome,
southern Italy and Paris. Global Studies is an invaluable addition to the student’s college experience. Being
immersed in an entirely new culture and language gives the students the opportunity to learn and engage in an
international setting where they encounter new challenges and opportunities for growth. Outside of the familiar
walls of the classroom the students are able to learn about art, culture and religion in its native and historical
context. It is our sincere hope that we will continue to provide a model for the University to follow as it recommits
to student engagement and Global learning.
As stated in other sections of this report, the photography program at St. John’s University is deeply committed to
providing individualized attention to students in the classroom and to engaging students in trips and activities
outside of the class that expand concepts being explored in the classroom, while at the same time exposing
students to the rich cultural offerings of the Greater New York area. Our record of engagement with students
outside of the classroom is exceptional. The number of guest speakers, planned field trips and symposiums are too
many to list, but a sampling of this year’s programming can be accesses via our internal department website:
www.sjuartdesign.com, and clicking on the Calendar tab. The Department also keeps a record of each extracurricular planned activity in a collective binder in the Department office.
It is our sincere hope that we will continue to provide a model for the University to follow as it recommits to
student engagement, social justice and global learning.
3b.
What is the evidence of monitoring the external and internal environments, specifically what are the strengths,
weaknesses, opportunities and threats facing the program? How were they identified? What actions have been taken
in response to these findings? What characteristics of the program suggest a competitive edge against other programs
regionally and nationally?
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LAS_FA_PHOTO_BFA_Q
The Department of Art and Design annually evaluates its mission, goals and outcomes during department meetings that
are held each month throughout the academic year. In addition, the Department has earned accreditation by NASAD,
The National Association of Schools of Art and Design, and has spent the last year generating an updated self-study
Document as required by NASAD, and its Accreditation Team. Our last thorough self-Study for NASAD was completed in
2008. In addition, the Department of Art and Design, has prepared an Annual Report since 1988.
From 2010 to 2013 the Department of Art and Design prepared annual reports as required by the National Association
of Schools of Art and Design’s Commission on Accreditation in response to their Visitors Report of 2010. The NASAD
Commission Action Report cited issues with our facilities and some programs had curriculum that needed to be
addressed and upgraded to NASAD standards, to be eligible for full membership. Working closely with the support of the
Dean’s Office of St. John’s College and the Department of Design and Construction, significant facilities issues were
resolved, and curriculum revisions were made in the Fine Arts, Illustration and Photography programs in response to
NASAD’s 2010 Visitors Report.
The initial self-study Document prepared for NASAD was prepared and drafted by Belenna Lauto who served as
department chair from 1998-2004. Information within the report, including goals, objectives and plans for improvement,
were collectively gathered through various sources including the following: previously published university material,
departmental annual reports, 1997 self-study initiated by then Chairperson, Prof. William B. Ronalds, as well as
assessment information which was made available through various resources. The 2003-04 self-study was prepared by
Prof. Belenna Lauto, with the help of full-time faculty. The completed draft was then distributed to the departmental
full-time faculty for revision, additions, suggestions and discussion. The Dean, Dr. Jeffrey Fagen of St. John’s College was
then provided with a copy for further analysis. From 2010 – 2013 the annual responses to NASAD’s Commission Action
Repot, which required the department to document corrective action taken by the department and University in
resolution of outstanding curriculum and facilities issues that were cited in NASAD’s “2010 Visitors Report” resulted in
full accreditation were prepared by Ross Barbera who served as department chair from 2010 – 2013.
The next full On-Site review by NASAD will be in March 2015. The Department of Art and Design is currently in the
process of preparing for this upcoming visit by NADAD representatives.
It is important to note that the University has always quickly responded to the concerns of external evaluators.
The following table lists s areas of weakness that were identified in the NASAD 2010 Visitors Report and corrective
actions taken by the Department of Art and Design:
Areas of weakness that were identified in the NASAD
2010 Visitors Report
Safety concerns, especially in the mezzanine level were
cited the NASAD 2010 visitors report. Security cameras and
controlled access systems were nonexistent in these areas.
Some studios were accessible to anyone from the outside.
Students complained about feeling unsafe when they are
working alone in the SJH studios after hours.
Corrective actions taken by the Department of Art and
Design
In December of 2010 the Department Chairperson, Ross
Barbera together with the Dean of St. John’s College, and
the Vice President of Public Safety, Mr. Thomas Lawrence,
reviewed all department facilities for safety
enhancements.
This review resulted in security upgrades for most art
studios located in SJH. The security enhancements involved
the installation of strategically placed cameras and card
swipe systems at designated entry and exit points to the
art studios located on the mezzanine level and 3rd & 4th
floor art studios of St. John’s Hall. As part of this security
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LAS_FA_PHOTO_BFA_Q
upgrade, new fire doors were installed on the mezzanine
level doors during the spring of 2011. These doors only
permit exit to the outside, and no inside entrance is
possible through them.
To insure our student's safety during off-hours, the
Department of Art and Design, in conjunction with Public
Safety, has a student monitoring procedure in place to
control student access to studios. Public Safety requires
that the Art Department maintains a list of students' who
have been approved to use the studios during off hours.
We provide Public Safety with an updated version of this
list at the start of every semester, and security is notified
whenever new students are added during the course of the
semester. Only students on this list are permitted to access
the art studios. The process requires that all students call
Public Safety to be let in when they are actually at the
studio door. At the time of entry, Public Safety physically
checks the student ID before permitting studio access. In
addition to this, security officers patrol on foot and check
all art studios periodically during off-hours. All art
department studios, classrooms and hallways are equipped
with phones that directly connect to the central security
office, and the security phone extension number is
predominately displayed in a red sign above every phone.
The NASAD Commission:
The current physical environment used by the Department
of Fine Arts presents a number of issues and concerns.
Saint John's Hall houses the department offices and
classrooms divided on a number of
levels within the building. The distribution of teaching
spaces in Saint John's Hall appears patch work as opposed
to planned. Additionally, the department's course offerings
are divided between Sullivan
and Saint John's Hall &which seem to create a disconnect
within the department.
The need for a University community “Fine and Performing
Arts Building (or designated space with integrated
facilities),” which can serve as a hub for creativity for the
entire the campus community is acute.
Moving the Department of Art and Design to new space (in
the old University Center) and creating integrated art and
design-making facilities was included in the 2008 strategic
plan. Unfortunately, the designated space was used for
other purposes and when the revised strategic plan was
unveiled moving our Department was no longer included.
Until this goal is realized, the Department of Art and Design
will continue to address the location and quality of the
existing art and design facilities and will work to ensure
that our students are safe and can productively work in the
existing environment.
3c.
What is the current and future market demand for the program? Support your response using the data
provided below or any other internal or external sources to justify your response.
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LAS_FA_PHOTO_BFA_Q
Photography majors can seek employment opportunities in a variety of markets: Portrait, Commercial, Industrial,
Scientific, Fine Arts, University/School Photography, Education, Image Editing, Web Design and Production, Video and
Film.
The BLS (U.S. Bureau of Labor Statistics) predicted that between 2010 and 2020, open positions in the photography
industry would increase by 13%. Corporations will require a constant stream of new images, which could benefit
commercial photographers in particular. The BLS showed that freelance photographers should also have a slightly
higher potential for finding employment.
Salary statistics from May 2012 BLS records show that the median salary for photographers was $28,490 per year. In
comparison, during that same year photographers in the top 90th percentile earned an annual salary of $66,990.
Accurate salary statistics are difficult to examine, since photographer rates are not universal, especially with freelance
photographers.
The median expected annual pay for a typical Photographer in the United States is $55,417 in December 2014 as per,
http://www1.salary.com/-Salaries.html and in Payscale.com.
In above source, the salary for a photographer who is skilled in Adobe Photoshop ranges from $36,895 - $122,162
nationally. Product photographer ranges from: $39,494 - $142,545 nationally. A Photographer with Product
Photography skills in New York, New York earns an average salary of $67,500 per year.
In addition to the above data, the charts below provide a more positive outlook for the photographic market,
estimating a growth of 17% between 2010-2020.
Fastest growing occupations and occupations having the largest numerical increase in employment by level of
education and training projected.
Fastest Growing Occupations
Photographers
Change, 2010-20
Percent
17%
Numeric
Occupations having the
largest numerical increase
in employment
Change, 2010-20
Percent
Numeric
17,500
Projected Changes in Related Occupations (2010 – 2020)
Changes, 2010-20
Grow faster than average - Increase 15 to 20.9%
Photographers
Percent
Numeric
17%
17,500
*For more information please visit: http://www.bls.gov/news.release/ecopro.toc.htm
Standard 3.
Additional comments if needed: (Suggested limit 1 page)
STANDARD 4. The program provides a high quality curriculum that emphasizes and assesses student learning and
engagement.
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LAS_FA_PHOTO_BFA_Q
4a.
Please indicate how the program curriculum is in alignment with the following three items:
(Suggested limit 1/2 page for each of the three categories below)
1. Standards within the discipline
2. Curriculum integrity, coherence, academic internships, teaching excellence, teaching vibrancy, and study
abroad experiences.
3. The University Core competencies
1. Standards within the discipline: The BFA in Photography follows the standards set forth by the discipline and
looks to the needs of the 21st century as well as to other programs to engage in the proper planning, changing
and implementation of curriculum as demanded and expected by these changing times. Our collaboration with
the International Center of Photography engages us with professionals in the photographic field who also direct
and inform us of the changing demands as well as assess our the pedagogical needs of our students.
The Department of Art and Design is accredited by National Association of Schools of Art and Design (NASAD)
and meets NASAD’s standards of Art’s education.
In order for a student to be eligible for admission to any of our BFA programs the following minimum criteria
must be met:
• 85 or above High School average and
• a minimum score of 950 in the SAT
• An accepted portfolio of original creative work. This portfolio is assessed personally by one of the full-time
members of the Department of Art and Design
For graduation, the BFA student must complete 132 semester hours with a cumulative quality point index of 2.0
for all courses taken, and a cumulative quality point index of 2.0 for all courses in the major. It should be noted
that most of our students perform well above this minimum level.
2. Curriculum integrity, coherence, academic internships, teaching excellence, teaching vibrancy, and study
abroad experiences:
In order to provide our students with the best possible education in the arts and fulfill our aspirations for
pedagogical excellence, the Department of Art and Design faculty meets regularly to discuss and evaluate all
programs and identify areas for improvement. Syllabi are evaluated and updated every three years. Two annual
portfolio reviews, along with the annual student exhibition, offer concrete assessment opportunities whereby
faculty may continually evaluate the educational programs offered. In addition our faculty are closely connected
with the changing demands of the field and we adjust our curriculum accordingly. Since 2009 all of our BFA
programs have undergone revisions. These revisions include the creation of upper level courses, the creation of
courses such as Motion Graphics, Advanced Web, Junior and Senior Design, Studio Seminar I and II, Introduction
to Video, Contemporary Photographic History and Practices, and several others, which were created to keep our
programs up-to-date and competitive. All of our syllabi now follow an updated format, which includes the
specific goals of our majors that the course addresses and references the curriculum map for each of our majors.
The BFA in Photography has a capstone internship or thesis experience which provides the students with an
opportunity to engage in research projects and/or experience career possibilities first hand. Our photography
professors have been cited for teaching excellence many times throughout their tenure with the following
awards and recognition: Student Government Faculty of the Year, Teaching Excellence Awards, Learning
Communities, Professor of the Year, and several others. In addition classroom evaluations rate the photography
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professors higher than the University average. Our professors are also involved in global programming. From
the creation and participation in program specific study abroad courses such as: Southern Italy: A Visual Culture,
and Photography in Paris, to projects and exhibitions that involve students in social justice around the world
such as have been mentioned in previous sections of this report.
The BFA program curriculum in Photography is under constant review and evaluation in an effort to provide
students with a relevant curriculum that effectively encompasses the technical, artistic and conceptual skills
needed by today’s contemporary, professional photographers.
Retention is addressed by establishing clear communication among student, faculty, advisors and the
Department overall. Students are offered opportunities for developing their potential as well as to discover the
resources available to them on a consistent basis. Each year, aside from the University's freshmen orientation
events, the Department of Art and Design offers incoming freshmen an “art student orientation day” which all
freshmen are invited to attend. All full-time Faculty are present during this busy day which includes an
introduction to the Department by the Chairperson, an introduction to the department internal website, useful
information regarding the art/museum resources in NYC, lunch with the art faculty, a tour of the Department,
studios and library art resources, and an introduction to the satellite labs in order to familiarize students with
the systems and Departmental procedures.
The University has also implemented a Learning Communities Program in which all freshmen art majors are
encouraged to participate. Several of the Department Faculty are actively involved with these Communities and
some of the freshmen studio classes are linked with Core classes in order to encourage collaboration between
disciplines.
The Grade Point Average required for retention is: 2.0. Students maintaining at least a 2.0 cumulative quality
point index are considered to be in non-probationary academic standing. When the cumulative quality point
index is below 2.0, but in the judgment of the Dean, the student is considered to be making acceptable progress
toward a 2.0, the student is placed under academic probation, but is permitted to continue on a matriculated
basis with a limited program of 12 credits (or 4 courses) until he/she attains satisfactory academic standing.
For graduation, the BFA student must complete 132 semester hours with a cumulative quality point index of 2.0
for all courses taken, and a cumulative quality point index of 2.0 for all courses in the major. It should be noted
that most of our students perform well above this minimum level.
Advisement procedures established by the university are as follows: The Freshmen Center advises all incoming
freshmen with loose collaboration with the Art Department Chair and advisors. Upon the completion of
freshmen year, students are assigned a Departmental Faculty Advisor, whom they are encouraged to keep
throughout their next three years.
Students are expected to meet with their advisor at least once a semester. Departmental advisors are guided
and trained by the Chairperson and University personnel and administrators through various workshops and
meetings. The University has adopted the philosophy of “Developmental Advisement” and as such students are
encouraged to meet with their advisors to discuss their career goals, strengths and weaknesses, as well as their
class choices.
The Department keeps a secure file system, holding academic files of each art major as well as advisors'
evaluations, initial portfolio review evaluations, thesis and internship evaluations, and any other relevant
information pertaining to the student regarding individual progress and pedagogical issues.
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Photography students have the option of doing an internship or a thesis project during their final semester in
the program. All BFA students are expected to have a professional portfolio by their senior year. Besides the
creation of both physical and online portfolios, students also make a business card, write a cover letters and
contact employers for potential internship opportunities. Each student has individualized conferences with the
faculty member assigned to supervise interns. Two group meetings are scheduled each semester with the
students who are on internship and their faculty advisor. The Department of Art and Design maintains a
internship placement database which is located in the Art & Design Department Office and available to any
student who wishes to research possible locations/companies for internship or employment.
3. The University Core competencies: Photographers must obtain combination of critical thinking, information
literacy, skillful writing, oral and visual presentation and communication skills in order to succeed in the 21st
century. Our program aims to target each of these competencies both in the major and core curriculum. The
following list of departmental goals has been specifically developed in order to critically assess the quality of
student learning. Included in these measurable goals is an assessment of the degree to which students'
attitudes, social values, ethical values, commitment to scholarship and lifelong learning develop as a result of
their education.
a.
Student artistic/creative progress.
b.
Student professional skills: academic progress toward the completion of their chosen degree and career
goals.
c.
Student professional skills: technological skills
d.
Student overall visual literacy: intellectual, historical, technical
e.
Critical thinking
f.
Community service/ Student involvement
g.
Program satisfaction
h.
Achievement of personal goals.
4b.
The syllabi for the courses within this program incorporate the suggested elements of a syllabus – an example of
which can be found at the following St. John’s University Center for Teaching and Learning link. (Suggested limit 1/3
page) http://stjohns.campusguides.com/content.php?pid=71651&sid=984766
In 2014 The Department of Art and Design updated the syllabi for each of the courses offered in the four major
programs as well as the Music minor. Updated syllabi are available to all faculty for review and comparison. A
list of the courses offered by the Department and links to the 2014 updated syllabi can be found at:
http://sjuartdesignfaculty.weebly.com/department-syllabi.html
In order to provide our students with the best possible education in the arts and fulfill our aspirations for
pedagogical excellence, the Department of Art and Design faculty also meets regularly in order to discuss and
evaluate all programs and identify areas for improvement. Syllabi are evaluated and updated every three years.
Self-Study Template 24
LAS_FA_PHOTO_BFA_Q
4c.
Describe the assessment model currently in place for the program and indicate the extent to which disciplinary
and core knowledge, competence, and values are met, as well as findings and action plans for improvement. For
reference, visit WeaveOnline – https://app.weaveonline.com//login.aspx; Digication – https://stjohns.digication.com
(Suggested limit 1/2 page)
The program goals and outcomes of each of the programs offered by the Department of Art and Design have
been designed so that students can develop their creative, critical, formal and technical skills, and become versed
in the visual and verbal language of design. Students are expected to gain an understanding and awareness of
contemporary design practices, contemporary designers and the history of design. The individual program goals
and outcomes emphasize the University Core Competencies, especially critical thinking, writing/communication
skills, information, presentation and literacy skills. The program goals and outcomes of the BFA in Photography
are provided below.
1. Mastery of technical skills.
Demonstrate mastery of the technical aspects of the medium of photography including the camera, film, digital,
lighting, darkroom and digital printing.
2. Enhanced knowledge of visual history.
Demonstrate knowledge of the history of the visual arts, including photography, and its impact on social and
visual culture.
3. Develop critical thinking skills.
Demonstrate field-specific critical thinking skills so as to analyze, discuss and critique photographic images
considering technical, aesthetic ethical and conceptual applications and values.
4. Develop Proficiency in a variety of photographic practices.
Demonstrate the ability to engage in various photographic practices, including, but not limited to: portrait
photography, studio / product illustration, documentary photography journalism, digital photography, and fine
art photography
5. Demonstrate enhanced knowledge, skills and values consistent with the Core Curriculum.
Demonstrate effective communication skills and values consistent with the Core Curriculum in areas of:
information literacy, writing skills, and self-reflection.
All BFA Students are required to participate in a fall and spring portfolio review. In the fall students meet as a
group according to major and year with faculty of that major and group critique and evaluate the students work
based on the program goals and learning outcomes. In the spring, students meet individually with three faculty
members to review their portfolios. Thesis student’s work is reviewed twice a semester by all full-time faculty.
Students are expected to demonstrate mastery of technical skills. Students in the Photography BFA program learn
both analog and digital skills with all types of cameras and digital imaging in order to achieve mastery of their
chosen profession.
Students are expected to demonstrate knowledge of visual history.
A well-rounded education in art/photography includes gaining knowledge of the history of the visual
communication arts, recognizing and naming historical figures in photography and making connections between
the historical and contemporary concerns within the medium.
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LAS_FA_PHOTO_BFA_Q
Students are expected to master formal skills and apply them accordingly. Foundation classes focus on working
with formal elements and introduce photographic techniques and practices. Upper-level classes challenge
students how to define and demonstrate their technical knowledge and develop their own artistic “voice”.
Students are expected to demonstrate field-specific critical thinking skills. Throughout all of their coursework
students are encouraged to apply critical thinking skills to the application of techniques learned and to
demonstrate the ability to solve visual problems with clearly articulated processes, including problem
identification, research and information gathering, generating and editing alternate solutions, implementing final
solutions and evaluating a project against the original goals and expectations. There is a consistent focus on
design fluency in verbal and visual vocabulary and the ability to analyze, discuss and critique visual problems and
solutions, considering technical, aesthetic and conceptual applications. Writing and the articulation of ideas is
also an addressed and expected competency in all of the BFA programs offered in the Department of Art and
Design.
Students are expected to apply values and ethics to their photographic practice. Students in the Photography
Program are trained to consider ethical, social and environmental responsibility in the making, publishing and
production of images. They spend time examining individual situations and reflect upon the consequences of
images and the power of photography in society at large.
Students are expected to demonstrate enhanced knowledge, skills and values consistent with the Core
Curriculum. The breadth of coursework covered in the Photography B.F.A. addresses the University’s Core
Competencies. Students demonstrate information literacy and the ability to use computers and other technology
for a variety of purposes. They demonstrate effective communication skills in a variety of formats and proficiency
in visual, verbal and written vocabularies.
Students are expected to illustrate realistic ideas to implement knowledge, skills, and values in occupational
pursuits in a variety of settings. Students formulate portfolios, which establish direction toward specific career
goals or towards the pursuit of a graduate degree in the visual arts. They demonstrate understanding of basic
business practices in the discipline, including the expectations of a professional artist, in varied job settings that a
artists/photographers might be employed in, proper interpersonal relations within an office, an understanding of
both subordinate and leadership roles within a professional structure, appropriate attire for business, client’s
expectation of freelancers and pricing/payment structures.
4d.
What, if any, external validations, e.g. specialized accreditations, external awards, other validations of quality
has the program received? (Suggested limit 1/3 page)
The program has received NASAD, (National Association for Schools of Art and Design), accreditation, which is the
highest accreditation given to schools of art and design and is rarely given to art programs under the umbrella of a larger
university curriculum.
Our affiliation and agreement with the International Center for Photography, (ICP), also validates the quality of our
programs. ICP’s historical associations have always been with graduate programs, namely from New York University and
Bard. We are currently the only undergraduate program that has an educational partnership/agreement with ICP.
Standard 4.
Additional comments if needed. (Suggested limit 1 page)
We will be publishing our assessment methodologies on Weave and Digication in 2015. We are also collecting freshmen
entry portfolios in order to better assess what students have accomplished during their 4 years here. We hope to
publish these findings, along with student portfolios during the next year or so.
Self-Study Template 26
LAS_FA_PHOTO_BFA_Q
In an effort better to assess our programs, we continue to collect data from our alumni and hope to improve networking
and mentoring between current students and alumni.
STANDARD 5. The program has the faculty resources required to meet its mission and goals.
5a.
Below you will find the number of students enrolled as majors and minors in the program. Please complete the
table by adding the number of full-time faculty assigned to the program. Then calculate the student to full-time faculty
ratio.
Fall 2005
Fall 2006
Fall 2007
# Majors/
FT Faculty
FT
PT Total FT PT Total FT
Majors
18
0
Minors
5
Majors
& Minors
Combined
23
# of FTE
Students
(Majors &
Minors)
23 0.00
# of FTE
Faculty
assigned
to the
program
FTE
Student/
FTE Faculty
Ratio
18 13
0
PT Total
6
17
20
18
6
9
21
27
0
PT
Total
9
10
1
11
27
29
1
30
23 16 0.33 16.33 20 0.33 20.33 27.00 0.00 27.00 29.00 0.33
29.33
1
15
FT
19
1
3
1
Total
0
23 16
14
PT
19
3
14
FT
Fall 2009
18
5
1
Fall 2008
0
2*
2*
2*
2*
2*
2 to
23
2 to
17
2 to
21
2 to
27
2 to 30
Self-Study Template 27
LAS_FA_PHOTO_BFA_Q
Fall 2010
Fall 2011
Fall 2013
F
Total
F
Total
F
Total
F
Total
Majors
Majors
Majors
Majors
Majors
Majors
Majors
Majors
MAJORS
28
28
26
26
Fall 2010
Total
Fall 2012
FTE MAJORS
FTE Student/FTE Faculty
Ratio
23
Fall 2011
21
21
Fall 2012
Fall 2013
F
Total
F
Total
F
Total
F
Total
FTE
FTE
FTE
FTE
FTE
FTE
FTE
FTE
28
28
26
26
23
23
21
21
Fall 2010
# of FTE faculty assigned
to the program
23
2
2:28
Fall 2011
Fall 2012
2
Fall 2013
2
2:26
2
2:23
2:21
Important Notes:
FTE Students = Number of FT Students + (number of PT Students/3)
FTE Faculty = Number of FT Faculty + (number of PT Faculty/3)
* The full-time faculty indicated above is the full-time faculty from the Department of Art and Design. This
number does not reflect the faculty resources at the International Center for Photography.
This methodology is used by STJ for all external reporting.
The figure for majors includes first and any second majors.
5b.
Below you will find the credit hours the department has delivered by full-time faculty and part-time faculty
(including administrators) and the total credit hours consumed by non-majors.
Credit Hours
Taught
Fall 2005
Fall 2006
Fall 2007
Fall 2008
Fall 2009
#
#
#
#
#
%
%
%
%
%
Self-Study Template 28
LAS_FA_PHOTO_BFA_Q
1644 31% 1680 33% 1911 39% 1992 40% 2001 37%
FT Faculty
PT Faculty
3638 69% 3470 67% 3016 61% 2978 60% 3371 63%
Total
5282 100% 5150 100% 4927 100% 4970 100% 5372 100%
% consumed by
Non-Majors
Credit Hrs Taught
82%
Fall 2010
Number
F-T Faculty
P-T Faculty (inc
Admin)
3,353
Number
5,252
Percent
36.2%
1,908
34.1%
63.8%
3,688
65.9%
% Consumed by
Non-Majors
100%
4,205
80.1%
Number
1,392
3,778
0.0%
5,596
4,513
81%
Fall 2012
0.0%
Total
81%
Fall 2011
Percent
1,899
83%
Fall 2013
Percent
Number
Percent
26.9%
1,398
27.5%
73.1%
3,682
72.5%
0.0%
100%
80.6%
81%
5,170
100%
4,195
81.1%
0.0%
5,080
4,048
100%
79.7%
5c.
Below you will find the number of courses the department has delivered by full-time faculty and part-time
faculty (including administrators).
Courses
Fall 2005
Fall 2006
Fall 2007
Fall 2008
Fall 2009
Taught
#
#
%
#
%
#
%
#
%
27
34%
32
40%
38
46%
32
39%
%
FT Faculty
31
35%
PT Faculty
57
65%
53
66%
48
60%
45
54%
51
61%
Total
88
100%
80
100%
80
100%
83
100%
83
100%
Self-Study Template 29
LAS_FA_PHOTO_BFA_Q
Courses Taught
Fall 2010
Number
Fall 2011
Percent
Number
Fall 2012
Percent
Number
Fall 2013
Percent
Number
Percent
F-T Faculty
36
40.0%
37
47.4%
30
30.3%
28
27.2%
P-T Faculty (inc
Admin)
54
60.0%
41
52.6%
69
69.7%
75
72.8%
0.0%
Total
90
100%
0.0%
78
100%
0.0%
99
100%
0.0%
103
100%
5d.
What is the representative nature of faculty in terms of demographics, tenure and diversity? (See departmental
information on next page). How well does this support the program? (Suggested limit 1/2 page)
Since 2004 the Department of Art and Design has striven to seek the best candidates to aid the university in its mission,
serve the needs of each program, and to serve our students overall. One goal of the department is to engender diversity
when hiring by maintaining a 50/50 ratio male and female. Since 2004, 5 of our last 8 hires were women. Of our 12 fulltime faculty members, 6 are women (50%). Of our entire adjunct faculty, including adjuncts in Staten Island and abroad,
21 of 42 are women (50%).
The Department Personnel and Budget committee reviews all junior faculty for reappointment and tenure as stipulated
by University procedures and guidelines.
Another goal of the Department of Art and Design is to hire persons of color and ethnically underrepresented
backgrounds. In the last 4 years the department has hired individuals who identify themselves as: Hispanic, S/Central
America; Arab, N. African Middle East & Black Caribbean; Asian, Pacific Rim; and Asian, Hispanic, S/Central America.
Moving forward the Department of Art and Design, strives to maintain the standard of hiring the best candidates to aid
the university in its mission to serve our students, and maintain diversity that reflects our global community.
Our photography faculty is diverse in gender, ethnicity and photographic style. As professionals, the photography faculty
cover specialties in the fine art photography, documentary photography, commercial and editorial work, and video. Fulltime faculty represent both genders, and both are from Latin American origin. Two of our adjunct faculty are African
American, and the other two from northern and southern European backgrounds. The ICP faculty are also extremely
divers and because of ICP, our photography students are privileged to study with the widest range of faculty as
compared to all of our other programs.
Self-Study Template 30
LAS_FA_PHOTO_BFA_Q
Departmental Plan
2005
FT
2006
PT
Total
#
%
#
%
Male
6
60%
12
46%
Female
4
40%
14
Total
10
100%
Black
0
Hispanic
FT
2007
PT
Total
#
%
#
%
18
6
50%
11
44%
54%
18
6
50%
14
26
100%
36
12
100%
0%
1
4%
1
0
0
0%
1
4%
1
Asian
0
0%
3
12%
White
10
100%
20
Unknown
0
0%
Total
10
100%
Tenured
6
TenureTrack
FT
2008
PT
Total
#
%
#
%
17
8
57%
13
52%
56%
20
6
43%
12
25
100%
37
14
100%
0%
1
4%
1
1
0
0%
1
4%
1
3
0
0%
2
8%
77%
30
12
100%
20
1
4%
1
0
0%
26
100%
36
12
100%
60%
6
8
3
30%
3
Not
Applicable
1
10%
Total
10
100%
FT
2009
PT
Total
#
%
#
%
21
8
57%
14
54%
48%
18
6
43%
12
25
100%
39
14
100%
7%
0
0%
1
1
1
7%
1
4%
2
2
0
0%
3
12%
80%
32
12
86%
20
1
4%
1
0
0%
25
100%
37
14
100%
67%
8
8
4
33%
4
1
0
0%
10
12
100%
FT
PT
Total
#
%
#
%
22
8
57%
11
50%
19
46%
18
6
43%
11
50%
17
26
100%
40
14
100%
22
100%
36
7%
0
0%
1
1
7%
0
0%
1
1
7%
1
4%
2
1
7%
0
0%
1
3
0
0%
3
12%
3
0
0%
2
9%
2
80%
32
12
86%
21
81%
33
12
86%
20
91%
32
1
4%
1
0
0%
1
4%
1
0
0%
0
0%
0
25
100%
39
14
100%
26
100%
40
14
100%
22
100%
36
57%
8
8
57%
8
9
64%
9
6
43%
6
6
43%
6
5
36%
5
0
0
0%
0
0
0%
0
0
0%
0
12
14
100%
14
14
100%
14
14
100%
14
Gender
Ethnicity
Tenure
Status
Self-Study Template 31
LAS_FA_PHOTO_BFA_Q
2010
FT
2011
PT
Total
#
%
#
%
Male
8
62%
10
48%
Female
5
38%
11
52%
Total
13
FT
2012
PT
Total
#
%
#
%
18
8
62%
13
48%
16
5
38%
14
52%
34
13
0%
1
1
8%
1
4%
2
1
8%
2
7%
3
1
4%
FT
2013
PT
Total
#
%
#
%
21
7
58%
12
48%
19
5
42%
13
52%
40
12
FT
PT
Total
#
%
#
%
19
7
54%
14
45%
21
18
6
46%
17
55%
23
37
13
Gender
21
27
25
31
44
Ethnicity
Black
1
8%
Hispanic
1
8%
1
5%
2
Asian
0%
1
5%
1
0%
American
Indian/Alaskan Native
0%
0%
0
0%
17
81%
28
2
10%
White
11
85%
2 or More Races
11
85%
0%
1
4%
1
8%
2
8%
3
1
0%
1
4%
0%
0
0%
21
78%
32
2
7%
1
11
92%
0%
2
6%
2
15%
2
6%
4
1
0%
1
3%
1
0%
0
0%
0
0%
0
19
76%
30
85%
24
77%
35
2
8%
2
6%
2
0
0%
0
0
0%
0
2
11
Native
Hawaiian/Pacific
Islander
Unknown
Total
0%
13
0%
21
0
0%
34
13
0%
27
0
0%
40
12
0%
25
0
0%
37
13
31
44
Tenure Status
Tenured
8
62%
8
8
62%
8
11
92%
11
12
92%
12
Tenure-Track
5
38%
5
5
38%
5
1
8%
1
1
8%
1
0%
0
0%
0
0%
0
0%
0
Not Applicable
Total
13
13
13
13
12
12
13
13
Self-Study Template 32
LAS_FA_PHOTO_BFA_Q
5e.
What evidence exists that the program’s faculty have engaged in research and scholarship on teaching and/or
learning in the program’s field of study? (Suggested limit 1/2 page)
The entire full-time and part-time faculty actively participates in research and scholarship that includes professional
practice, exhibitions, presentations and publications. Through assessment and planning activities faculty share and
discuss syllabi, relevant improvements in technology, media and advancements in pedagogical theory.
Creative output whether in the form of written research and scholarship or gallery exhibitions informs teaching,
supports the University’s mission and goals and creates a vital bridge between the academy and the professional world.
Art and Design faculty remains committed to continued research, scholarship, and professional practice as a vital
component of a successful program.
Faculty submits an Annual Faculty Activity Report (AFAR) and yearly department report to the chair.
During the last academic year, our faculty has engaged in the following projects:
Prof. Morel:
 Myth and Realities of Contemporary Caribbean” (a working title). This is an on going project where images from
my other bodies of works about the region (mainly in Hispaniola) have started to shape this idea. This series of
photographic images references myths/legends, folklore, and the cultural, socio-economic, and political reality
of the region today. During the research leave I am hoping to make my way to other areas of the Antilles and/or
the northern cost of South America, create new work, and consolidate the project.

On Books & Reading”. For some time now, perhaps a few years, I have been creating images of books and
people reading. It wasn’t until this past spring 2012 that I started to concentrate on this curious interest, looking
back at images in my archive and consciously and intensely photographing during the past several months. It
wasn’t until recently also that I became aware of a book, “On Reading” (1971), a book of photographs by one of
my preferred and greatly influential photographers of the XX century, Andre Kertesz. I have to admit that after
seeing this book and images, I felt an immediate discouragement towards my own interest; after all, the great
Kertesz had already visited this idea with a lifetime of amazing photographs. So, what could I possibly
contribute…? I managed to finally convinced myself of how wonderful it was to share this interest with one of
my most admired artist, and of the relevance of the subject almost half a century later when books as objects
and concepts are being reevaluated, transformed, and hold on to. This work is on going; I am still photographing
and editing past work.

Untitled New Work. This project is closely related to my previous work “Relations & Tales” about family and
relationships. I want to examine the idea of home (a place or idea that identify us and to which we want to
return) specifically from the perspective of those in advance age. At this point, I have reached an age where I’m
starting to look much like the “mental-image” I have of my youngest uncle. My grandparents’ children are
looking more the way I remember my grandparents when I was a child. This realization came suddenly and
unexpectedly, and with it the urgency to photographs the elders of my family as well as the places they
associate with permanency and belonging (places that might no longer exist). The children of my grandparents
on both side of the family are 19 plus their spouses, and they are scatter through out the United States and the
Dominican Republic.

New Work & Collaborations. During the summer of 2012 I was invited to a research trip to Istanbul and other
areas of Turkey along with other faculty members including Prof. Parvez Mohsin and Prof. Paul Fabozzi. This
experience resulted in the highly successful exhibition and symposium “Sublime Porte: Art & Contemporary
Self-Study Template 33
LAS_FA_PHOTO_BFA_Q
Turkey”, spring 2013. With this exhibition we created an exciting dialogue between local and international
artists, about regional issues that have overarching global repercussions, in a geographic area of international
confluence. Now, the exhibition has been invited to travel and expand its concept to Brasil, where several
museums (Museu de Arte Contemporânea de Niterói - Rio de Janeiro, and Museu de Arte Moderna da Bahia Salvador do Bahia) would like to show it as soon as late 2014 or 2015. As part of the project, we are creating
new works in collaboration with the local communities, and/or about the region, aside from works related to
Turkey. Concurrently, we (Prof. Mohsin, Prof. Fabozzi, and I) are also extending the “Sublime Porte” concept to
Bangladesh and India. These locations will serve as a platform for research, the creation of new works, and
potential exhibitions in the region as soon as mid 2014. In India Sunaparanta Goa Center for the Arts and Goa
College of Art have extended their invitations to an artist's panel discussion and an exhibition of selected works
created in Turkey.
Prof. Lauto:
 Working on a manuscript for possible book on the visual language and aesthetics of photographs, which now has
emerged more as a “conversation” on styles within the history of photography.
 Expanding work on Marionette series, creating a series of limited edition artist books and most recently, mixed
media pieces that incorporate both analog and digital processes.

Since October 28th, 2013, working on a documentary project of Isaiah, a 5 year old boy, currently residing with
his mother, Burnadette, and baby brother, Elijah, at MOMMAS House in Glen Cove, LI. Isaiah was born without
legs, and due to the challenging circumstances of Burnadette’s personal life, which is now being addressed by
MOMMAS House, she had not been able to find doctors that would take on Isaiah’s case until now.
This long-term project will document Isaiah’s journey towards obtaining and learning to use prosthetic legs.
In addition, both professors collectively applied to six grants in 2013-14.
5f.
What initiatives have been taken in the past five years to promote faculty development in support of the
program? (Suggested limit 1/2 page)
The University provides summer support grants and "seed" grants to all full-time faculty members. Innovative
Teaching Grants are also provided by the Center for Teaching and Learning. The latter provide faculty with the
opportunity to experiment and develop new ideas for cohesive, innovative classroom strategies. The center also
provides faculty with a multitude of workshops, resources and information.
In the past both the Departmental P&B and the Office of the Dean allow adequate funds for faculty
development and travel. The Dean's Office, through its development fund, often pays for art faculty to attend
workshops on any topic related to teaching and or student engagement. In addition, travel and conference
funds are available to faculty who want to attend and/or are presenting in professional conferences. On
occasion, the Office of the Dean even provided aid to Art and Design faculty for exhibition and research
expenses. Since 2013, the Department, with the support of the Office of the Dean has helped to fund three
research leaves and travel expenses to approximately 20 conferences for our department full-time faculty.
The Office of Grants and Research also assists the art faculty when approached. Since 2012, our faculty has
more actively pursued the assistance of the Grants Office in order to comply with university procedures and
benefit from the services rendered by this office.
Self-Study Template 34
LAS_FA_PHOTO_BFA_Q
5g.
The table below shows the amount of external funding received by the department. If available, please provide
the dollar amount of externally funded research for full-time faculty supporting the program under review. (Program
dollar amounts are available through departmental records.)
N/A
External
Funding
Fiscal Year
4/5
5/6
6/7
7/8
8/9
$ Amount
Program
$ Amount
Department
External
Funding
4500
Fiscal Year
09/10
10/11
11/12
12/13
$ Amount
Program
$ Amount
Department
-
-
-
-
5h.
Please comment on the table below that shows trends in overall course evaluation and instructional vibrancy for
your program (if available), your college and the university. (Suggested limit ½ page)
Photography
(Q)
Saint John’s
College
Total
Undergraduate
Overall Evaluation (Spring)
2011
2012
2013
Instructional Vibrancy (Spring)
2011
2012
2013
4.15
4.20
4.24
4.40
4.43
4.46
3.95
4.01
4.00
4.28
4.33
4.33
4.01
3.21
4.07
4.27
4.29
4.35
Note: Institutional Vibrancy is the average of the first 14 questions on the course evaluation, with questions pertaining
to course organization, communication, faculty-student interaction, and assignments/grading. All course evaluation
questions range from 1 (Strongly Disagree) to 5 (Strongly Agree).
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The Photography Program course evaluations score higher than both college and university averages. We are please
with the resulting evaluations of the program and will continue to work towards providing our students with challenging
pedagogical goals and that have substantial programmatic and faculty engagement and support.
5i.
What percentage of full time faculty assigned to this program have terminal degrees or industry certifications
renewed within the past 2 years? Comment. (Suggested limit 1/3 page)
100% - Both full-time faculty assigned to this program have terminal degrees in the field of Photography.
Standard 5.
Comments: Indicate to what extent the program has the faculty resources required to meet its mission
and goals. Include references from 5a – 5i. (Suggested limit 1 page)
The photography program greatly benefits from its affiliation with the International Center for Photography, especially
in the area of faculty resources. Since students take 30 credits of their photography course work at ICP, they have the
privilege of studying with faculty who are in the cutting edge of the field in both the Queens campus and at ICP. The two
full time faculty in our program at St. John’s greatly compliment one another in that one specializes in social
documentary work and the other in mixed media and fine art work. Both are genuinely involved in many aspects of
their field and use their research and work as vehicles for student engagement, pedagogical ideas and student learning.
Our adjunct photography faculty also offer our students a great deal of professional experience and bring to the
program specialties in digital imaging video and fine art specialties that enhance the program. For some time now we
have been wanting to bridge the ICP faculty with our adjunct faculty, and this year, we were able to hire Andreas
Rentsch, who now adjuncts at both our Queens campus and at ICP, and will be working with our freshmen photo majors
this spring.
The program would benefit from an additional full-time faculty that could share the coursework that the program
provides to the St. John’s community. Since we offer 2-3 sections of non-major photography classes each semester,
which always fill, an additional full-time faculty can better serve the university community and engage with our nonmajor students more effectively. The department, however, has more pressing faculty needs in other areas, such as in
graphic design.
Standard 5.
N/A
Additional comments if needed. (Suggested limit 1 page)
STANDARD 6. The program has adequate resources to meet its goals and objectives. And, it is cost-effective.
6a.
Narrative/Supportive Technological Environment - Comment on classrooms and labs meeting industry-standards
for quality and availability of hardware, software, and peripherals; library space, holdings and services; science
laboratories, TV studios, art/computer graphic labs; etc. (Suggested limit 1 page)
The Department of Art and Design is located in St. John’s Hall with the exception of the Graphic Design labs which
are located in Sullivan Hall, a building that was built for the purpose of housing technologically advanced classrooms.
Fine Art studios in St. John’s Hall include rooms: 404, 405, 303, and 316, all which are general arts studios with
multiple uses. Room 404 and 405, however, are used primarily for painting and drawing. They are both equipped
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with easels. Room 500, also in St. John’s Hall, is a printmaking studio; and room 403 is a darkroom facility for the
purpose of analog processes in photography. Rooms 316 and 406A also act as satellite graphic design/ digital
photography labs for student use. Labs are equipped with Mac desktops, the Adobe CS6 Creative Suite and both
labs have access to free ink jet printing. In addition to these, the Mezzanine area of St. John Hall is divided into three
larger studio sections, two of which are used for studio classes in design, drawing, illustration, jewelry design, and 3D design, and one of which is a designated Thesis studio for our BFA seniors and those working on Independent
projects. The Mezzanine area also houses lockers for BFA students and two small rooms, one which functions as a
small lighting studio for student use, and the other is set up as a resource room for BFA students.
Sullivan Hall houses two state-of-the-art computer labs, rooms 222 and 207, which are used for graphic design
classes, some photography and illustration classes, and the intro to video class. These labs have been updated every
year for software and are included in a rotation schedule with the rest of the university for hardware updates every
2-3 years. However, since Adobe changed their updates to the Cloud, the labs are still using 2-year old software,
Adobe CS6. Currently equipped with the newest Macs and the necessary software for graphic design, photography
and video, our labs are our most sophisticated facility, but are now challenged with the Adobe cloud updates, which
IT is looking into. It is imperative that the Adobe programs be updated for the next academic year in order for the
program to stay abreast of the industry standards.
The University provides classrooms throughout the campus in order to meet the needs of art history courses.
Classrooms assigned to art history courses all have inter-net and digital projection accessibility. The Department
also avails professors of laptops and projectors for use in studios, which are not permanently equipped with
projectors and computer podiums, though at this time, only the Mezzanine area lacks permanent podium and
projection equipment. An issue that we often face is that the projectors do not work well in some of the classrooms
and this impacts the proper teaching of art history since it is necessary for the work to be projected accurately in
order to accurately discuss elements of color, etc. within the work.
The most important long-term goal of the Department of Art and Design move into a space in which studios, labs
and lecture halls are centralized and built to meet the needs required by each discipline. The Department has
instituted several recruitment initiatives to help bolster our numbers but the condition of the art making studios and
the lack of integrated art and design space continues to be a challenge to both recruitment and retention. Until such
time, we have been putting our efforts into making the space that we do have as workable as possible and have
received support from the administration towards the functional realization of the existing space.
Undeniably, the Mezzanine area presents the most challenges. Issues of air quality, ventilation and heat in this area
have been of great concern to the Faculty, students and administration. During the last few years, however, much
has been accomplished to improve the environmental quality of these studios, and the administration has eagerly
supported our suggestions and efforts to improve these existing spaces as best as possible. As a result, the air duct
system of the Mezzanine is regularly cleaned, and appropriate safety supplies such as eye wash stations are
maintained.
The darkroom, located in Room 403, serves the needs of majors by providing black and white analog facilities for
learning traditional photographic methods. The exhaust system in the darkroom is checked regularly and two new
air-conditioning units were installed this summer (2014). The darkroom is continually monitored for
environmentally sound procedures. The facility is equipped with fifteen Beseler enlargers and one fully automated
Beseler 45 that is available only to photo majors and Faculty.
Since the photography program has an affiliation with the International Center for Photography in Manhattan (ICP),
photography majors spend their junior year at the ICP school facilities, which are located at 43rd Street and 6th
Avenue. The facilities at ICP offer our students state-of -the-art darkrooms, lecture rooms, digital labs and finishing
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rooms. The ICP digital facilities also benefit from the “rental” of the Adobe Cloud and as such our students have
access their to the newest upgrades of Adobe Photoshop and Lightroom. The ICP School meets and exceeds all of
the needs and safety requirements mandated by NASAD, our external accrediting unit, and of our program.
Since our last Program Review in 2008, many enhancements have been made within the existing space to avail
students of adequate studio space and equipment in which to produce challenging work. A small lighting studio was
set up in one of the smaller rooms in the Mezzanine area. This studio is equipped with a variety of professional
lighting equipment, seamless papers and backdrops, strobes, soft-lights, and a Calumet 4x5 camera. In addition 3
new Epson 3880 photo ink jet printers were purchased and added to the existing 9800 printers in the 3rd and 4th
floor of SJH. Room 316 in SJH, which is now used for photography classes and as a satellite working studio for BFA
majors, is equipped with 5 Macs 2 scanners and 4 ink jet printers. Room 406A is now equipped with 1 Epson 3880
and 2 Epson 9800, 44” wide printers and 2 scanners.
Since all of our majors are now provided with a Mac laptop in freshman year, and Adobe now rents their latest
software from the “Cloud”, the need for more digital labs has greatly ceased since just about any classroom,
especially in the newly built DeAngelo Hall can adequately be used for teaching with digital media. As the
Department grows, however, more photography and illustration facilities will be needed, especially in the area of
printing labs.
Library and Learning Resources offered to the Photography Program
The Library's collections in support of the Department of Art and Design include the following:


17,322 volumes of books (monographs)
The Art Department subscribes to Art in America, Art News, Art Forum, Print, and other relevant magazines as
well. These magazines are available in the Art Office for students and faculty.
In addition, the library finances and supports the following on-line resources for the Department:
Databases:
 Art Index (Wilson); Covers international articles on art from 1984 to present. Also indexes images.
 Art Retrospective (Wilson) ; Art journal indexing from 1929 to 1984.
 ARTstor; Repository of digital images of art, associated data, and user-friendly tools.
 Design & Applied Arts Index; The leading index for articles published in design and applied arts periodicals from
1973 onwards, covers new designers and the development of design and the applied arts since the mid-19th
century.
 ProQuest Research Library; Includes full text of art and music journals such as Art in America, Afterimage,
American Music, Music & Letters, and more.
E-Reference Sources:
 Credo Reference: Art; Includes A Biographical Dictionary of Artists, Dictionary of 20th Century Design &
Designers, and more.
 Oxford Art Online; Includes Grove Art Online, The Oxford Companion to Western Art, the Encyclopedia of
Aesthetics, and The Concise Oxford Dictionary of Art Terms as well as nearly 6000 images of art and
architecture.
 Oxford Reference Premium: Art; Includes The Dictionary of Modern Design, Dictionary of 20th Century Art, and
more.
Faculty work together with the Director of Collections, Mr. Andrew Sankowski and with Cynthia Chambers, in order
to update the collection on a continual basis. Our art history faculty work closely with the library in order to
maintain and evaluate resources.
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An exceptionally rare collection of the Library is one of exhibition catalogs dating back to 1949. This collection,
which consists of approximately 9,000 holdings, has been set up this past year in the Reserve section so students
and Faculty have access to its "treasures" for research purposes.
The Department itself archives a slide/image collection that was in use through the 1990’s. Consisting of 10,607
slides, and over 20,000 images on electronic media, the collection, though rarely used in recent years, is archived in
the department office.
The newly organized Resource Room in the Mezz provides a small library of art and photography books for student
use. Texts and books of interest are provided for students to do research and additional readings. Students may
reserve access to the Resource Room during regular studio hours.
The single greatest challenge faced by all the programs housed in the Department of Art and Design is the difficulty
we have recruiting high achieving high school students because of the scattered nature of our facilities. A number of
improvements have been requested and funded (as detailed elsewhere in this document) over the last five years
and while necessary, these upgrades have simply served to patch and make workable a less than ideal situation.
Our incoming freshman class benefits from top notch curricula and from working with professional New York based
artists and designer educators but most of these students arrive to a campus where their classrooms are below the
grade they experienced in high school. To be blunt, our facilities are undeniably lacking when compared to peer
institutions and even to many community colleges in the New York metro area. What is missing is not simply
specialized equipment, which we have been fairly successful in acquiring through funding from the Dean of St.
John’s College, Capital Requests and even from donations, but the integrated art making spaces found at Art Schools
and at other liberal arts universities housing art and design departments. We are fortunate that so many students
and their parents have been able to overlook this deficiency and still choose to attend our program, but it is unlikely
that we will be able to maintain strong numbers or continue to dramatically increase the number of incoming
freshman without a substantial investment in infrastructure and facilities. The Department of Art and Design has
made similar requests and the past and as stated elsewhere in this document we were slated to be moved to new
space (in the old University Center) as part of the 2008 strategic plan. Unfortunately, the proposals outlined in the
2008 strategic plan failed to materialize and the designated space was used for administrative purposes.
6b.
Narrative/ Supportive Physical Environment - Comment on level of faculty and student satisfaction with HVAC;
faculty and student satisfaction with classroom lighting, crowdedness, and acoustics; flexible teaching environments,
and faculty offices, etc.. (Suggested limit 1 page)
The physical environment of all of our studios and offices suffer form being in the oldest building on campus, which
often presents environmental and maintenance issues that are monumental to repair. The Department makes
every effort, despite of the daily challenges of maintenance, to made sure that safety procedures are installed
throughout the studios. Material Safety Data Sheets are kept in the Department office, each relevant studio, and
posted on the web by the environmental safety unit of the university. Both the Department of Art and Design and
the Operations Department of the University adhere to regular maintenance and cleaning schedules for studios and
facilities. Studio assistants and Faculty are responsible for reporting broken equipment and/or situations that may
require both immediate and long-term attention. SDS binders are now placed in each of the following studios:
painting, printmaking and darkroom. SDS binders that provide information on Epson inks are kept in the Art and
Design office and posted on the web.
This summer, with the help of new Building manager, the studios were cleaned and ceiling pipe leaks for toilets in
the Basement level, that presented health hazards to our students when they worked in the Mezzanine studios,
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were finally addressed and repaired. During the summer, the Mezzanine was also flooded by an air-conditioning
compressor. This is one of many issues we face on a daily basis in St. John Hall.
The Faculty offices have been greatly improved since 2002, but due to the lack of space, they are scattered
throughout the Basement level of St. John Hall. Though we still often face issues of inadequate storage space for
art supplies and student projects in progress, we have recently purchased flat file drawers for every faculty and
strategically placed them in each studio where they are needed. The Department office has physically undergone
some aesthetic improvements since 2012-13: several walls have been painted and student work now hangs
appropriately throughout the art office. As previously mentioned, we have been working hard towards improving
what we have and making the spaces as functional as possible. In an ideal world, however, our art Faculty, because
of our University environment, should be assigned offices that allow for studio space.
The Photography program uses two classrooms in Sullivan Hall (SUL 222) and (SUL 207) to teach software intensive
classes. These classrooms are maintained by Information Technology. Hardware and software purchases as well as
overall maintenance is overseen by IT. Ken Mahlmeister and his team have been extremely supportive and work to
procure hardware and software necessary for teaching Graphic Design Photography classes. Recent hardware
acquisitions have included new projectors in rooms 207 and 222, several new scanners in each room, one new
duplexing 11X17 Laser printer (installed 2014) and one additional printer has been ordered and is will be installed
later this semester. For the most part, the hardware needs of the program are currently being met under this
system, however we are currently working with software (primarily the Adobe Creative Suite) that is 2.5 years out
of date. Older software presents several challenges. First, students are unable to work with what is industry
standard and what they are likely to find when they leave school and become employed as photographers,
especially in the areas of retouching and video. Second most students have a subscription to the Creative Cloud (on
their laptops) and going back and forth between current versions of the software and the outdated software in the
Sullivan labs presents some issues because not all software is easily backwards compatible. The Department of Art
and Design requested that Sullivan 222, 207 and the 1st Floor Macintosh labs be updated with Adobe’s Creative
Cloud in 2013 and again in 2014. We are still in discussions with Information Technology regarding our request and
hope installation of the Creative Cloud can be implemented in time for classes to begin in Fall 2015. Until this
“upgrade” and access is achieved, we can no longer tell prospective students and their parents that St. John’s
offers instruction in industry standard software, which is used at peer institutions as well as the SUNY and CUNY
schools.
While we are fortunate to have use of the Sullivan classrooms, having classes offered in two different locations on
campus presents some challenges. Ideally the Macintosh labs/classrooms would be relocated to a centralized
location either in St. John’s Hall or elsewhere so students could take all their classes in one building and would have
access to integrated art and design making facilities comparable to those found at peer institutions.
6c.
To what extent has the University funded major capital projects, e.g., renovations, which are linked directly to
the program during the past five years? (Bulleted list)
• Partially funded: Podium Technology in all Art Studio Classrooms
During the summer of 2012 the art studios on the 3rd and 4th floors of SJH were upgraded to “Podium
Classrooms,” making Internet access and digital technology available. The upgraded rooms include painting and
drawing studios 404 and 405, the Illustration and Design studio located in room 303, and the digital printing
room located in room 316. No podium technology was incorporated into the mezzanine art studios located in
SJH or room 500 in SJH.
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• 100% funded: Security Upgrade
Major security upgrade in the art studios located in SJH with the installation of security cameras and controlled
access systems at all entrances to these studio areas. (see item 3b)
• 100% funded: Furniture Upgrade and Replacement – Fine Arts
Capital request for new painting easels, painting tables and a Rack System for Storing Paintings Vertically,
Submitted in October 2012, funded June 2013. In 2014 tables and chairs in Rooms 303 and 316 were replaced
with new, rolling tables which are better fit for studio use and greatly enhance these two rooms.
• 100% funded: Mezzanine Renovations for Thesis Studio
During the summer of 2014 the art studios located in the mezzanine level of SJH were renovated to include a
dedicated studio workspace for students enrolled Art 4125 Creative Thesis.
• Exhaust work totaling $200,000 has been approved, but it is yet to be determined what has been done and
what still needs to be accomplished. Construction and Building Department have not yet communicated to us
what these improvements entail nor have they provided us with a detailed plan of the exhaust and air-quality
problems that they hope to resolve.
6d.
If external data that describes the cost effectiveness of the program has been provided by your School/College
Dean, please comment on the program’s cost-effectiveness. (Suggested limit 1 page)
The chart below positively illustrates the cost effectiveness of the program:
The photography program had a contribution margin/profit of $ 154,634 for the FY 2014. The direct expenses of this
program are primarily the ICP tuition and the digital lab maintenance, which is shared by all four BFA programs.
Standard 6.
Additional comments if needed. (Suggested limit 1 page)
In recent years the University has had a policy of enhancing programs that have a proven track record of attracting
students. Majors and departments with strong enrollment have certainly benefited from this strategy, but in a time
of systemic enrollment challenges, more innovative and forward thinking measures are called for. Enhancing
programs (such as ours) with well-documented and fixable challenges would be advantageous and this strategy
would provide additional revenue streams in a time overall lower enrollment. New York City has the greatest
concentration of college students studying art, design and music found anywhere in the country. With its lack of
integrated Art, Design and Music making facilities, St. John’s University takes itself out of the running for many of
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these students. In most cases high school students choose another school in the New York metro area and we loose
the opportunity to share the collective knowledge of the Art and Design faculty and to engage student with the
laudable goals of the University mission. The Department of Art and Design respectfully requests that the capital
expenditure and space allocation outlined in the 2008 strategic plan be reinstated and that we move forward with a
plan of increased recruitment bolstered by development of state of the art facilities similar to those found in other
programs in the University.
This year we also face a challenging problem in the area of facilities as we have a BFA major who is confined to a
wheelchair. As we are making every effort possible to provide a comfortable and productive learning environment
for this brilliant, young artist, several of our studios, such as Room 500, our Printmaking room, are not wheelchair
accessible and the scattered nature of the studios overall makes it very difficult to navigate with a wheelchair or any
other type of physical challenge. This alone, makes a valid case for the consideration of updated art facilities.
STANDARD 7. Effective actions have been taken based on the findings of the last program review and plans have
been initiated for the future.
Comments: (Suggested limit 1page)
As a result of the program review of 2009, effective action has been taken by the Department of Art and Design to
upgrade the quality of the department’s facilities, curriculum and overall student engagement.

The safety concerns in the mezzanine level and the 4th floor studios located in St. John’s Hall were addressed.
The University funded the Department of Art and Design’s request for the installation of security cameras and
controlled access systems at all entrances to the art studios located in these areas. (see item 3b)

As part of the security systems enhancement, new fire doors were installed on the mezzanine level “Exit” doors
that lead directly to the outside. These new doors only permit outside egress and prevent entrance. New fire
doors were also installed on the 4th floor of St. John’s Hall replacing old doors that did not close properly.

The Department of Art and Design in conjunction with Public Safety established a new protocol to control
student access to the art studios during off-hours. (see item 3b)

During the summer of 2014 the art studios located in the mezzanine level of SJH were renovated to include a
dedicated studio workspace for students enrolled Art 4125 Creative Thesis. Typically only a few graphic design
students choose the Thesis rather than the Internship class but for these students designated workspace will be
a significant improvement.

A new dedicated student exhibition space was established in the St. John’s College Office, Room 145 for the
continuous display of art created by Department of Art and Design students.

In our commitment to improve student engagement, and effort to maximize the senior thesis experience, in
2011 we extended the senior thesis course to include an exhibition in a professional New York City art gallery,
the Dorsky Gallery. The senior thesis exhibition in an off campus NYC gallery has evolved into an annual event,
and the experience engages students in every aspect of professional exhibition planning and participation, and
has transformed the thesis course from a theoretical to a real world lesson. The department continues to
aggressively explore ways to improve both its internship and thesis programs.
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Initiated plans for future improvements

The Department of Art and Design continues to explore ways to provide juniors and seniors with private,
individual workstations, where they can work on advanced projects. This is an acute need that has also been
cited in the “2010 NASAD Visitors Report.”

To further enhance student engagement, the Department of Art and Design plans to increase its efforts in
hosting student forums throughout the year that extend beyond the classroom. The University Gallery could be
used as the setting for these student discussions and reading events, and other departments could also be
invited to participate.

The photography program faculty will work with to continue to develop new courses which are relevant to
student learning and career options as well as continue to update relevant syllabi and curricula to more
effectively address future career options.

The Department of Art and Design continues to explore ways to create meaningful connections between
program alumni and current students. To date, Department has adopted several measures aimed at this goal. A
LinkedIn group which was developed in 2014 allows faculty and alumni to open post job and internship
positions. Alumni also come back several times a semester to critique upper level student work. In the future we
plan to expand these initiatives and offer networking events where current students can meet alumni working in
the field and hopefully make connections, which will survive post graduation. We also plan to work with career
services to and the LinkedIn group to more effectively connect students and recent alumni to job openings in
their field of study.

The Department of Art and Design is committed to serving transfer students and minors as well as the majority
of students who enter our undergraduate programs as freshman. To this end, the Department has worked with
the Office of Transfer Student Services to create advising procedures for incoming transfer students and has
revised the list of courses eligible for transfer credit in some programs. In the future the Department of Art and
Design will continue to monitor transfer student progress and make adjustments to our requirements and
advising practices as needed. The curriculum for all minors offered by the Department were updated so they
now require 18 (rather than 21) credits. Several programs have made significant revisions to the minor structure
to better serve students who come from different areas of study within the University. The updates have been
completed but many students are not aware of the changes. In the future, the Department will work to publicize
the five minors offered and will continue to monitor how students progress through the new sequences of
course offerings.

Inadequate facilities remain our biggest challenge when it comes to recruiting and retaining high quality art and
design students. Moving forward, the Department of Art and Design will continue to make request for
integrated art and design making spaces. In the absence of large-scale capital improvements, each program in
the Department will work to make the best use of existing space and to implement small scale updates of
technology and equipment that will improve the student experience and maintain high quality instruction.
Relevant to the Photography program are integrated analog and digital studio with critique rooms, lighting
studios, and printing labs with capacity for 15 students to print simultaneously, such as available in peer
institutions.
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