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Pratt Manhattan Gallery & The Rubelle and Norman Schafler Gallery, public galleries (Pratt Institute) Phone 718.636.3517

temporary art to their lives in a meaningful way. It is located on 144 West 14th Street between 6th and 7th Avenues in Chelsea and gallery hours are Monday – Saturday, 11am-6 pm, Thursday until 8pm. Phone 212.647.7778

The Rubelle and Norman Schafler Gallery:
The Schafler Gallery presents exhibitions by Pratt Institute faculty, students, and alumni from all departments. The gallery favors cross-disciplinary topics that reveal how ideas and issues affect our lives from many different perspectives, and provides an open forum for the presentation and discussion of contemporary culture. The Schafler Gallery is located on the first floor of the Chemistry Building on Pratt’s Brooklyn Campus and is open Monday – Friday, 9am – 4pm.

12/16/2024

Don’t miss out! Make sure to stop by before the Seeing Sound exhibition closes. Seeing Sound is a traveling exhibition of sonic installations curated by Barbara London.

Stop by to experience immersive encounters with sound art and witness a dynamic branch of contemporary art practice.

On view until tomorrow, December 17th.

📍 Pratt Manhattan Gallery

Photo credits:
Photograph 1 and 2 taken by Jason Mandella ()

Seeing Sound is a traveling exhibition curated by Barbara London and produced by Independent Curators International (ICI), New York. Learn more ”

12/13/2024

Artist focus: Samson Young (b. 1979, Hong Kong)

Multi-disciplinary artist Samson Young works in sound, performance, video, and installation. In 2017 he represented Hong Kong with a solo project titled Songs for Disaster Relief at the 57th Venice Biennale. He was the recipient of the BMW Art Journey Award, a Prix Ars Electronica Award of Distinction in Sound Art and Digital Music, and in 2020 he was awarded the inaugural Uli Sigg Prize.

Artwork depicted:
Muted Situations #2: Muted Lion Dance, 2014
Video projection with sound
Courtesy the artist, KADIST collection

In Muted Lion Dance, traditional Chinese performers dance in costume with- out the percussive sounds of the usual drums. Instead, it is the sounds of the performers’ physical exertion—their feet hitting the ground, deep inhales and exhales, and the rustling of their clothes—that come to the forefront and reveal the beautiful, exhausting rhythm of their dance. The modification consciously suppresses dominant voices, as a way to uncover the unheard and the marginalized, or to make apparent certain assumptions about hearing and sounding.

On the process of muting, Young notes: “... muting is not the same as doing nothing. Rather, the act of muting is an intensely-focused re-imagination and re-construction of the auditory. It involves the conscious suppression of dominant voices, as a way to uncover the unheard and the marginalized, or to make apparent certain assumptions about hearing and sounding.” The process has the effect of disrupting the viewer’s expectations; when the piercing shriek of a violin fails to come forth, it feels anticlimactic, ridiculous even. Young’s situational experiments enable us to become aware of another layer of reality underneath, often revealing what has been suppressed.

On view as part of the Seeing Sound exhibition at Pratt Manhattan Gallery until December 17, 2024.

📍 Pratt Manhattan Gallery

Photo credits:
Photograph 1 and 2 taken by Jason Mandella ()

Seeing Sound is a traveling exhibition curated by Barbara London and produced by Independent Curators International (ICI), New York. Learn more ”

12/06/2024

Artist focus: Marina Rosenfeld (b. 1968, United States) and Aura Satz (b. 1974, Spain).

Marina Rosenfeld is an artist, composer, and musician based in Brooklyn, New York. Crossing the disciplinary boundaries of sound, performance, and visual art, her work interrogates the fundamental conditions of music. She has an extensive exhibition and performance history including works for the Park Avenue Armory, the Museum of Modern Art, Portikus, the Whitney Biennial, and many others in Europe, North America, and Australia. As a turntablist working with a palette of original dub plates, Rosenfeld has also performed and recorded improvised music since the late 1990s. Marina Rosenfeld is the recipient of the 2024 Alpert Award in Visual Art, and is currently featured in the 2024 Gwangju Biennial in South Korea.

Artwork depicted:
Baffle (xy), 2021
UV print on foam
Courtesy of the artist

Aura Satz’s work encompasses film, sound, performance, and sculpture. She has performed, exhibited, and screened her work at Tate, London; Hayward Gallery, London; 2016 Biennale of Sydney; NTT InterCommunication Center, Tokyo; High Line Art, NY; MoMA NY; Kadist San Francisco; Sharjah Art Foundation; and the Rotterdam Film Festival, Onassis Stegi, and Sonic Acts. She has presented solo exhibitions at the Wellcome Collection; the Hayward Gallery project space; John Hansard Gallery; George Eastman Museum; Dallas Contemporary; ARTIUM, Museo Vasco de Arte Contemporáneo; Kunsternes Hus; Te Uru Waitākere Contemporary Gallery; and Harvard College Observatory. She recently completed her first documentary feature film on emergency signals and sirens, Preemptive Listening.

Artwork Depicted:
Dial Tone Drone, 2014
Soundwork for telephone, with telephone, mp3 player, 14 minutes
Edition 2/5
Courtesy of the artist KADIST collection

On view as part of the Seeing Sound exhibition at Pratt Manhattan Gallery until December 17, 2024.

📍 Pratt Manhattan Gallery

Photo credits:
Photograph 1 and 2 taken by Jason Mandella (

11/14/2024

Artwork focus: Yuko Mohri’s (b. 1980, Japan) Decomposition, 2021 consisting of wood, iron, speaker, amplifier, computer, and fruit.

Yuko Mohri is well known for her sound installations that combine everyday objects, such as old speakers and junk that quivers. She focuses on phenomena that steadily change in accordance with physical conditions. In this recent installation, Mohri works with fruit, into which she inserted electrodes to measure each piece’s internal moisture level. Gradually minuscule changes in resistance, caused by withering or rotting, are converted into sounds. Decomposition may be understood as a natural, spontaneous compositional method, which conveys the inherent complexity and fluidity of occurrences in the physical world. Mohri leaves the sounds alone and lets them play freely, over the course of the life of the fruit on view. Fruit is ubiquitous, a food source that often appears in art. Decomposition belongs to a long tradition known as “memento mori,” in which beauty and decay are portrayed and life is fleeting. Mohri’s sonic still life containing actual fruit might be described as a living, dying electronic installation. The poetry lies in how the artist works with small, meticulous change, as she captures the subtle movements or vibrations as the life of the fruit ebbs and slowly fades.

Yuko Mohri works on installations that detect invisible and intangible energies such as gravity, magnetics, and wind. Her major solo exhibitions include: SP., Ginza Sony Park, Tokyo (2020); Voluta, Camden Arts Centre, London (2018); and Assume That There Is Friction and Resistance, Towada Arts Center, Aomori (2018). Mohri is currently representing Japan in the 60th Venice Biennale and also has an exhibition titled Moré and Moré on view at the Aranya Art Center in Beidaihe, China.

On view as part of the Seeing Sound exhibition at Pratt Manhattan Gallery until December 17, 2024.

📍 Pratt Manhattan Gallery

Photo credits:
Photograph 1 taken by Jason Mandella ()
Photographs 2 and 3 taken by PMG Staff

10/17/2024

Artwork focus: Seth Cluett’s The Stratified Character of Nature (2023)

This piece offers a critical exploration of how we perceive natural spaces in a society that often commodifies them. Using 8 vertically-mounted horn loudspeakers paired with close-up UV-printed photographs, Cluett captures the layered interactions of urban and natural sounds from the bike path along Riverside Park in NYC. The sounds of traffic and waves mask the subtler human presence, inviting us to reflect on our relationship with the environment and the challenge of addressing climate change.

Seth Cluett (b. 1976, United States) is a renowned composer, visual artist, and researcher whose work spans photography, drawing, installation, concert music, and critical writing. His sound art is celebrated for its detailed focus on perception, memory, and the intersection of sound with place and time. Described as “subtle, seductive, and immersive” (Artforum), Cluett’s work invites deep reflection on the senses and their role in an increasingly technologized world.

He has exhibited internationally at prestigious venues like The Whitney Museum, MoMA/PS1, and Moving Image Art Fair. Cluett is currently the Director of the Computer Music Center and Assistant Director of the Sound Art MFA Program at Columbia University, and Artist-in-Residence at Nokia Bell Labs. His research focuses on sound in virtual reality, the history of loudspeakers, and computational creativity.

On view as part of the Seeing Sound Exhibition at Pratt Manhattan Gallery until December 17, 2024.

📍 Pratt Manhattan Gallery

Photo credits: Photographs taken by PMG staff.

Curated by Barbara London, Seeing Sound is produced by Independent Curators International (ICI), New York.

10/11/2024

Artwork focus: Magnetic Landscape by Juan Cortés!

Juan Cortés’s audiovisual artwork brings invisible forces to life, transforming electrical energy into acoustic energy with the use of a motor, speaker, magnifying glass, iron filings, and minerals. Magnetic Landscape is a magical world that shifts subtly over time, as particles rust based on the humidity level of the space, creating an evolving microcosm that mirrors natural processes.

Juan Cortés (b. 1989, Colombia) is a renowned artist, programmer, and educator whose work bridges the gap between art and science. Winner of the prestigious 2023 Golden Nica for Sound Art, Cortés is celebrated for his research on transgenic agriculture and his ability to visualize intangible forces through his interdisciplinary approach. His work has been exhibited at the Museum of Modern Art (NY), the Bilbao Exhibition Center (ES), Creative Tech Week (NY), and many more.

On view as part of Seeing Sound at Pratt Manhattan Gallery until December 17, 2024.
📍 Pratt Manhattan Gallery

Photo credits: Photographs taken by PMG staff.

Seeing Sound is a traveling exhibition curated by Barbara London and produced by Independent Curators International (ICI), New York.

10/03/2024

Artwork focus on view at Pratt Manhattan Gallery: Requiem for 114 Radios by Iain Forsyth and Jane Pollard!

This sound installation features 114 analog radios, each tuned to a different frequency transmitting a new, dramatic interpretation of Dies irae from the Roman Catholic Requiem Mass. Known for its chilling presence in films like A Clockwork Orange and The Shining, this composition transforms into an intricate universe of voices, hisses, and mysterious messages. A eulogy to the death of analog technology itself, Requiem for 114 Radios creates a powerful and unpredictable auditory experience.

Featuring the voices of renowned musicians including Matt Berninger (The National), Jehnny Beth (Savages), Casper Clausen (Efterklang/Liima), Jarvis Cocker, Jimi Goodwin (Doves), Rachel Goswell (Slowdive/Minor Victories), Blaine Harrison (Mystery Jets), Joe McAlinden (Linden, ex. Superstar/BMX Bandits), Aimée Nash (The Black Ryder), Beth Orton, Conrad Standish (Devastations), Jonnine Standish (HTRK), Elena Tonra (Daughter), and Rachel Zeffira (Cat’s Eyes), this installation brings together a remarkable range of vocal talent.

This piece is the newest addition to Seeing Sound, a traveling exhibition now at Pratt Institute and is debuting amongst the exhibition for the first time.

On view until December 17, 2024
📍 Pratt Manhattan Gallery

Photo credits: Photographs taken by PMG staff.

Seeing Sound is a traveling exhibition curated by Barbara London and produced by Independent Curators International (ICI), New York.

09/26/2024

Today is the day! Join us for the opening reception of Seeing Sound, a traveling exhibition of sonic installations curated by Barbara London!

Seeing Sound, organized by Independent Curators International (ICI), explores the evolving role of sound as a powerful branch of contemporary art. Curated by Barbara London, one of the world’s most influential new media art curators and founder of MoMA’s Video-media Exhibition Programs, this exhibition challenges how we experience art through sound.

🗓 Opening Reception: Today, Thursday, September 26, 2024
⏰ 6-8pm
📍 Pratt Manhattan Gallery

Exhibition on view: September 27 - December 17, 2024

✨ Swipe through our posts to travel back in time and see where Seeing Sound has been before:

1️⃣ 2024 – Pratt Manhattan Gallery, Pratt Institute, New York, NY
2️⃣ 2024 – Samek Art Museum, Bucknell University, Lewisburg PA
3️⃣ 2023 – Cantor Fitzgerald Art Gallery, Haverford College, Haverford, PA
4️⃣ 2021 – Kadist Gallery, San Francisco, CA

Photo credit:

Photos 1 and 2: Photographs taken by PMG staff.

Photo 3: Seth Cluett, the stratified character of nature (2019). Installation view, Seeing Sound, Samek Art Museum, Bucknell University, Lewisburg, PA, 2024. (Photo: Courtesy of Samek Art Museum, Bucknell University)

Photo 4: Installation view, Seeing Sound, Cantor Fitzgerald Gallery, Haverford College, Haverford, PA, 2023. (Photo: Lisa Boughter, Courtesy of CFG and ICI)

Photo 5: Marina Rosenfeld, Music Stands (2019), Seeing Sound at KADIST San Francisco, June 9 to July 24, 2021. Seeing Sound is a traveling exhibition curated by Barbara London and produced by Independent Curators International (ICI). Photo by Jeff Warrin.

Come celebrate the art of sound and join us for an unforgettable evening!

Seeing Sound is a traveling exhibition curated by Barbara London and produced by Independent Curators International (ICI), New York.

08/27/2024

Sadly, we are in the final week of “To Live in the Imagination” at Pratt Manhattan Gallery. Thank you to Sara VanDerBeek for organizing this exhibition and thank you to all of the artists for participating! Please visit the gallery before August 31 for one last look at the show. We are here each day, including Saturday, until 6pm and we hope to see you soon!

Installation photography by Jason Mandella

08/22/2024

Today, we wrap-up our series of posts on the artists included in “To Live in the Imagination,” organized by Sara VanDerBeek, with the work of Baillie Vensel and Jingge Zhang! In each of the artist’s own words:

Baillie Vensel: “In my obsessively-researched projects, I use appropriation and montage to question the systems of power at play in image production and circulation. My photographs and videos critique the process of imaging through the apparatus of the camera, the textures of imaging technology, and mass media. I am interested in “bad” pictures: the blurry, the out-of-focus, the pixelated. Increasingly, I am making images that puzzle the relationship between machine-made and human-made pictures. These photographs are my attempt at distilling what we can see as humans that machine learning models cannot recognize.”

Jingge Zhang: “My work is informed by my experiences both as an immigrant farm worker on an assembly line as well as a graphic designer in an e-commerce industry where output is accelerated for mass distribution. Approaching my practice as a worker, I combine the digital methods of deconstruction and collage with the manual application of my photographic assemblages onto packing tape. The tape transfer, a material of shipping and distribution, echoes not only the systems and visual language of mass production but also the invisible labor inextricably bound to these processes. By translating photographs and images into material objects, my work represents the commodification of image production, and the socio-economic significance within these processes along with the chaos, synthesis, and displacement that occurs across screens amidst our everyday experiences.”

Image 1: Exhibition installation view, featuring the work of Baillie Vensel. Photography by Jason Mandella
Image 2: Baillie Vensel, “Ana 1,” 2024. Courtesy of the artist
Image 3: Exhibition installation view, featuring the work of Jingge Zhang. Photography by Jason Mandella
Image 4: Jingge Zhang, “Messages,” 2024. Courtesy of the artist

08/14/2024

We continue our series of posts on the artists included in “To Live in the Imagination,” organized by Sara VanDerBeek, with the work of Kunwar Prithvi Singh Rathore and Lena Smart! In each of the artist’s own words:

Kunwar Prithvi Singh Rathore: “The core purpose of my practice is to capture and convey the intricate relationships that gay men share with their fathers and lovers. My own father, who lives in a conservative society, has always had a deep passion for art and he’s the very reason I’ve pursued a career in the arts. The second segment of the work takes place in New York and delves into my experiences as an openly gay man of color who regularly participates in brief, intimate encounters with other gay men. I portray my father as a formidable male figure through photography and writing, integrating queerness with ethnic and traditional attire. This visual representation encompasses the intricate intersections of family dynamics, patriarchy, the father-son relationship, and queerness. Ultimately, I seek to illustrate how societal pressures can compel a strong man to disregard his own son’s existence solely due to his queerness.”

Lena Smart: “I am a multidisciplinary lens-based artist as well as a practicing resiliency-based landscape architect. My background gives me a unique three-dimensional and environmentally positioned perspective. My work focuses on the fascination of form and surface as an obsessive feature in both our bodies and environment. In my most recent series, masses of matter distinct from other masses, I use my own and my family’s bodies in collaboration with the surrounding architecture of their home to accentuate the structural qualities of our bodies; structures that are unable to navigate the complexity of our being. The series challenges us to question the relationship we have between our own and others’ exteriors.”

Image 1: Rathore, “Mirror Selfie,” 2024
Image 2: Rathore, “Dad in the 80s,” 1985/2023
Image 3: Smart, “A Shy Introduction,” 2023

08/07/2024

We continue our series of posts on the artists included in “To Live in the Imagination,” organized by Sara VanDerBeek, with the work of Erin O’Flynn and Jan Rattiat! In each of the artist’s own words:

Erin O’Flynn: “Particular Attention” is a series of photographs and sculptures that reorient our relationship to New York’s histories of nuclear production to show its continued effects today. By placing works free standing in the space the viewer has to reorient their body while viewing the works. Alongside this reorientation, I unground and reground space through abstract and concrete monochromatic imagery. This monochromatic color palette points towards the insidious nature of this history, and its often invisible or hidden environmental harm.

Jan Rattia: In these recent photographs, I expand on the work I have been doing since 2019, where I draw from personal histories of diaspora and constant movement, slicing and sculpting figures, and queering nature to consider identity and artistic lineage. At times, photographic forefathers of the male body are recalled, and figures, usually de-centered, play against canonical melancholy in chiaroscuro mysticism. Nature, the constant witness of our existence, joins in, reminding us of our humanity and anchoring us geographically with a sense of belonging. I am interested in the meaning created through the arrangements and spatial relationships among the images with each installation, particularly with site-responsive opportunities, giving new possibilities to the selections.

Image 1: installation view of Erin O’Flynn’s “Current Siren No. 101, 102, 103, 104 (Emergency Planning Zone, Indian Point Nuclear Power Plant, Buchanan, NY),” [2024]. Photo by Jason Mandella
Image 2: detail of “Current Siren No. 101, 102, 103, 104 (Emergency Planning Zone, Indian Point Nuclear Power Plant, Buchanan, NY),” by Erin O’Flynn
Image 3: Installation view of Jan Rattia’s “Untitled (Fire Island Walkway)” and “Untitled (After the Two Loida’s)” [both 2023]. Photo by Jason Mandella
Image 4: Jan Rattia, “Untitled (Fire Island Walkway)”
Image 5: Jan Rattia, “Untitled (After the Two Loida’s)”

08/01/2024

Organized as a conversation between seven 2021–23 alumni of Pratt Institute’s nascent Photography MFA program and a selection of singular works by the six graduates of the class of 2024, “To Live in the Imagination” presents a continuum of practices from an evolving cohort of artists in dialogue across disciplines, sites, and experiences. Two of the artists included are featured today, Kristina Naso and Chloe Scout Nix.

Naso’s work grapples with gossip, addiction, relationships, pain, and loss using contemporary technology and the language of the internet to place her work in familiar nostalgia. For Naso, technology is often outdated by its successors; a faulty promise that what you have now may not last forever. Beginning with a subconscious need to investigate and preserve memories, Naso depicts loved ones and past homes through a variety of mediums, like live audio recordings and screen-captured footage from The Sims 4. Recreating lived experiences and worlds with the click of a mouse gives the artist the power to let a moment live on as an artifact.

Chloe Scout Nix’s “sorry for the mess” is a series of images, sculptures, and video works all focused on a prolonged moment of performative intimacy. Exploring ideas of togetherness, people’s forms take on new meanings once photographed and the figures in each image include the artist and her friends and family. Focusing on bodies within domestic spaces, such as living rooms or backyards, the imagery was taken between New York and Texas, Nix’s childhood home, and borrowed spaces in between. Nix’s aim is to reconstruct the figures, places, and gestures to create scenes that are a mix of the familiar and the odd. Looking at comparisons between old and new bodies, moles and tattoos, shapes and shadows, the work lives within the duality of existence.

Image 1: Installation view. Photograph by Jason Mandella
Image 2: Kristina Naso, “I’ll let you go” [still], 2022, digital video, 7 minutes, 30 seconds. Courtesy of the artist
Image 3: Chloe Scout Nix, “borrowed trauma (brooklyn, ny),” 2023, fabric coated vinyl print on wood panel, 40 x 32 x 6 inches. Courtesy of the artist

07/25/2024

We are excited to share the work of two of the artists included in our current exhibition, “To Live in the Imagination,” organized by Sara VanDerBeek, Ethan Li and Megan Mack. This exhibition is composed of alumni of Pratt’s MFA Photography program and remains on view through August 31.

“Business and religion have a very complex relationship, both diverging and converging,” writes Ethan Li on his work. “Whereof one cannot speak, thereof one must be silent.”

Megan Mack has collaborated with Abby Waters for the project, “Our Town.” Waters and Mack met in Moscow, Idaho in 2021. Abby was in Idaho pursuing her MFA in writing at the University of Idaho at the time. Megan had moved across the country from Brooklyn, after finishing her MFA at Pratt, to be with her partner who was pursuing a Ph.D. at the University of Idaho. After becoming friends, the pair decided to co-teach a class on Photopoetry. Through this investigation of Photopoetry, they began “Our Town” together. As transplants to Moscow, ID, they used their anonymity to delve into the small town. Megan walked around documenting as Abby wrote, and as they began piecing together their chronicle of the town, they found a narrative appearing that felt larger than its individual parts. The pairing of images and text revealed something beyond both the image and the text, answering the question on the periphery: “what is beyond the frame?”

Image 1: Ethan Li, “The Skyline #2” [detail], 2024, Vinyl print, 15 x 65 inches. Courtesy of the artist
Image 2: Ethan Li, “The Skyline #2,” 2024, Vinyl print, 15 x 65 inches. Courtesy of the artist
Image 3: Megan Mack in collaboration with Abby Waters, “Our Town” [detail of spread], 2022-24, Zine, 6 ½ x 5 ½ inches, 36 pages + cover. Courtesy of Megan Mack and Abby Waters
Image 4: Detail of installation of “Our Town”
Image 5: Installation of “Our Town”

Installation photography by Jason Mandella

07/18/2024

We continue our series of posts on the artists included in “To Live in the Imagination,” organized by Sara VanDerBeek, with the work of Katharina Kiefert! In the artist’s own words:

“I fix liquid states of body fluids in the darkroom. The liquids’ encompassing movements are captured on silver gelatin paper. After exposing and flooding the substrate with light and recording the interferences for seven seconds, I drown the images in developer to be cracked open and to then be scanned and reprinted with an inkjet printer. The process and the performance of bodies in the darkroom give the content of the images their forms.”

Artwork Caption: Katharina Kiefert, “Out of Body Series” [detail], 2024, inkjet print (ten parts), 8 x 6 inches each. Courtesy of the artist

07/11/2024

Continuing our spotlight on the artists included in “To Live in the Imagination,” we are thrilled to share the work of Rachel Handlin.

“I have devoted myself to making large-format portraits of other Down syndrome college graduates around the world, traveling from Peru to Ireland and many other sites in the process. My project has imaged many individuals in my community.

My prior work has been about myself—my place in the world. Now I am gathering this community of new friends. With my portraits, I’m bringing people on a journey into my world. I want them to get to know people they would probably never meet. Like Dawoud Bey, I am trying to start conversations—break down the “othering.” I want people who see Strangers are Friends I haven’t Met Yet to think about us. We are smart. Complicated. Interesting. All different.”

Installation images of Handlin’s work in “To Live in the Imagination”

Artwork Caption: UNTITLED (Ezra Roy), 2024
Installation of four silver gelatin prints and cyanotypes with text (artist statement by Ezra Roy)

07/03/2024

Today we are highlighting one of the Pratt MFA Photography Alumni included in our current exhibition, “To Live in the Imagination,” Stephanie Espinoza!

“I made these images thinking about labor and the struggle of making art amidst labor. For the last few years, I have been using a pinhole camera as my primary tool of capture; first as an attempt to subvert the decisive moment, and later as a way to make work while working. The long exposures of the camera grant me time—an image is being made as I lay around and read, as I answer emails, as I lesson plan, as I try to maintain my little life in order. I point the camera’s aperture to mundane details around my bedroom: a page from my journal, a leftover peel, a gathering of debris, the textured walls that hold it all together. The space acts simultaneously as shelter, office, and studio. With Virginia Woolf’s “A Room of One’s Own” in mind, I consider my bedroom and the modern-day trials of being a woman artist and the further complications of being a woman-of-color artist. In this room I have given myself with hard-earned income, I make art in the cracks of labor. As I lay in bed or sit at my desk, time doubles. The pinhole camera slowly feeds light to the photosensitive surface of my film. It creates an image. It captures an accumulation of time. It works, even as I rest.”

Artwork Caption: Stephanie Espinoza, “it doesn’t have to be something until it is: untitled - untitled x” [detail], 2024, archival inkjet print, ten parts, 35 x 28 inches each. Courtesy of the artist

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Pratt Manhattan Gallery and The Rubelle and Norman Schafler Gallery are public galleries affiliated with Pratt Institute. Pratt Manhattan Gallery: The goals of the gallery are to present significant innovative and intellectually challenging work in the fields of art, architecture, fashion, and design from around the world and to provide a range of educational initiatives to help viewers relate contemporary art to their lives in a meaningful way. It is located on 144 West 14th Street between 6th and 7th Avenues in Chelsea and gallery hours are Monday – Saturday, 11am-6 pm, Thursday until 8pm. Phone 212.647.7778 The Rubelle and Norman Schafler Gallery: The Schafler Gallery presents exhibitions by Pratt Institute faculty, students, and alumni from all departments. The gallery favors cross-disciplinary topics that reveal how ideas and issues affect our lives from many different perspectives, and provides an open forum for the presentation and discussion of contemporary culture. The Schafler Gallery is located on the first floor of the Chemistry Building on Pratt’s Brooklyn Campus and is open Monday – Friday, 9am – 4pm. Phone 718.636.3517