school of art and design 121
Carla Gannis
Visiting instructor
M.F.A., Boston University; B.F.A., University of North
Carolina at Greensboro; Carla Gannis is the recipient of
several awards, including a 2005 New York Foundation
for the Arts Grant in Computer Arts, an Emerge 7
Fellowship from the Aljira Art Center, and a Chashama
AREA Visual Arts Studio Award in NYC. She has
exhibited in solo and group exhibitions both nationally
and internationally. Features on Gannis’s work have
appeared in Res Magazine and Collezioni Edge, and her
work has been reviewed in The New York Times, The
LA Times, The Miami Herald, The Daily News and The
Village Voice.
Kay Hines
Visiting instructor
B.A., Art History, Barnard College; Cine Golden Eagle
Award, editor of “9/11: Response and Recovery”
for Signet Productions and Bovis Lend Lease, 2003;
Greenwald Foundation Grant, 1995; New York
Foundation for the Arts Grant, 1992, 1985; National
Endowment for the Arts Creative Artist Fellowship
Grant, 1981; videographer and internationally exhibited
media installation artist; co-owner/founder of Dekart
Video, est. 1981.
Stephen Jackett
Visiting instructor
B.A., Dartmouth College; M.F.A., School of Visual Arts;
works include award-winning commercial animation
for J. J. Sedelmaier Productions, with clients such as
the Oxygen and Discovery channels, Saturday Night
Live, Chef Boyardee, the Ad Council, and the Chicago
Tribune; additional work includes animated Web
advertisements for ESPN360.com for W/M Animation
and an anti-smoking 3-D animated film for the C.
Everett Koop Institute (1998–1999); Web-based projects
include 3-D animated e-cards for online greeting card
brand MyFunCards and various popular Facebook
applications, such as the FlowerShop, My Own
Superhero, and Smiley Creator.
Yael Kanarek
Visiting instructor
B.A., SUNY; M.F.A. Rensselaer Polytechnic Institute;
practices in various media; selected for the Whitney
Biennial 2002, Kanarek was awarded the Rockefeller
2005 New Media Fellowship to create the third
chapter of “Object of Desire”; recipient of the Jerome
Foundation Media Arts grant, the New York Foundation
for the Arts 2001 Fellowship award and the Alternative
Museum Digital Commission 2000; formerly, an artist-
in-residence at Harvestworks collaborating on the CD
Bit by Bit, Cell by Cell released by Innova Recordings
in 2005; in 2002 she completed the second chapter
of “Destruction & Mending” commissioned by the San
Francisco Museum of Modern Art; launched “Portal,” an
interactive net.dance commissioned by Turbulence.org,
and was R&D resident at Eyebeam in 2003; represented
by Bitforms Gallery in New York.Everett Kane
Visiting AssociAte Professor
B.A., Princeton University, B.F.A.; M.F.A., Art Center
College of Design; artist, 3D animator, creative director
of SuperSoft Design; educational advisor to Location
One, a Manhattan-based non-profit focused on
the intersection of technology and the arts; 3D designer,
Molecular Biology Department, California Institute
of Technology.Lara Kohl
Adjunct AssistAnt Professor
M.A., Performance Studies, New York University; M.F.A.
Time Based Arts, The School of the Art Institute of
Chicago; B.A., Barnard College, Columbia University;
residencies: EdLab digital artist in residence, Teacher’s
College, Columbia University, 2008; Banff Centre for
the Arts, Banff, Canada, 2008, 2000; Queen Street
Digital Studios, Belfast, Northern Ireland, 2008; selected
exhibitions: P.S.1 Contemporary Art Center, Queens,
NY; Artists Space, NYC; Triple Candie, NYC; Exit Art, NYC;
Lehmann Maupin Gallery, NYC; Alona Kagan Gallery,
NYC; Black and White Gallery, Brooklyn, NY, Jack
the Pelican Presents, Brooklyn, NY; Repetti Gallery,
Brooklyn, NY.Linda Lauro-Lazin
Adjunct AssociAte Professor
Lauro-Lazin is an artist, curator, lecturer and educator.
She has been exhibiting her artwork for more than
30 years in the U.S. and Europe. Her foundation is in
painting and photography. Her work has been included
in the book Art in the Digital Age (Thames and Hudson,
2006). Lauro-Lazin was awarded the Fulbright Lecturing
and Research Award in 1998–1999 in Macedonia. She
has lectured at the Tokyo Museum of ContemporaryPhotography and the Fakultet za Likovni Umetnosti.
Her curated exhibitions include “Digital Visions”
(1995) at the Muroff Kottler Art Gallery at SUNY Ulster,
Stone Ridge as well as “Threading Time” (2005) and
“Computer Animation Festival Concept Artwork” (2005)
at SIGGRAPH 2005 in Los Angeles. She co-curated a
series of international, multi-site live performances on
the Access Grid (2005).David Mattingly
Visiting instructor
B.F.A., Colorado State University; M.F.A. Art Center;
headed the Matte Department at Walt Disney Studios
where he worked on “The Black Hole,” “Tron,” “Dick
Tracy,” Stephen King’s “The Stand,” and “I, Robot” for
Weta Digital in New Zealand; has produced over 500
covers for most major publishers of science fiction
and fantasy, including Baen, Bantam, DAW, Del
Rey, Dell, Marvel, Omni, Playboy, Signet, and Tor; for
Scholastic Inc., he painted 54 covers for K.A. Applegate’s
Animorphs series, along with the last five covers for
the Everworld series; illustrated the popular Honor
Harrington series for author David Weber; painted
the latest repackaging of Edgar Rice Burroughs’
“Pellucidar” books for Ballantine Books; two-time
winner of Magazine and Booksellers Best Cover of the
Year award, and winner of the Association of Science
Fiction Artists Chesley award; other clients include
Michael Jackson, Lucasfilm, Universal Studios, Totco Oil,
Galloob Toys, R/Greenberg Associates, Click 3X, and
Spontaneous Combustion; author of The Digital Matte
Painting Handbook (Sybex, 2011) the first guide to
digital matte painting.Peter Mackey
Professor
B.A., Syracuse University; M.F.A., University of Southern
California; Prof. Mackey has nearly 40 years of
experience writing and directing award winning films,
videos, multi-image, and interactive programs and
installations for companies such as GE, Apple, and
Simon and Schuster Interactive. He has taught and
lectured in South Korea and Turkey, writes speculative
fiction, and enjoys pushing the limits of three-
dimensional interactivity, player-mediated generative
art, and artist-friendly microelectronics.