January 29, 2014

Students @ Work with Sam Centore

Last Semester, Pratt Success Contributor Craig Alexander Hartl, met up with Sam Centore, a Pratt Film major who's project, Passing Ellenville, has been gaining national media attention.  A collaboration between Sam Centore and Gene Fischer, Passing Ellenville is an indie documentary which focuses on the lives of two transgendered youths, living in upstate New York, as they undergo the process of gender transition.

With major cable networks and media outlets like The Huffington Post already in support of the project, Pratt Success and Sam Centore discuss what what led Sam to explore the nature of transgender identity, as well as what it's been like for him to juggle working on an indie film and his Pratt career.

What’s your major?  Where are you from?

I’m a film major in my senior year at Pratt.  I’m from Manlius, NY originally, which is about four hours from the city.

Why did you come to Pratt?

I originally grew up liking films, like classic cinema, Alfred Hitchcock movies.  Then I became more interested in photography and drawing.  I won the National Scholastic Art & Writing Award in 2009, and everything seemed to be pointing towards fine art.  So Pratt was like a hybrid between film school and an art school.  I guess that’s the reason.

What professional projects or jobs do you have outside of Pratt?

Well, I spent a lot of time at Pratt working at a website called Swagger New York, and that kind of led to a few other blogs that I was making videos for.  I interned for a production company, Smuggler Film.  Then I started doing this project; it actually started as a school project, Passing Ellenville.  And then in the past, maybe, six months I’ve been making all this other material.

How did you come upon Ellenville, of all places?  More generally how did you get involved in this project?

I have a friend of a friend, his name is Dustin Lance Black.  He’s a screenwriter, and he was giving this talk at Rubin Museum of Art, Brainwave: Illusion.  I didn’t really know who he was, but I have this mutual friend with him so I went.  

Lance was giving this talk on personal narrative in history.  Gene, one of the guys I went with, was doing this photo series of these two kids in Ellenville, New York, and so I was like, “Oh my gosh, yeah, that totally ties in” to the lecture we were at: all about personal narrative, telling history and stuff.  And Gene’s like, “Yeah, that’s what I’ve been doing with the photo series,” so yeah.  It’s just kind of grown since then.  It’s just been observing these two people, three people now, in Ellenville.

Ok, so you’ve had a pretty successful Kickstarter campaign.  (At the close, Sam and Gene raised $15,770 of their campaign’s $5,000 goal.)  How did you guys come upon using Kickstarter?  What has your experience with it been?

We started to use Kickstarter because it’s been just the two of us with the project, paying for equipment, and in order to to make this project go anywhere, to distribute film and stuff (you know, their fees for submissions for festivals), and if we wanted to extend the project, funding was necessary.  So we started this Kickstarter to spread the word.  

I feel like with a film like this, where we’re telling these peoples stories in hope of inspiring other people, it’s all about getting the word out there.  There’s no point in making it if it’s just you and your friends who are going to see it in the end, you know?

So the whole goal of the Kickstarter was to make this project something we could expand upon.

With Kickstarter you only get the money people give if you raise your entire goal (or more).  Did you expect to have success with the Kickstarter, or were you just doing it more as a promotional thing?

I have friends who are filmmakers, and they set a “low” goal of raising ten thousand dollars.  I’ve never made a film before, so I thought five thousand dollars was high.  I really didn’t think I was going to make that.

Now it’s over double that!  

It’s been a lot of Gene and me reaching out to people: friends and family members, and then spreading out from there.  I wasn’t sure how Kickstarter worked originally.  I thought you just put it out there, you know?  And then people would donate money!  But it’s not like that.  You have to constantly keep working on it.

Of course, it’s not just about raising money but really spreading the word.   In the media there aren’t that many people who are covering queer issues like this in the news, who are discussing people transitioning [between genders].  I mean, it’s kind of, some Zeitgeist thing.  But it’s cool because I was able to share this information directly with people.

Out of everything you’ve done professionally, what are you most proud of?

I think it’s probably what I just described.  I mean, there is the, “Oh, cool, I’m producing a real film.”  But also, with promoting the Kickstarter campaign, it’s given me the excuse to shove it in people’s faces, people who might not normally listen.  On a personal level, that’s really, really nice.

By “it” do you mean trans issues?

Yeah, trans issues.  I just find, if you don’t know anyone who’s transgender and the only person you’re seeing is maybe on a Katie Couric episode…  It’s just like, this is just another person who just so happens to be transitioning.

Not like Tyra’s Fifteen Trans Women of the day or whatever the case may be?

Right!  I think the other thing the people I talked to in the movie were really angry about was this whole thing about being grouped in with drag queens, and the idea of this clown figure.  That’s what people go to, because the only person they know is RuPaul.  So it’s cool to break through that.

Does Passing Ellenville talk about the relationship between the drag community and the trans community?

Not specifically, there’s no one we interviewed in the film who’s a drag queen.  But the characters touch on it, just with their frustration with.  We’re asking them about how they’re treated.

We actually had this really interesting thing happen.  Ashlee, one of the main characters in the movie, was walking down the street and somebody who bullied her in the past, with his group of friends, came up to her and actually said, “Oh, we saw this video of you on YouTube and we had no idea that that’s what it was all about.”  And one of them was like, “I’m almost jealous that you have this life path that you’re on.”  They had this larger understanding of her from seeing that video and that felt really good.

It seems like you’re saying that you’re glad that by establishing a professional identity, you’ve been able to have resonance in the entertainment and larger cultural spectrum.  Is that true?

Yeah.  I feel like I’m learning professionally that it’s good to have different ideas about what I’d like to affect, and then realizing the actual steps, like a Kickstarter, that I can take in order to spread a message that I think is important.

Or another thing was we showed part of the video in a gallery show.  Gene had his photos and I had my video in this gallery called Smart Clothes Gallery.  It was up last month, and that was another thing: it’s good to make the video, but it was also really importantly I felt I was a part of this show with other artists. It was important to share in the community.  It was transgender, it was LGBTQ.

So you’re in your senior year at Pratt and finishing up, but right now you’re still a student.  What has your experience been with balancing academic and professional commitments?

I’m actually better off now, and I’m busier.  Before, I was doing jobs, they were necessary jobs (for the blogs and stuff) but I didn’t necessarily want to do that.  I was telling myself, “Oh, this is what I want to to…” because it was music and fashion and stuff that I was filming, but I don’t think it really interested me.  The cool thing is this topic really interests me, and the documentary project that I’m working on outside of school is feeding into my thesis project, so it’s actually working out.  It makes me feel like it’s a more valid, you know?  So it’s actually helping me, it’s not crowding my schedule or anything.

I feel like I’m really excited about my thesis now because it’s a part of this larger idea that I’ve been working off of.  It’s not just something that I’m really in my head about and trying to come up with.

Do you feel like doing this professional project has taken away some of the anxiety of your senior year?  Many people’s senior theses are how they sell themselves to the professional world, but your project already exists in the context of the professional world.

Absolutely.  It feels less precious, because I already made one video, and this is coming out of that video.  They talk a lot in the film department about how this doesn’t have to be-- and maybe this is getting too much into the specifics of film, but it doesn’t have to be your “grand masterpiece”.  You’re like, “Oh I’m going to make Citizen Cane for my senior thesis,” you know? But we’re making a short film, that’s what we’re being trained to do, we’re not trained to do feature film.  So to think about it as making a glimpse of this character in a short film, of knowing the limit of a short film form, not as something that’s at all hindering me; but knowing the limit of what a senior thesis can be, in the timeframe I have, with the resources I have, is actually really, super helpful.  It’s like I know the tools I have to use.

Interviewed by Craig Hartl, October 2013

December 10, 2013

The Pratt Sketchbook Biennial

The semester's winding down, projects and papers are being finished up, and we're feeling like our creative juices have been depleted.  Perhaps now, more than any other time of the school year, it's imperative that we creative types find an outlet void of pressure, yet filled with inspiration.  The Pratt Sketchbook Biennial is exactly that.    

In October 2013, Pratt's Center for Career and Professional Development launched the 2nd Pratt Sketchbook Biennial, a project focused on community and art. But this year's theme has a twist.  From now until the end of Spring the Pratt Sketchbook will function as a sketchbook relay, where groups of artists, writers, designers, and creatives from the Pratt Community come together and collaborate to fill sketchbooks generously donated by Strathmore Artist Papers.  Participants check out sketchbooks in 2 week intervals, fill them with anything they'd like, from collage to notes to sketches, and then return the sketchbook for another participant to check out.  Participants can sign up with a predetermined team, or work in a random sketchbook that will be passed around throughout the course of the project.    

The following are examples of work students and faculty members have already contributed.

Associate Director, Center for Career and Professional Development, Pratt Institute

Carolina Walters, Architecture, 2017

Carolina Walters, Architecture, 2017

Haele Wolfe, Writing, 2014

Haele Wolfe, Writing, 2014

Check out the Pratt Sketchbook tumblr to see more work.  If you are interested in participating in the project, learn more here, or drop by the Center for Career and Professional Development, on Pratt's Main Campus, East Hall 001.  

The Pratt Sketchbook Biennial will come to a close in Spring 2014.  All of the sketchbooks will then be put on exhibition at the Center for Career and Professional Development.

November 19, 2013

Students @ Work with Betsy Peterschmidt

By Britt Gettys
Photos Courtesy of Britt Gettys and Betsy Peterschmidt 

Betsy Peterschmidt at her NYCC booth.
“Name: Betsy Peterschmidt.  Major: Illustration.  Year: Senior… That depresses me,” jokes Betsy Peterschmidt.  Situated at her Artist Alley booth at New York Comic Con (NYCC), surrounded by a myriad of cosplayers and comic-enthusiasts, all checking out the numerous prints and mini comic books Betsy’s selling, it’s hard to picture the quirky illustrators as actually being unenthused about graduation.  Or, perhaps Betsy has just found a productive way of channeling her nerves.  After all, she’s come to NYCC with the goal of securing her occupation as an illustrator, before graduating.  She’s a working girl with a working plan of action.  

“I’m promoting myself, and it’s been a great experience,” she says.  “I was here last year too, but this year has been more wild.  I’ve been able to get up from the booth more, now that I have Kevin, my booth babe,” she jokes, gesturing towards her boyfriend and collaborator.  “I’ve been going up to the show floor, trying to make friends, networking with Simon and Schuster and Dark Horse.  I'm interning at Green Willow books, an imprint of Harper Collins, and Sylvie Le Floch, the art director I'm working with there is here today, so I’ve been hanging with her too, meeting some very sweet, nice people.”

While she’s able to get up and go around the Con more this year, she still spends the majority of her time working at her booth.  Yet, it’s not boring for Betsy.  She’s constantly engaging herself with people passing by, stopping cosplayers to take their photos (notables being a Hipster Pocahontas, and a Jedi Mulan). “I get so annoyed with people who are trying too hard to sell their work,” she says.  “I want to engage with people, let them know that I know they’re here, looking at my work, but not try too hard to make a sale.  I don’t want to pressure people to buy things or sign up for a commission.”

It’s a strategy that works well for Betsy.  Minutes after Jedi Mullan walks by, she’s back to talk with Betsy more, this time asking for a water colored commission of her Jedi Mulan character.

“It’ll be done in 45 minutes,” Betsy tells the girl with a smile, already pulling out her watercolor pad and paints.
“Thanks!,” says Jedi Mullan.  “Your work is flawless!”

"Look at all this sweet art!"
Selling small commissions in house is a common thing in the NYCC artist alley, and one Betsy excels at.  “I’ve been mostly doing commissions here,” she says, gesturing towards the list of clients she’s taken on over the Con weekend.  “I make sure to give myself some buffer space though, because I’ll also mingle with people as I work.”

Aside from commissions, Betsy is selling a variety of her other works, including fantasy art prints, and pages from her ongoing web-comic, "Boys With Wings".  “Boys With Wings" is a story geared towards middle school students,” Betsy explains.  “The main character is ten, and the story is all about these kids learning to fly metaphorically.  Basically what happens is this one girl, Amelia, ends up missing, but she’s found by these two twin boys, and the three of them work together to fly Amelia home.  The three of them all share this deep passion for flight, gliders, and the story may be about getting her back home, but it’s ultimately about rising from failure.”

Watercolor prints, by Betsy,
for sale at her booth.
A majority of Betsy’s work focuses on this theme of personal encouragement.  Her other web-comic, "Symbiotic Neurotic", is a collaboration between her and her boyfriend Kevin Zych (pictured above).  The work features the two of them, depicted as animals, and tells stories of their adventures in New York.  “A lot of the stories in the comic are true,” Betsy says.  “But it’s more of a project that’s just for fun, it’s Kevin and I making fun of our neurotic selves as we both try to make art in NY.”  While the comic strip may be a project designed to help Betsy and Kevin unwind and remember not to take things too seriously, it’s no less successful than her other work.  In fact, the printed booklets of the comic-strip Betsy brought with her to NYCC all sold out, including the prototype.  

“There's a lot I'm still learning, being in school, so a lot of these projects are a way to encourage myself, and I think that’s why they’re all about rising up above challenge,” Betsy says.  A lot of these challenges, for Betsy, come from being a student, but also working freelance, and having to negotiate those two roles.  “I recently reached the realization that school has become second to my freelance work.  Not so much to the point that I’ve been failing classes, but normally I’d do an assignment or my homework right away.  Lately I’ve been pushing those things back, instead working on commissions.  Because this commission is due on Friday, and that assignment is due Monday, I’m going to prioritize the freelance work.”    

The decision to make freelance a priority has greatly paid off for Betsy.  Recently she illustrated a book cover for fantasy author, Diana Wyne Jones.  Before the book cover, she’d mostly done a lot of pet portraits for people in Minnesota, her state of origin.  Since then she’s branched out and worked on Kickstarter projects and children’s books illustrations.  Over the course of adding various projects to her resume, Betsy says she’s learned a lot about how to negotiate with clients, and more importantly, when to turn down a commission.  
Failure, By Betsy Peterschmidt

“Last spring someone from The Walking Dead messaged me, asking if I would do a graphic novel for them.  But I wouldn’t be paid by them, I’d only receive royalties.  And with the way royalties work, you really don’t get paid a lot unless it’s a New York Times Best Seller.  I told them I’d need to be paid upfront, and that I’d love to work with them on other things, and they didn’t call me back.  People will grind you for more work and less money like that, and slowly, over time, you learn how to deal with those people and how to determine what’s best for you.  A forty-five page graphic novel?  That takes time, and if it didn’t sell it’d be a flop.  That wouldn’t be the best decision for me.”

When asked if she had any other advice for current students, and artists, Betsy simply said, “Don’t wait.  Just start doing it now.  Go to conferences, get advice from mentors, family, friends.  I’m hearing it everywhere, don’t wait for the prince charming of the illustration world to come along.  You have to make it happen.  And don’t think you’re not good enough.  That’s just withholding your work from the world, and that’s sad.  Everyone has a voice.”

Betsy’s final message: “Greatness is not measured by how much success you have, but rather, how you rise from failure.”

Interviewed by Britt Gettys October 13, 2013

November 7, 2013

Life After Pratt With Illustrator Caitlin Hackett

By Britt Gettys
Photos Courtesy of Caitlin Hackett

Hackett in studio, working on a large-scale illustration.
Caitlin Hackett is a small town girl with a lyrical imagination.  Originally from Northern California, she graduated from Pratt Institute in 2009 with a BFA in Illustration.  However, art wasn’t her original career path, she says.  “I have been drawing ever since I was a child, always animals and mythical creatures, a lot of unicorns and cats -- you could say things haven’t changed too much haha -- but I actually intended to go into wildlife biology, and it wasn’t until I did a pre college program at CalArts that I started to seriously consider the idea of studying art.”  From there Hackett applied to a variety of art institutions, as well as state universities, and was eventually accepted to Pratt.  “I had to decide between art and science, and I chose art.”  Despite this choice, her work is still inspired by her love of biology and forestry, a passion born from the remoteness of a small town surrounded by redwood forests and the rocky Pacific Coast.   According to her, it’s the best of both worlds.                
When discussing her first experiences at Pratt, Hackett admits that she was overwhelmed.  “I definitely didn’t know what I was getting myself into.  When I showed up at Pratt I didn’t like it very much, I was overwhelmed by the city after living out in the forests and mountains all my life.  I questioned my choices and doubted my ability to make a career out of art.”  Considering the magnitude of the college choice, as well as having been split between two very different majors, Hackett’s concerns were not unfounded, and, in fact, echo the sentiments of many art students across the world.  The question of what it means to live as an artist, as well as weather one can make a career out of it is a constant concern.  Hackett found reassurance in her Drawing 101 professor, Iona Fromboluti. “She said that going to art school was not about learning how to draw, but rather about learning how to see, and that made all the difference to me.”

“It was tremendously hard work, four years of very little sleep and furious creation, but it did well by me, partially due to my own hard work, partially because NYC is such a great place to study art, and in no small part because I had professors who both inspired, frustrated, and pushed me to do better,” says Caitlin.  She misses the camaraderie of being surrounded by artists and creative persons, especially now that she finds herself working from a home studio.     
"The Nemean Lion", by Caitlin Hackett
Since graduating, Hackett has maintained a busy and successful career as a freelance artist.  Recently she illustrated “The Lilac Fairy Book” by Andrew Lang, for the Folio Society.  She’s also been working as a Creature Concept Designer for a gaming company based in Brooklyn, a job she’s had since graduating in 2009.  Alongside this she illustrates album covers for bands, designs tattoos and posters, and produces work for gallery exhibitions.  “It’s a busy life but a good one, although between the shows and the commission work I don’t get much time for personal projects, but I do my best to fit them in when I can.”                

Hackett’s personal work, which she calls “Contemporary Mythology,” is what really displays her passion for nature and the relationship between humanity and animals.  The term comes from her obsession with myths and legends, but is also derived from the mystical nature of the creatures she draws.  All of her pieces contain a darkened whimsy, as well as a melding of the human with the animal.  According to her, this is all a reflection of the questions that inform and inspire her work.

“I’m passionate about animal rights and environmentalism, and much of my work has to do with the struggle between humans and animals, some of those struggles are literal: deforestation, hunting and poaching, the draining of marshlands for development, experimentation of medical drugs and cosmetic chemicals on animals in laboratories;  the list of infringements into the natural world could go on and on. Other struggles are more figurative, and this is really where the mythology question comes in. There is a system of value which people put onto animal lives, and it varies from person to person as well as culture to culture. We have separated ourselves from the other animals, we are the top of the food chain and as such we have relegated the other creatures we share this planet with into various categories, there are food animals and companion animals, we vilify or personify animals at will.”
Hackett is one artist who’s work is not only a meditation on the state of things around her, but a way in which she can reach out to others and inform them. Each piece in Contemporary Mythology provokes discussion and thought regarding the labels and identities we, as humans, lay upon animals.  This is where modern myth comes from, Hackett says, and that myth informs our perception of the creatures around us.  “A snake is evil, a lion is noble, a dog is loyal, an owl is wise, a wolf is a vicious killer, and an elephant a kindly giant.  What do these statements really have to do with reality, how deeply have we woven the myths into the reality? We have allowed the myths to take over the animals, and the greatest myth of all is that we are not animals ourselves.”

In opening up this dialogue with her passion, Hackett demonstrates that, though her art has been commercially successful, she can also use it to illustrate the topics and concerns she has about the world surrounding her.  She doesn’t have to chose between success as a working artist and living as an artist of expression because she’s found a middle ground.

While Hackett didn’t do any internships as a student, she did take part in an artist residency at OxBow during the summer before her senior year.  Affiliated with the School of the Art Institute of Chicago, OxBow’s residency program aims to immerse artists, at all stages in their career, in an environment where one can explore both traditional and contemporary artistic mediums.  “I was fortunate enough to be chosen from a pool of applicants to be a resident there for the summer, with free housing, studio and meals, as well as several free courses, which I otherwise may never have had a chance to take, such as glass blowing.”  The residency functions as both a retreat, where one can work on their own personal projects without distraction, and an educational tool, offering a variety of classes for it’s residents to take, and instruction from visiting artists.  “It was a phenomenal life and art changing three months of my life,” states Hackett, and ultimately, given the ample time and inspiration, what led her to start selling commissions.  
"The Swan Maiden", by Caitlin Hackett
 Featured in an all female artist show at 323 East Gallery
While Hackett has managed to make a living off of her commissioned work, she says the experience isn’t nearly as smooth sailing as she makes it look.  “I had to teach myself how to write contracts, how to deal with companies that wanted to license my work to use for various posters or web designs, it was sort of a crash course in being an artist after I graduated.”  In her opinion, Pratt students could benefit from an education, not only in art, but in the business and politics of it as well.  This is one thing the Center for Career and Professional Development at Pratt strives to provide it’s student’s with.  The CCPD maintains a resource library of texts focused on the business of art and freelancing, and hosts multiple seminars on the topic every month.  

“I got taken advantage of by more than one client, and had artwork that I did not get paid for used by companies, and I had to deal with some scammy galleries,” Hackett admits.  But ultimately, these events led her to become more than an expert on the subject of freelance.      

“Make sure you have your client either pay you half or all of the cost before you start doing any work for them, and don’t send any kind of hi-res image file until after all the payments have gone through. If it’s a larger company I would recommend you write up some kind of a contract guaranteeing whatever kind of image rights you want to maintain, how much and when you will be paid, and how many alterations you are willing to do to the piece before you will start charging for the changes,” she encourages students.  
Despite Pratt not providing her with a background in the business of fine arts, her education did prepare her for hard, sef-driven work, and that’s invaluable when it comes to working for one’s self.  “I learned to set my own deadlines and keep them and to push myself constantly, as well as to go without sleep when needed (she laughs), and these are things that have come in handy for me in my career.”   

For Hackett, working as an artist has had it’s ups and downs, but it’s her passion and work-ethic that have allowed her to succeed.  “It took me a few years after graduating to really get to the point where I could support myself with my artwork alone, and even now there are good months and bad months, this is not the career to go into if you’re looking for financial stability. It requires a lot of hustle being a one woman business, and a lot of focus to produce enough work for both gallery shows and commissions, but ultimately my experience working as an artist has been a rewarding one.”   

Interviewed by Britt Gettys October 9th, 2013