We are a diverse group of individuals with different points of view. As faculty members, we remain active studio practitioners/artists and believe that this enhances our value to our students. We strive to serve our students as both resource and inspiration through interaction with the students as well as our professional engagement nationally and internationally, through our representation in juried competitions, invitational, group and one-person exhibitions. We regularly give workshops and lectures regionally, nationally and internationally and our work is included in a wide range of public and private collections. There are two full-time faculty and several (2 to 4) adjuncts, each bringing their own unique perspective. A half-time technician serves the program as professional staff.
In addition to the faculty, there is a Ceramic Studio Technician who oversees the safe and smooth management of the studio. Currently, Graham Yeager holds that position. A part-time Graduate Fellow assists each semester and primarily oversees the clay making process and scheduling of the numerous work-study students who work in Ceramics. As well, a part-time Temporary Service Employee, usually a student, assists the Technician in whatever projects need attention.
» Mazin Adam
» Kate Doody
» Mary Roehm
» Anat Shiftan
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Mazin Adam |
Mazin Adam is the Studio Technician and Adjunct Professor at the State University of New York at New Paltz. He received his MFA from School for American Crafts Rochester Institute of Technology in 2005, and his BFA from Northern Michigan University in 2002. He has participated in artist in residency programs at Umdang Ceramics in Thailand and at the Shui Li Ceramic Cultural Park in Taiwan. Mazin has worked at Pewabic Pottery in the vessel production department and was the Head Studio Technician at The Clay Studio of Philadelphia. Mazin has exhibited his work in national and international shows.
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Kate Doody |
Kate Doody received her Master of Fine Arts from the School of the Art Institute of Chicago in 2008 and her Bachelor of Fine Arts from the New York State College of Ceramics at Alfred University in 2001. She has been an instructor of ceramics at the School of the Art Institute of Chicago as well as other venues such as Anderson Ranch Arts Center and the Carbondale Clay Center in Colorado.
Kate has been awarded several grants to promote her growth as an artist including the Trustee Scholarship from the School of the Art Institute of Chicago and a Window of Opportunity Grant from the Leeway Foundation in Philadelphia. Her exhibition record spans the United States with shows at such locations as The Northern Clay Center in Minnesota, Clemson University in North Carolina, Wexler Gallery in Philadelphia, and SOFA Chicago, as well as her work being a part of the international ceramic collection of the San Bao Institute for Ceramic Art in Jing de Zhen, China.
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Mary Roehm |
Mary Roehm was appointed a full-time member of the SUNY New Paltz Art Department in 1991. She is a full Professor and Head of the Ceramics program. Roehm received her BFA from Daemen College (Buffalo, NY), and her MFA from the School for American Crafts at the Rochester Institute of Technology (Rochester, NY). She is currently represented by the Snyderman/Works Gallery in Philadelphia, Dai Ichi Gallery in New York City and Andora Gallery, Scottsdale, AZ Her work is included in numerous public and private collections including the American Gallery of Art at the Smithsonian Institution, Washington D.C. (The Renwick Collection); the Museum of Fine Arts in Boston, MA; the Mint Museum of Craft and Design in Charlotte, NC and the Shigaraki Museum of Ceramics, Shigaraki Ceramic Cultural Park, Japan. She has received numerous awards including NEA and NY Foundation for the Art Artist Fellowship grants. Roehm has served as a trustee for the American Craft Council and currently serves as a trustee of the Bodanna Foundation, NYC, a non-profit/social venture developed to support gifted and talented 'at risk youth' through apprenticeships in ceramics.
"For me, the vessel speaks to the architecture of an object. The inside/outside relationships of space and volume, historically speaking, address utility. The vessel, in particular the bowl form, has a rich history in the craft tradition and provides ample opportunity for investigation and personal interpretation. As well, the materials and processes I work with have their own histories that I elect to contradict. Porcelain brings images to mind of highly refined, classical forms; these become my springboard for pushing the boundaries of both form and material. I work to create a tension between the viewer's visceral and intellectual reactions."
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Anat Shiftan |
Office Hours: By appointment also |
Anat Shiftan has taught at Bezalel Academy for Art and Design in Israel and the University of Michigan before joining the faculty at SUNY New Paltz in the fall of 2003. She is a full-time professor in the Art department, teaching ceramics. Shiftan received her BA in English Literature and Philosophy from the Hebrew University, Jerusalem, Israel and received her MFA in Ceramics from the Cranbrook Academy of Art and Design in West Bloomfield, Michigan. She served as glaze specialist, senior designer and director of the education program at Pewabic Pottery in Detroit, Michigan. She received twice the Michigan Grant for Individual Artists and has shown in both one person and group shows.
"My interest is in working in clay and taking the material through the process of firing. Clay and glazes intrigue me in the endless visual options they can create. My ceramic sculpture and paintings focus on the questions of the gap between rational and intuitive apprehension. My ceramic work examines issues of the nature of knowledge and creates a dialogue with the history of ceramics and art. My ceramic paintings incorporate traditional methods of the craft and digitally produced images. I want to convey the relevancy of craft in the digital society to highlight the notion that in our society craft is relevant to material specific and to digital methods and that digital methods are relevant to craft traditions."
