What classes will you be teaching at Cooper this year?
Right now, I’m teaching material science for chemical engineers which is a sophomore class. I also teach the senior separation process principles class. In the spring, my plan is to teach a graduate-level drug delivery class and the second semester of the senior lab.
Doug is the lab manager for the mechanical engineering labs on the seventh floor of the NAB. His role involves helping students with the more practical side of their courses, like fabricating things for ME-211 Design & Prototyping and assisting lab work for ME-352 Process Control.
I am from Nazareth, north of
Israel. Right after I finished high school, my family moved to Las Vegas so, to some, I am also from Vegas.
What is your educational background?
I have a Ph.D. in electrical engineering and a master’s degree in applied mathematics from the University of Nevada, Las Vegas.
How did you end up teaching at Cooper?
Upon graduation, I was faced with a decision to make—whether I wanted to pursue a career in academia or in industry. I thought taking some time to explore and work in different areas would help with this decision. The following year, I worked as a fellow at different research centers, which is how I ended up in New York. By that time, I had decided that I want to be in academia. I cannot recall how exactly I heard about Cooper but I guess when you live in the city the name comes up. I researched the school and it seemed consistent with what I had in mind in terms of where I wanted to work. Luckily they had an open position, so I applied.
What do you think about the Cooper community so far?
Cooper has a unique environment, at least compared to the other academic institutions that I have experienced. I enjoy my interactions with both colleagues and students alike. The level of involvement of alumni long after their graduation is remarkable. Even if they end up going to other schools for graduate studies, the alumni seem to identify with Cooper the most. I think this says a great deal about the culture at Cooper.
I understand that you taught at SUNY Maritime before coming to Cooper, are there any differences?
SUNY Maritime is a specialized school and most students are generally interested in careers related to the maritime industry regardless of the engineering field pursued. This meant that some of the material taught had to be geared towards maritime-related applications.
What do you do outside of teaching?
Outside of teaching, I work on my research. I have been researching topics related to Intelligent Transportation Systems (ITS) since I was a graduate student. My most recent project is related to Bluetooth and Wi-Fi detection of pedestrians for the enhancement of transit systems.
What are some of your non-academic interests?
Food has been a constant interest of mine. For instance, I become obsessed with finding the best cannoli or cupcake or pizza in town. I enjoy music that I do not necessarily understand, especially fusion of traditional, classical, and modern music. Lately, I have been also interested in improv theater. Politics is another interest, though I do not like to discuss it.
I understand you are currently the only female faculty member of the electrical engineering department. Has that had an impact on your teaching experience at Cooper?
It is unfortunate to say this; however, being in engineering, I am used to being one of the very few or sometimes the only woman in the room. It definitely makes people curious about how I ended up in the engineering field, which is strange because I never wonder why my male colleague is an engineer. It makes me feel like I must have an interesting story for them instead of the plain old “I’m just good at math and science.” I do occasionally wonder how my work environment could have been different if I had more female interaction but whether or not this has an impact on my work is hard to determine.
At the beginning of my career, faced with skepticism, I found myself becoming slightly concerned about whether I needed to seem more “tough” to get credibility but soon after I realized it is too exhausting to worry about that, so I just started pretending that the skepticism does not exist. After all, tough comes in many forms and women are very good at being tough but with grace. That being said, I always found individuals at various institutions that are very supportive of women and very serious about increasing the number of women in STEM fields. Cooper is one of them. ◊
I know your bio on the Cooper website, but please introduce yourself for our readers!
I’ve been at Cooper for I think about a month and a half now. I’m the student care coordinator, which means that I’m here for all the students—I’m here for extra support. For example, if someone is overwhelmed with classes, struggling with a mental health issue, looking for individual counseling or outside referral, I’m here—just to make sure the students get what they need.
What led you to become a counselor?
I think what led me to counseling was my own experience in school. You know, going to college is not just about grades and academics. I mean, it absolutely is—that’s why we’re here, but besides from grades and academics, you might also be struggling with things like relationship or family issues. There’s just so much more involved with being a college student, and I just wanted to be the support for someone in that area.
Could you explain your “counseling style?”
My counseling style is very client-focused. I’m not here to tell you what to do or how to live your life. You’re the expert on your life and I’m here to sort of guide you through the issues you have and to get you where you need to be.
What do you think is the difference between a school counselor and a therapist?
It really depends; in some circumstances, they can be the same things. It is based on what the person needs. Typically, when I think of school counselors I think more of guidance counselors; while therapy, I think, is more about exploring people’s emotions or pasts and how that’s affecting their current behaviors.
What led you to come to Cooper?
I think it was Indeed.com. I was just looking for different jobs at the time and what struck me about Cooper is that it’s such a unique school with such dedicated students. I think there’s something really admirable about that. I just wanted the chance to be able to provide a little bit of a “stress-free zone” here.
What are some of your goals at Cooper?
I always say this, but I am a big “self-care” person. I think my primary goal here is to educate people about mental health and also about ways to take care of themselves. As important as it is to go to class, do work, and focus on academics, if you don’t take care of yourself, you really can’t do any of the other stuff. My goal here is to really teach people to take care of themselves, and learn to take time for themselves.
As students, we might have a hard time reaching out and asking for help, or even noticing that we might need help. Do you have any advice or suggestions for us?
As students, I think the first thing is to always take care of yourself. Even if it’s something very small, like going for a walk to destress, making sure you get a healthy meal, exercising, or going to bed on time. Even now, in general, I’ll check my email in the morning and the students I’ve been meeting with would have sent an email late the night before, and I can’t help but think “I hope this person is sleeping!” I think it’s important to remember that YOU come first, and that you should put yourself first so that you can be healthy enough to get to the other stuff.
In terms of reaching out for help, I think it can be pretty scary. It can be daunting to go into a room and talk to a stranger about what’s going on with you, but I’ve seen the amazing effects. It’s not only important for just the students but also everyone to have that one person that you go to once a week and just spill out everything, let me hold everything for you for just a bit so you get a break.
Aside from counseling, what are some of your hobbies? What do you enjoy doing?
In my free time, I enjoy self-care: sleeping. Aside from that, I’m really into photography. That’s a pretty big thing of mine as that’s kind of like how I do self-care and destress. And in general, going for walks helps clear my mind a lot.
Most of the areas of interest listed on your bio are related to mental health, but as students, we might not realize we suffer from these conditions. What are some things we should know to be aware of our situations?
One thing I plan on doing, hopefully, is to provide mental health education. Either in groups or just with workshops on what mental health concerns look like—signs that maybe something’s not right.
My advice for anyone is to pay attention to your body and what you’re feeling. Think of how people describe you. If someone says that you are social and outgoing, but suddenly you don’t feel like hanging out with friends, or maybe you’re not eating as much, or sleeping more than you’re used to, there might be an underlying issue there—and I think it’s important to just know yourself and to recognize changes.
Fun question: if you were a fruit, what would you be?
That’s a good one! I’m not actually really good at eating fruit though. I’m trying to eat healthy but can I be a certain smoothie instead? I would probably be a pineapple-mango smoothie as those are my favorites. You sort of have your fruit all at once, and that’s it!
Any last words?
I’m in the Student Affairs office, so definitely come by and say hi! I’m hoping to stash my office with candy, which is always a good way to get through class without falling asleep. Even if you’ve got nothing going on, feel free to drop by! I love talking to people—that’s just my thing. I’m super social! I’m hoping to get accustomed to the culture here more and to get a chance to meet everyone! ◊
The Office of Student Affairs provides free counseling services to students, and appointments can be booked online, with a total of 3 different counselors.
I was born in Hollywood, Florida but my family didn’t stay there very long after I was born. I grew up in the small rural towns of South Jersey. I went to a public high school in Bridgeton, NJ where I ran cross-country and middle-distance track. I came to Cooper Union as a student in 1995 and graduated in 1999. After Cooper, I got my MFA at Temple University’s Tyler School of Art in 2001. I hung around Philly for a year with my cohort of MFA’s and sold tickets at The Philadelphia Museum of Art. Eventually, I wiggled my way to the education department and worked with young children at the Mural Arts Program as I had developed some baseline teaching skills in Cooper’s Saturday Program. I kept myself afloat by doing art residencies that gave full or partial financial assistance such as the Skowhegan and Studio Museums in Harlem. I began showing my work around New York in 2004. By 2007, I had gallery representation, I was an adjunct professor at Cooper, and I taught courses at UConn Stamford. This was the juggling act until 2009 when I started teaching full time at Yale. During my time at Yale, I kept a studio practice going and was fortunate to exhibit at some major institutions and have a few solo shows at the Susan Inglett Gallery all while commuting between NYC and New Haven.
How did you arrive back at Cooper?
After teaching at Yale for 6 years I was really ready to be in one place. I saw that Cooper was hiring for tenure track positions in the School of Art, which I think was a big moment not only for me but for Cooper as well. I knew that whether or not I got the job, good things were happening at Cooper and I gave it a shot. I’m here!
Explore every idea good or bad.
Talk about your failures as much as your successes.
Learn a useful skill.
How do you perceive the difference of the art context at Cooper between “then” and “now”?
Well, I think like any art school, the art context is in many ways affected by the larger art context, at least from the standpoint of critical conversations being held. In 1995 the major gallery scene was SoHo. There were way less galleries in general. The New Museum was in an old building on Broadway and would show artists you didn’t see in major museums or galleries. Exit Art still existed and it held down the fringe. By the time I graduated in 1999, Chelsea was slowly becoming an art destination and there was funky stuff happening in Williamsburg with no baby strollers around. Williamsburg was pretty much invisible to the art market.
At that time, I believe painting was in its third dead-alive state and critics started talking about “conceptual painting,” that was, after a recent discussion of “bad painting.” The internet was a new beast and video and installation art were becoming more mainstream and gaining new theoretical frameworks, perhaps more than in a previous generation. Back then, it was sort of bad to talk about “identity politics” and “multiculturalism’ in mixed company. People talked of “culture wars,” which I always felt was such a negative term. What we were seeing of course was an all-out revolution in the arts where women and people of color were defining space in the art market and discourse for challenging Western patriarchy. Art was in a breakthrough stage.
Now many of these things are mainstream, but not without detractors in criticism. Language has changed. Art fairs are a thing. Galleries are as big as museums. SoHo seems like a weird place to go see art. You can see great art shows in the Lower East Side. Technology has drastically and quite intimately been integrated into our everyday reality. It has had a profound effect on art and social space and students are in tune with this. Art school facilities have adjusted. Painting continues its zombie apocalypse now joined by art, critical theory and history,things that have all been deemed dead and resurrected. We should consider art after Jay-Z’s “Picasso Baby.”
What advice would you give to current students in the art school?
Explore every idea good or bad. Talk about your failures as much as your successes. Learn a useful skill.
What would you like your students, as young artists, to take away from your class?
That what we do as artists is different than what critics, curators, historians and gallerists do, but altogether it’s an influential echo chamber. Create your own echo chamber of perspectives with your peers and test them out while you have this time in school. Understand the difference. Develop a community.
Tell us a little bit about what you like to explore in your art, and about any current projects in the works.
I’m interested in the Black presence in painting. My narratives are about visibility and historical erasure. I like the figure. Male figures that are made of small pieces of natural debris that shift, pile and disperse as a condition of being. This is kind of like autumn leaves piled on the lawn. I cut pieces of flora out of this black velvet paper I’ve had lying around for some years now. I paint and collage in body parts. I’m showing two now at the BRIC Biennial which is becoming our central Brooklyn community hub.
“Black Pulp!” is a show that I curated with Mark Thomas Gibson and it shows a history of African-American printed matter alongside contemporary artists such as Kerry James Marshall, Trenton Doyle Hancock, Kara Walker and Ellen Gallagher. Lots of printmaking and paper ephemera such as zines, comics and more! ◊
Note: BRIC Biennial is located at 647 Fulton St. The show “Black Pulp!” is at the International Print Center New York, 508 W 26th St. 5FL until December 17.
Jay Maisel is an illustrious photographer and celebrated alumnus of the School of Art.
by Pranav Joneja
Have you come back to Cooper to visit recently?
I would pass there every day because I lived nearby. But I just haven’t gone recently because now I live in Brooklyn and it’s hard for me to walk now. I’m going to get double knee replacement surgery soon so I’m hoping that I will be able to get around after that. All my friends who have had new knees put in tell me about how they’re out dancing now, so maybe if I can do that too, I’ll come out there.
When I did live in Manhattan, I would try to go to the annual exhibit. It was always the same every year, but it was always fun!
ON BEING AT COOPER
Did you have your own senior show when you graduated?
Yes, of course I did! I remember I had a sculpture of two people fucking. And the dean sternly told me:
“No, you cannot call it Copulating Couple!”
and he said—smacking the table—“Because people know what it is! You don’t have to write it down!”
Tell me more about him.
His name was Shaw; he was the dean of the art school. He was a redheaded man with balding hair. He and I had lots of interchanges because I was always up in his office complaining about everything. Just before I was to graduate, I got a notice saying I was first in the class but I also got another notice saying I wasn’t going to graduate because of my absences and my tardiness. So I went up to his office and I showed him the first notice in one hand and the second notice in the other… and he said “Well if we didn’t keep a rein on you, you never would have shown up!”
In the archives of the Library, I read that the selective service draft was in effect at that time. How did that affect you?
Yes, we were in the middle of the Korean War when I graduated in 1952. Even before the draft, I told my father I was going to enlist and he said:
“You can’t enlist because you’ll die!”
“How can you be sure?”
“Because I will fucking kill you if you do.”
But, seriously, I didn’t really believe in that cockamamie war but I didn’t want it hanging over my head the whole time.
Anyways, later on I was drafted and I went down to the examination at the draft office. The guy commanded everyone to do deep knee bends and I just stood there,
He said, “Okay, wise guy, what is it?”
“I can’t do deep knee bends.”
And he barked, “Well, you just stand there for four hours until we can get to you.”
And I’m standing there thinking, “Stand here for four hours or go into the army…?” I was so impatient; the choice was starting to feel difficult.
Anyways, I stood there and they finally got to me. They needed to do more tests—I was there another hour!—and they discovered that I had cartilage problems in my knees. That’s why I can’t walk now. My knee saved my life [from the draft] but every once in a while it got worked up and it caused problems for my mobility.
Did you get up to any other antics while you were at Cooper?
Sometimes, school furniture broke and they would have to throw it out. One time there was this huge, ten-foot table that was a little damaged on one side. By all other means though, it was a great table—solid wood and heavy. So I took the table, put it on my head and carried it to 17th Street where I lived. I carried it up all the stairs and put it in my room against the wall… But that’s when I realized I had the fucked up side facing outward. I tried turning it around but my apartment was so small I didn’t have space. So I had to take it all the way back downstairs, outside onto the street, turn it around and bring it back inside.
What did you do during your free time, during breaks from school or summer?
ON HIS FIRST WIFE
I had gotten married at age twenty—which was bizarre. I got married to a woman I met at an art program just before Cooper. She was two years younger than me and her father was a wealthy lawyer at the time. She was also a painter and she went to Columbia while I went to Cooper—so when we compromised on where we would live, we decided to live on 116th Street. [What a compromise!]
She was a very bright woman and she was culturally much more aware than I was. See, you have to understand I was very limited being brought up in Brooklyn and just from her family background she had opportunities to learn so much about the world. She actually introduced me to a lot of art and music and culture.
She was a very terrific lady. Our marriage lasted eight months.
Whose idea was it to get married?
I think we both wanted to get married but we were just much too young. If anyone had just said to us “Go ahead, get married,” we wouldn’t have done it. But everyone told us we couldn’t, so of course we went ahead and did!
At the time it wasn’t uncommon to get married so young in the Midwest. It was the ’50s, everyone was rushing to have their 2.6 kids and live in a house. But in New York, it was beyond stupid.
ON STUDYING AT YALE WITH JOSEF ALBERS
Yale attracted students from Cooper for two reasons: The first was of course the chance to work with Josef Albers. He was a very famous German painter involved in the Bauhaus and after escaping the Nazis, he came to America to teach at Black Mountain College. After that, he taught at Yale. He knew of Cooper Union’s rigorous program and invited Cooper students because of that. The second reason was that after three years at Cooper, we only had certificates but doing just one year with Albers at Yale meant we got a Bachelors in Fine Arts.
Albers thought that your medium should not influence the product of your work—you should have complete control over your work. He’s the exact opposite of Marshall McLuhan, who said “the medium is the message.”
At first, I had a lot of difficulty learning from Albers. See, I’ve never been neat— I’m kind of a slob. While at Cooper, Morris Kantor, my teacher and famous painter himself, said my works were not paintings, they were “emotional outbursts.” Meanwhile, Albers was very… German. He liked to be in control of everything. He said you should be able to paint in a white Palm Beach suit, while I couldn’t paint in a Hazmat suit. I got paint everywhere!
He didn’t like my paintings at all! He also gave a color course, which I excelled in because it was done in cut paper. But my paintings? No! It got so bad that I barricaded my studio so he couldn’t get in and look at my work—I was so embarrassed.
I remember one time we were doing a color study and I had chosen to do it with Color Aid paper. I had done this 30in-by-40in piece that I was very proud of. And he looked at it from outside my booth—because that’s where I had barricaded him to stand—and he said “Ach! Boy, now we finally begin to understand something about painting!” But then he pulled aside all the furniture and walked in and said “It’s paper!” and walked away disappointed in me.
Another time, he invited his students to contribute to a book he was doing. I really liked doing color studies so I submitted this incredibly complicated piece—I cut out circles and placed them inside each other. It was one color, against another, over the background and then another one… And Albers thought it was great, he put it in his book. But before he did, he changed the colors!!! The book was eventually published, titled Interaction of Color—you might have heard of it— and it cost $3,500. The reason it was so expensive: each page was silkscreened and individually approved by Albers.
ON FIRST GETTING STARTED IN THE PHOTOGRAPHY BUSINESS
I didn’t start with photography until the second or third year at Cooper. The first real moment was—
There was this art history professor, Dr. Zucker. One time he was gesturing in class and I wasn’t really listening to him anyways, so I took a picture. They ended up using that picture for a double page spread in the yearbook. Seeing your work reproduced on a double page… that was the first time something like that was done with my work.
What was the first moment where you felt you had really ‘made it’ / become successful?
Well, it’s a really subtle thing. I got an assignment to travel across the United States to photograph cars in an experimental way. The two other people asked to do the same were Elliot Erwitt and Ersnt Haas. We weren’t working together per se, but we were asked to do the same assignment. And these were two top fucking guys. Erwitt is still working today and he’s a genius. Haas was my mentor. He didn’t know it at the time—and later I got to know him better—but he was my hero!
But in my mind: if somebody thinks that I’m in this kind of company and working at their level, then I must have made it!
What about your first exhibit?
A year after I got into the business, I got my first exhibit at Roy DeCarava’s A Photographer’s Gallery. A photographer friend of mine, Garry Winogrand—he’s a contemporary of mine and I respected him very much, but he was also the most honest, tactless person in the world—when he came to the exhibit
He asked: “Who designed this exhibit [space]?”
“Well, I did”
“You did a good job, nobody’s gonna see how bad the pictures are.”
We were very good friends, but we fought a lot in jest. Garry once said to me:
“The reason your pictures suck is that they don’t reflect the chaos of the world”
“And yours do?”
“Yes, mine reflect the chaos of the world!”
“So why do mine have to? You’re taking care of it.”
ON LIVING AT 190 BOWERY
When I was looking for a new place, it was the first building I even looked at. When the agent told me he was going to show me an abandoned bank, I had assumed it was a two-story bank somewhere—there were a number of them in town. But when I saw 190 Bowery, I said, “Are you out of your fucking mind? I can’t do this!” And he said, “You can do it” with a smirk.
Since we were there already, I thought to myself I should take a look anyways. As he told me more about the place, I said, “Holy shit, there are 72 rooms in this place!? I don’t know if I can do it!” And again he just said, “You can do it.”
Of course it was later that I found out he had severely underestimated the cost of upkeep for the place. But still, it was a dream! I would never have to worry about space, I would always have someplace to put anything. And the fact that everyone told me I shouldn’t do it—well I did it anyways. So I put in a down payment of a quarter of the $102,000 price and I bought it.
In the early years, the agent also found me some tenants to take up the third and fourth floors. I had artists Adolph Gottlieb and Roy Lichtenstein paying me $350 for 3,500 square feet. It wasn’t a lot of money and eventually it wasn’t worth the bother to rent, so I just stopped.
While I lived there, I did most of my work in the main room on the ground floor. It was 40-feet-by-60-feet and the ceiling was 20-feet high, so it was just a joy to be in. There was the old bank vault underneath it. We had gallery spaces on the second and third floors and the fourth floor was storage and guest rooms. The fifth floor was mainly workshops. And we lived on the sixth floor—my wife, daughter and I.
What do you use the bank vault for?
Funny you should ask. Everybody who came to the vault said, “Gee, what a great darkroom this would be.” Or “Gee, this would be a terrific place to store wine.” But this one guy came, looked around and said, “Finally, a place where I can masturbate in safety and privacy.”
Everybody had an idea for what they would do for it, but I knew exactly what I was going to do with it. I stored all my important work, my negatives, my prints and transparencies and other important documents. That’s what I did.
Tell me about the elevator.
There were two elevators, but the lines were cut in one of them when I got the building. So we cannibalized parts whenever we needed to fix something up in the first elevator. The elevator was copper and I would have to shine it up. When I got it, it was painted black and it was a lot of trouble to keep it shined up.
It also had an escape hatch.
An escape hatch out of the elevator?
Oh yeah. It would get stuck a lot and I would need to use the hatch to get out. Sometimes it would get stuck near a floor, so it was okay and you could climb out. Other times it would get stuck between floors, so it got very hairy. I used to keep a 12-foot telescoping ladder in the elevator so I could use it when I needed to.
What about the graffiti on the outside?
Well I don’t have that problem anymore now that I live here [in Cobble Hill, Brooklyn]. And no, I don’t miss it, Jesus! Ninety percent of it was shit!
There was one guy—Keith Haring, you might have heard of him—made art on my building and I absolutely loved it! But he did it in chalk, so it would wash off when it rained.
Early on, there were many times when I got so pissed off by all the tagging and graffiti even on my windows blocking the light. So I used to spend an entire weekend cleaning it off. But by the next week, it was all covered again because I had basically made them a new canvas.
In 2001, the city came and told me they could help clean it off if I agreed to it. See, they can’t force me to remove it because it’s a freedom of speech matter. But I agreed, and so they came and tested if it would even come off. Soon, they figured out how to do it and said they would come back tomorrow. The next day was September 11. They never came.
In previous interviews, you’ve said you’d never sell it. What changed?
Have you ever seen The Godfather? [Yeah.] He made me an offer I couldn’t refuse. It was becoming untenable. When I bought the place, it cost me $200 to heat the place because gas was 10 cents a gallon. A few years ago, gas was four dollars a gallon. So it was $8,000 a month just to heat the damn place.
Someday I’m going to do a book about the place. I’ve got the pictures, and I’ll do it someday…