Wendell «ΜΧ» Cooper, Assistant Professor, Department of Music, Multimedia, Theatre and Dance

 Ecstatic Disobedience: Gender Embodiment in Hip Hop, House, and Vogue

Mx. Oops aka Wendell Cooper will examine how Breakin’, House Dance, and Vogue Femme simultaneously critique gender expression norms and expand beyond them. Each dance form is based on a series of foundational movement elements, each borrowing from movement traditions with gendered histories — Salsa, Jazz, Capoeira, and more. By looking at how these Urban Dance forms remix fixed notions of masculinity and femininity, we will unpack their methodology of liberation.  

Wednesday, April 28, 2021

12:30 – 1:45pm

CLICK HERE TO JOIN THE TALK!

Meeting ID: 829 5422 7373

Passcode: 436610

Or JOIN BY PHONE!

+1929 205 6099 (New York)

To find your local number, please click here!

CUNY Institute for Health Equity (CIHE) Inaugural Speaker’s Series on:
Health Equity and Health Disparities


Joan Davis Nagel joined NCATS’ Division of Clinical Innovation (DCI) as Program Director in September 2014. She oversees several of the multimillion-dollar Clinical and Translational Science Awards (CTSA) and works collaboratively with principal investigators to provide programmatic direction and oversight of their clinical and translational science projects. Nagel also represents NCATS on DCI’s Workforce Development Domain Task Force Lead team, a committee of 60+ representatives from CTSA Program hubs that help to provide strategic direction on education and workforce issues that impact the clinical and translational science workforce.
Nagel earned a B.A. in biology from Williams College, an M.D. from the State University of New York at Buffalo and an M.P.H. from the Johns Hopkins School of Hygiene and Public Health. Her background includes training in obstetrics and gynecology, followed by a residency in general preventive medicine at the Johns Hopkins Medical Institutions. Before assuming her current role, Nagel spent five years as a program director in the National Institutes of Health (NIH) Office of Research on Women’s Health, providing oversight for two large interdisciplinary women’s health research programs (Building Interdisciplinary Research Careers in Women’s Health and the Specialized Centers of Research on Sex Differences) and worked collaboratively with researche
Dr. Nagel earned a B.A. in biology from Williams College, an M.D. from the State University of New York at Buffalo and an M.P.H. from the Johns Hopkins School of Hygiene and Public Health. Her background includes training in obstetrics and gynecology, followed by a residency in general preventive medicine at the Johns Hopkins Medical Institutions. In addition, Dr. Nagel worked as a city clinician for the New York City Department of Health Bureau of Sexually Transmitted Diseases and as a medical consultant for the Urban Women’s Retreat, a shelter for survivors of domestic violence in Harlem.

Mozart – Don Giovanni Overture

Mozart – Concerto in G for Flute
Kelly León, flute soloist

Haydn – Symphony No. 103 “Drumroll”

• Winter 2019 Classes Begin
• Late Registration for Winter 2019
• Last day to add a course
• Last day to drop for 50% tuition refund
• Last day to drop without a grade of “WD”

• Course Withdrawal Drop period begins. A grade of “WD” is assigned to students who officially drop a class. (1/3/19 -1/4/19)
• Verification of Enrollment Rosters available on CUNYfirst.

• Census Date
• Course Withdrawal Drop (WD) period ends. Last day to drop without the grade of “W”
• Last day to drop for 25% tuition refund
• Deadline for faculty to submit Verification of Enrollment Roster

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

• Transfer New Student Central from 10:00AM-12:00PM
• Transfer New Student Orientation from 12:30PM-4:00PM

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

Congratulations to our newly admitted graduate students! Join us for Graduate New Student Day! This program is designed to provide information to ease your transition into graduate school.

Welcome Reception and Orientation
Wednesday, January 23, 2019
6:00 PM - 7:30 PM
Faculty Dining Room, Music Building
Check-in opens at 5:30 PM
 - Learn what to expect as a graduate student
 - Meet, greet and eat with departments, Deans and faculty members!

Grad Student Central
We recognize that some students may still have questions, need their ID or to visit with their graduate departmental advisor. Because of that, we have arranged a days’ worth of optional activities that you can attend. Everything will lead up to our Welcome Reception and Orientation in the Faculty Dining Room at 6:00 PM! Check out the schedule below!

12:30 PM - 5:00 PM: Visit Grad Student Central!
Shuster Hall CIS Information Desk
 - Staff and volunteers will be available to assist students in getting to Common Departmental Advising and the ID Room.
 - Graduate Admissions and Graduate Studies will also be available for assistance.
 - From 12:30 PM – 3:30 PM an IT staff member will be assisting students in the Shuster Hall Computer lab.

3:30 PM - 5:20 PM: Attend a Workshop! 
Carman Hall Classrooms 
Choose one workshop per time slot

3:30 PM - 4:20 PM: Concurrent Graduate Workshops
4:30 PM - 5:20 PM: Concurrent Graduate Workshops

Workshops:

Introduction to the Leonard Lief Library: Ready to Meet Your Graduate Research Needs
Get a head start on your coursework by exploring the ins and outs of the Leonard Lief Library through a virtual tour and introduction to discovery tools and online resources. You will leave the session being able to identify ways that the library can support you as you begin your Lehman graduate program.

IT @ Lehman
Session will cover access to essential IT services including email, CUNYfirst and Blackboard; support services including the Help Desk, instructor-led and online -IT training, and documentation; mobile computing; facilities including the IT -Center, smart classrooms and the Media Services.

Summarizing and Synthesizing Sources – A Refresher Workshop (ISSP)
This workshop will provide an overview of some key elements of writing a research paper, with a focus on using sources ethically during the preliminary stages of the researching and writing process. We’ll look at samples of accurate and fair paraphrase, and discuss strategies for avoiding inadvertent plagiarism of sources. In an interactive exercise, we’ll also practice the art of concise summary while looking at stand-up comedy clips.

To register for Graduate Student Welcome Day please click here.

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

Castles in the Sky: Fantasy Architecture in Contemporary Art. Now through January 26, 2019
In the Lehman College Art Gallery. 

The buildings in our mind’s eye are limitless.

In our dreams, we unlock doors to unknown passages and climb unending stairs into the darkness of rooms, strange and never seen before.  Not tied to the reality of bricks and mortar or ground and gravity, we imagine any structure ― the American “dream home” on a coveted suburban cul-de-sac beyond our reach, or the wild acid-trip floating balloon palace of a magical unicorn.

Jarring the laws of actual architecture, the imagined palace functions as very real foundation, buttress, and pillar for Castles in the Sky. From Claes Oldenburg’s proposal to replace the Washington Monument with a gigantic scissors to Laurie Simmons’ photograph of candy castles atop a cake weathering a blizzard of confectionary “snow,” the 30 artists in Castles in the Sky develop bizarre, impractical, enchanting, and inspiring unbuilt (and likely unbuildable) designs, and gather inspiration from famous sources.

Lother Osterberg draws from the etchings of 18th-century Italian artist Giovanni Battista Piranesi, the creator of images of dark and cavernous space― the nightmarish side of the architectural dream. Will Cotton’s candy castle represents a fantastical continuum of the art of 19th-century American landscape painter Thomas Cole, who, in Youth (1842), pictures a man rushing towards the mirage of a castle in the sky, the locus of all his youthful dreams. In Salvador Dali’s Gala’s Castle (1974) an elephant on attenuated legs tiptoes across a castle crenellation in Surrealist activity, which we spy, again, today, in Adrien Broom’s improbable scene of a Victorian woman standing in her drawing room open to the sky and filled with a wandering zebra.

This exhibition plays tribute to the ceaseless meanderings of the human imagination and the creative fantasy the hovers in the recesses of every artist’s mind.

• Last day to add a course
• Last day to officially drop a class without a grade of "WD"

• Course Withdrawal Drop (WD) period begins. A grade of “WD” is assigned to students who officially drop a class
• Verification of Enrollment Rosters available on CUNYfirst

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

Learn How to:

Do a literature search on your topic to determine what’s already been published – not only in your domain of expertise but also in less familiar fields

Analyze results to find out who the prominent researchers, institutions and funders are in the field. Find potential collaborators – where are they affiliated? Are they highly cited?

Determine past funding sources and get ideas about where to look for open opportunities

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

Graduate Information Session for English M.A.

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

In his book Sounds of Crossing: Music, Migration, and the Aural Poetics of Huapango Arribeño (Duke 2017), guest lecturer Dr. Alex E. Chávez of the University of Notre Dame, explores the contemporary politics of Mexican migrant cultural expression manifest in the sounds and aural poetics of huapango arribeño, a musical genre originating from north-central Mexico. In this presentation, he draws on this work to address how Mexican migrants voice desires of recognition and connection through performance, and the politics such desires attain amidst the transnational context of migrant deportability.

This event is cosponsored by the Department of Latin American and Latino Studies; the Department of Music, Multimedia, Theatre, and Dance; the Mexican Studies Institute; and the Leonard Lief Library. The book discussion will be preceded at 11:00am by a lecture/recital by Dr. Chávez entitled “Huapango Arribeño: Aural Poetics of North-Central Mexico.”

• Course Withdrawal Drop period. A grade of “WD” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

Graduate Information Session for English M.A.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

The Lehman Chamber Players will perform works by Viennese composers, Mozart, Beethoven, and Brahms.

Mozart’s Sonata in B-flat Major for Violin and Piano, Beethoven’s Sonata in C Major for Cello and Piano, and two works by Brahms: Songs for Baritone, Cello and Piano, as well as his dramatic Trio in C Minor for Violin, Cello, and Piano.

Artists: critically acclaimed violinist Paul Roczek who is Professor of Violin at the Mozarteum in Salzburg, Austria; cellist Hamilton Berry, a graduate of the Juilliard School; baritone Aram Tchobanian, director of the Joy in Singing Competition; and Diana Mittler-Battipaglia, Professor of Music and Choral Director at Lehman College.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

• Course Withdrawal period. A grade of “W” is assigned to students who officially drop a class.

Lehman Piano Professor, Molly Morkoski performs Charles Ives' Piano Sonata No. 2, Concord, Mass.
Dr. Morkoski has performed as soloist and collaborative artist throughout the U.S., Europe, the Caribbean, and Japan.