The New SchooI/Parsons Printmaking Studio is arguably the best New York City has to offer, with one of the most experienced staffs of professors and technicians readily available to all who use it for either etching, lithography, silkscreening or monoprinting. This is no small feat in a city with one of the largest and most varied artist populations in the world. The fact that Dean H. Randolph Swearer has designated it to be closed in May in order to expand the fourth floor cafeteria into a Starbucks is shocking, and would be a huge blow not only to the printmaking community which has worked there as long as twenty years, not only to Parsons/New School students, but to all New York City artists who need to have a variety of artmaking resources at their command.

The Printmaking Studio draws students from every department at Parsons, and classes offered there are required or recommended for students in Illustration, Fine Arts and Communications Design. It is also one of few studios which attracts a great number of alumni, Associates Degree (AAS) and Continuing Education students, making it the most diverse studio in the school. The plan to eliminate the Studio constitutes ageism and classism. This is in direct conflict with the University Diversity Initiative, which states that the New School is committed to being "the most diverse private university of excellence in the country." The Student Handbook for 1999-2000 goes on to state that the "University Committee on Diversity works to encourage and assist with all aspects of the University's commitment to creating a more diverse and pluralistic environment." In determining to close the Printshop, Dean Swearer is going against the policies of diversity the New School proclaims itself to uphold.

Other universities and colleges in the New York City area have printmaking studios, including Columbia University, New York University, Hofstra University and Brooklyn College, yet none of these are art schools. Why would one of the best-known, best-recognized art universities in New York City, some would say the world, choose to eliminate such a vital element of the artist's arsenal, not to mention such a profound art- teaching tool? Could it be that Dean Swearer has designs on other Parson's departments, like illustration and fine arts, in order that he may castrate Parson's and make it into the latest New York City technical college? Is this what Parson's and New School students want from their university? Would they prefer a Starbucks to an education?

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