creative writing nyu summer

Published September 13, 2023

A Tale of Three Cities: NYU’s Summer Creative Writing Programs

Staff Writer

• Aspiring writers can spend a month honing their craft in Paris, Florence, or New York City.
• These summer programs are open to current NYU undergrads as well as visiting students.
• Writers immerse themselves in their cities and learn from leading literary and creative minds.

Writers draw inspiration from their own experiences, and for many, global cities become their muse. At NYU, aspiring poets, fiction writers, and creative nonfiction writers can enroll in a monthlong immersive summer program through the College of Arts and Science . Participants choose between Paris, Florence, and New York City, and then hone their creative writing skills against the backdrop of an iconic city. Below, three aspiring wordsmiths share their experiences living a writer’s life.

Enjoy a Moveable Feast in Paris

NYU English and American Literature major Isean Bhalla chose to study in Paris because a friend completed the program and loved it. Their endorsement? “‘It was the greatest month of my life,’ word for word,” Isean recalls. “Plus, one does not say no to Paris. Ever.” Reflecting back, Isean credits growing as a creative writer to the program’s high-quality faculty and “excellent” nightly readings from “world-class writers.” “It gave me a greater understanding of my own voice as well as things I want to write about in the future,” Isean affirms.

Most importantly, however, Writers in Paris connected Isean to an inspiring community that was rich in writing talent and friendship. “The program put me in constant contact with other writers who were better than I was. They pushed me in ways I couldn’t. Being around writers 24/7 doesn’t sound like it’s that important, but I found it more stimulating for my writing than anything else. That’s all anyone ever talked about or thought about. So we’d feed off each other and get better.” And, of course, being in Paris didn’t hurt. Isean says, “Paris is a muse; Paris has always been a muse; and I suspect Paris will always be a muse.”

Get a Room with a View in Florence

Katherine Ertman always considered writing a hobby, but after attending Writers in Florence , she realized it could be a career. The NYU Vocal Performance major is training to be an opera singer, but in Florence, she found that “writing my own stories instead of performing stories written by others was a refreshing experience.” In fact, Katherine spent the past summer completing a Creative Writing minor by enrolling in both Writers in Florence and Writers in Paris. “It seemed like an amazing opportunity to complete all 16 credits while exploring two inspiring European cities,” she explains.

In Florence Katherine drew inspiration from a day trip to Castello di Fosdinovo, a Tuscan medieval castle. In Paris she attended readings by renowned authors outside the iconic Shakespeare and Company bookstore. “The locations really influenced me, and I ended up writing a few stories set in both locations,” Katherine says. In the end, she urges anyone interested to enroll, even if they’ve never shared their creative writing with others. “Just try it!” she exclaims. “Writing was a hobby for me, and I went in without any prior workshop experience. Also, I was intimidated because I’m not an English major. However, my fears were unfounded because the faculty and students alike were so supportive. It’s an experience I wouldn’t trade for the world.”

A Writer Grows in New York City

Esmé Warmuth grew up close to New York City, admiring the city from afar but never spending much time there. So when the English major learned that she could join NYU’s Writers in New York program as a visiting student , she jumped at the chance. “I’ve been a longtime admirer of NYU’s creative writing faculty,” she adds. Living in Greenwich Village, Esmé connected with published authors, literary agents, and magazine editors, gaining valuable professional experience. She particularly enjoyed a panel with program alumni. “It was helpful to hear from authors who had started where we were and wound up with book deals, jobs teaching creative writing, and overall successful careers,” she explains.

During her month in New York City, Esmé sharpened her skills as a writer and gained confidence in her abilities. “Receiving, giving, and listening to advice in class helped me grow my craft and gave me the opportunity to share my writing with a receptive and positive audience,” she says. All in all, the experience was better than she could have imagined. “The Writers in New York program was like nothing I ever experienced before,” she concludes. “Being among students my age who were just as passionate about books and writing as I am was wonderful. Plus, everyone came in with a great attitude and a willingness to learn. I’m very grateful.”

A Creative Writing Minor Complements Any Major

Across majors and around the world, NYU students find the value in a Creative Writing minor.

A Guide to Writing Majors at NYU

At NYU, English and creative writing aren’t the only options for aspiring writers!

Find Joie de Vivre at NYU Paris

At NYU Paris, you can practice your French, take courses at local institutions, and soak in the French capital’s storied culture.

• Skip to Main
• Master's Programs
• Ph.D. Programs
• Global & Online Programs
• Library and Information Science Dual - Degree Program
• Certificate Programs
• Application Resource Center
• Financial Aid
• Admissions Events
• Campus Tours
• Newly-Admitted Students
• Message from the GSAS Dean
• Academic Calendar
• Inter-University Doctoral Consortium
• Submitting Your Dissertation
• Fellowships and Awards
• Fellowships & Awards
• Alumni Features
• Public Humanities Initiative
• New Student Orientation
• GSAS Convocation
• The Master's College
• Diversity, Equity, and Inclusion
• OASA Room Reservations
• Graduate Student Council
• Graduate Student Clubs
• Student Resources
• Doctoral Alumni Association
• Senior Administration
• Dean's Office
• Policies and Procedures
• Directors of Graduate Studies & Program Directors
• Standing Committees
• History of GSAS
• Dean's Conference Room
• Administrative Resources
• Dean's Advisory Council
• Research in GSAS
• Give to GSAS
• NYU/Axinn Foundation Prize
• Event Calendar
• TELL GSAS Doctoral Research Days

Creative Writing

Degrees and fields of study.

• M.F.A. in Creative Writing - Fiction
• M.F.A.  in Creative Writing - Poetry
• M.F.A.  in Creative Writing - Creative Nonfiction
• M.F.A.  in Low Residency Writers Workshop in Paris Program - Fiction
• M.F.A. in Low Residency Writers Workshop in Paris Program - Poetry
• M.F.A. in Low Residency Writers Workshop in Paris Program - Creative Nonfiction

Application Deadlines

Applications and all supporting materials must be  submitted online by 5PM  Eastern Time. If a listed deadline falls on a Saturday, Sunday, or U.S. federal holiday, then the next business day will be the actual deadline.

Creative Writing Programs

• December 18 : Fall admission

Writers Workshop in Paris Programs

• September 1 : January residency (January term application)
• February 1 : June residency (summer application)

Requirements

In addition to the general application requirements, the department specifically requires:

Test Scores

• Please do not send GRE test scores — they will not be reviewed by our Admissions Committee.

TOEFL/IELTS

Applicants must submit official TOEFL or IELTS scores unless they:

Are a native English speaker; OR

Are a US citizen or permanent resident; OR

Have completed (or will complete) a baccalaureate or master's degree at an institution where the language of instruction is English.

Statement of Academic Purpose

In a concisely written statement, please describe your past and present work as it relates to your intended field of study, your educational objectives, and your career goals. In addition, please include your intellectual and professional reasons for choosing your field of study and why your studies/research can best be done at the Graduate School of Arts and Science at NYU. The statement should not exceed two double-spaced pages.

Writing Sample

A creative writing sample is required. It should not exceed 25 double-spaced pages for fiction and nonfiction applicants and 10 single-spaced pages for poetry applicants. The font size should be 12 point or larger.

Useful Links

• GSAS Bulletin
• Department Website
• Email [email protected]
• Application Portal
• Back to Programs, Requirements and Deadlines

The Graduate School of Arts and Science reserves the right to change this information at any time. This page supersedes all previous versions.

Last updated August 2023.

Creative Writing (CRWRI-UA)

Print options.

Send Page to Printer

Print this page.

Download Page (PDF)

The PDF will include all information unique to this page.

• Skip to Main
• Program of Study
• Course Offerings

Program of Study (CAS Bulletin)

Creative writing (2022 - 2024).

The minor in creative writing offers undergraduates the opportunity to sharpen their skills while exploring the full range of literary genres, including poetry, fiction, and creative nonfiction. All students must complete 16 points of coursework in creative writing in order to fulfill the requirements of the minor.

The introductory workshop Creative Writing: Introduction to Prose and Poetry (CRWRI-UA 815, 4 points) or the study away course Creative Writing (CRWRI-UA 9815, 4 points) is generally the required foundational course, to be followed by 12 additional points from the program's CRWRI-UA course offerings.

However, students who begin their minor by taking one of the program's 8-point summer intensives—Writers in New York (CRWRI-UA 818, 819, or 835), Writers in Paris (CRWRI-UA 9818 or 9819), or Writers in Florence (CRWRI-UA 9828 or 9829)—are not required to take the introductory workshop (CRWRI-UA 815, CRWRI-UA 9815, or equivalent). Following completion of one of these 8-point intensives, students may take advanced coursework in the same genre as their summer intensive and/or move directly into an intermediate workshop in an alternative genre. Students may also repeat an 8-credit summer intensive to complete the 16-credit minor. Intermediate and advanced workshops may be taken three times for credit.

The creative writing minor must be completed with a minimum grade point average of 2.0 (C). No credit toward the minor is granted for grades of C- or lower, although such grades will be computed into the grade point average of the minor, as well as into the overall grade point average. No course to be counted toward the minor may be taken on a Pass/Fail basis.

To declare the minor : Students in the College of Arts and Science may declare a creative writing minor by completing the minor declaration form on the program's website. Students in other NYU schools may declare their minors on Albert or as directed by their home schools. The program recommends that all creative writing minors contact the undergraduate programs manager in the semester prior to graduation to verify that their minor declaration is on record and that they have fulfilled (or have enrolled in) all of the appropriate courses for the minor.

Policy on Course Substitutions

Students may petition to apply a maximum of one outside course toward the minor, either as the introductory prerequisite (equivalent to CRWRI-UA 815 or 9815) or as an elective. An outside course is any NYU creative writing course without a CRWRI-UA rubric. To petition to substitute an outside course, students must complete the course substitution petition form (available on the program's website) and provide the course syllabus (as described on the petition form). The undergraduate programs manager will review the submitted syllabus to verify course level and determine substitution eligibility. Students must petition for course substitution prior to registration.

If the program pre-approves a non-NYU course for substitution, it can only be counted toward the minor if 1. the Office of the Associate Dean for Students in CAS has also approved the course credit for transfer, and 2. the student receives a grade of C or better.

Students wishing to begin the creative writing minor while studying away at an NYU site should register for Creative Writing (CRWRI-UA 9815) or, if studying away in the summer, for one of the 8-point intensives offered in Paris and Florence (CRWRI-UA 9818, 9819, 9828, or 9829). These courses are not considered outside courses and will automatically be counted toward the creative writing minor. All other creative writing courses taken away require a petition for substitution and are subject to approval by the program.

• Masters Degrees
• Bachelors Degrees
• Associate Degrees
• Career Pathways Bridge Program
• Online Degree Programs: Bachelor’s, Master’s & Associate’s
• Global Offerings
• Faculty Spotlight
• Faculty Directory
• Open Faculty Positions
• Policies and Documents
• Professional Studies
• Continuing Education
• Executive Education for Industry Leaders
• High School Academy
• Areas of study
• Divisions & Departments
• Professional Pathways
• Degree Directory
• Graduate Admissions Criteria
• Graduate Application Requirements and Deadlines
• Graduate Financial Aid
• Summer Publishing Institute
• Undergraduate
• Undergraduate Admissions Criteria
• Undergraduate Application Requirements and Deadlines
• Undergraduate Financial Aid
• Transfer Students
• Adult Learning
• Your Community
• New Students
• DAUS: Military Veterans
• Global Perspective
• Graduate Events
• Undergraduate Events
• Frequently Asked Questions
• Student Success
• Academic Advising
• Student Life
• Resources and Services
• University Life
• Arts, Culture, and Entertainment
• Health and Wellness
• Studying in New York City
• Travel and Transportation
• Policies and Procedures
• NYU SPS Wasserman Center
• Career Success
• Industry Engagement
• Hire NYU Talent
• Faculty Engagement
• STUDENTS & ALUMNI: GET STARTED
• Events Central
• Office of Events
• Meet the Team
• SPS Conference Room and Event Spaces
• Event Request Form
• Event Guidelines
• Conferences
• Hospitality Conference
• Capital Markets in Real Estate
• Women in Real Estate
• REIT Symposium
• NYU Coaching and Technology Summit
• Future Workforce Global Summit
• NYU SPS Events
• Undergraduate Convocation
• Graduate Convocation
• Student Events
• Capstone Fair
• Alumni Advantage
• Alumni Stories
• Current Alumni
• Give to NYU SPS
• Parents Council
• SPS Reunion
• BA in Humanities

Creative Writing

The Creative Writing concentration is designed for beginner through experienced writers who wish to develop their craft. Through studio classes in poetry, prose, and performance, you will concentrate on generating texts and learning the conventions of particular genres and forms. You also will participate in interdisciplinary humanities seminars that bring together reading, writing, theory, and method.

Build Your Audience

Improve as a writer with practice and feedback and increase your audience through publication in our literary and arts journal, Dovetail.

Faculty Contact

Dr. Clif Hubby

(212) 992-8397

[email protected]. 

Requirements

Creative writing concentration: craft studios category.

Students select four credits from Craft Studios and four credits from Workshops and an additional eight credits from either category.

• CWRG1-UC5243 The Craft of Playwriting 4
• CWRG1-UC5242 Poetry Studio 4
• CWRG1-UC5241 Prose Studio 4

Creative Writing Concentration: Workshops Category

Students select four credits from Workshops and four credits from Craft Studios and an additional eight credits from either category.

• CWRG1-UC5277 Creative Nonfiction Workshop 4
• CWRG1-UC5271 Fiction Workshop 4
• CWRG1-UC5272 Poetry Workshop 4
• CWRG1-UC5280 Writing for Children & Adolescents 4
• CWRG1-UC5275 Writing for The Screen 4
• CWRG1-UC5273 Writing for The Theater 4
• MEST1-UC6050 Digital Storytelling 4
• MEST1-UC6013 Writing for Media and Communication 4

Gallatin Writing Program

Writing is at the heart of Gallatin’s curriculum. Undergraduate students have opportunities to develop their academic writing skills in seminars and advanced writing courses, as well as experiencing writing beyond the classroom through the Gallatin Writing Program’s diverse events, publications, and civic engagement projects. At the graduate level, Gallatin graduate writing specialists provide writing support and ongoing programming, including writing workshops, for Gallatin MA students. 

Learn more about the resources offered through the Gallatin Writing Program.

Undergraduate Writing Program

Find out more about The Gallatin Writing Program at the undergraduate level.

Graduate Writing Support

Through the Gallatin Writing Program, writing specialists are available for individual consultations with Gallatin graduate students. They also organize workshops and writing groups.

US Summer Reading 2024

• Grade 10: US History
• Creative Writing (McCulloch)
• Creative Writing (Quigley)
• Give My Regards to Broadway: American Plays and Musicals (Estes)
• (Hi)Story in Film and Literature (Latham)
• The Lives of Others: Investigating the Graphic Novel (Estes)
• Making the Old New Again: Adaptation and Classic Literature (Manners)
• Poetry: Making Meaning (Bechtler)
• Red Herrings and (Little) Grey Cells: The Detective in Literature (Manners)

Creative Writing (Quigley

CREATIVE WRITING

Mr. Quigley

In his essay “On Reading ‘The Rocket Man,’” Michael Chabon writes, “The most important short story in my life as a writer is Ray Bradbury’s “The Rocket Man.”  I read it for the first time when I was ten.  I was making my way, with pleasure, through a collection of Bradbury’s stories called R Is for Rocket .  I had been an avid reader for about five years, and at first the pleasure I felt was the familiar pleasure I derived from the flights of an author’s fancy, and from the anticipation and surprise of plot.  Then I came to “The Rocket Man.”  It’s the narrative of the young son of a rocket pilot whose father is to him at once an ordinary, ordinarily absent father, puttering around the house on his days off, and a terrible, mysterious demigod whose kingdom is the stars.  The danger of the father’s profession, the imminence and immanence of death, lie upon the family like the dust of stars that the narrator lovingly collects from his father’s flightsuit every time the Rocket Man comes home.  During one of the father’s leaves, the family travels to Mexico by car.  One evening they stop along a rural road to rest, and in the last light of the day the son notices bright butterflies, dozens of them, trapped and dying in the grille of the car.

“I think it was when I got to the butterflies—in that brief, beautiful image comprising life, death and technology—that the hair on the back of my neck began to stand on end. All at once, the pleasure I took in reading was altered irrevocably.  Before now I had never noticed, somehow, that stories were made not of ideas or exciting twists of plot but of language.  And not merely of pretty words and neat turns of phrase, but of systems of imagery, strategies of metaphor.  “The Rocket Man” unfolds to its melancholy conclusion in a series of haunting images of light and darkness, of machinery and biology interlocked, of splendor and fragility.  The sense of foreboding is powerful; the imagery becomes a kind of plot of its own, a shadow plot.  The end, when it comes, is at once an awful surprise, and inevitable as any Rocket Man, or those who mourn him, could expect.

“I have never since looked quite the same way at fathers, butterflies, science fiction, language, short stories, or the sun.”

Please choose ten of the following twenty-one short stories to print, read, annotate--and study  ( you will teach the class one of these ten stories with two peers during the first full week of school). While reading, please write five (one paragraph each) character descriptions and five (one paragraph each) setting descriptions   ( feel free to experiment--and/or imitate the style/voice/sentence structure of authors from the summer reading list you admire) .  A character you create might (eventually) fit into one of your settings--or not (something else for us to try...).  As you read, please mark any passages where you feel the writer achieves the kind of language Chabon stumbled upon when reading Bradbury’s “The Rocket Man,” passages constructed “not merely of pretty words and neat turns of phrase, but of systems of imagery, strategies of metaphor,” places where you find “haunting images of light and darkness, of machinery and biology interlocked, of splendor and fragility,” the kinds of places you like to revisit and get lost in for a while as a reader—sentences, scenes, and paragraphs that make your chest ache and inspire you to write—places, to paraphrase Chabon, where the hair on the back of your neck begins to stand on end .  When you find one of those spots, read it out loud and listen to it, roll the words around, note how they feel coming out of your mouth.  Then think about why the writer used certain words and phrases, why the sentences are laid out as they are, how the paragraphs flow, how the rhythms are engineered.  That is, of course, what the focus of our readings will be throughout the course.

Mr. McCulloch and Mr. Q.

Short Story Selections

“Barbie-Q” by Sandra Cisneros (flash fiction/vignette) https://moodle.swarthmore.edu/pluginfile.php/145951/mod_resource/content/2/Cisneros.pdf

“The Bingo Van” by Louise Erdrich (fiction) http://faculty.gordonstate.edu/lsanders-senu/The%20Bingo%20Van%20by%20Louise%20Erdrich.pdf

“Bloodchild” by Octavia Butler (sci-fi) https://onezero.medium.com/bloodchild-802bd34ce721

“End Game” by Nancy Kress (sci-fi) https://www.lightspeedmagazine.com/fiction/end-game/

“Everyday Use” by Alice Walker (fiction) https://harpers.org/archive/1973/04/everyday-use/

“The Fixed” by Annie Dillard (memoir–nature) 

https://dayonecomptwo.files.wordpress.com/2011/02/dillard-the-fixed.pdf

“Girl” by Jamaica Kincaid (flash fiction) https://www.bpi.edu/ourpages/auto/2017/10/14/55813476/Girl%20Jamaica%20Kincaid.pdf

“Good Country People” by Flannery O’Conner (fiction) https://repositorio.ufsc.br/bitstream/handle/123456789/163600/Good%20Country%20People%20-%20Flannery%20O%27Connor.pdf?sequence=1&isAllowed=y

“Hands” by Sherwood Anderson (fiction) https://www.eastoftheweb.com/short-stories/UBooks/Hand.shtml

“Hills Like White Elephants” by Hemingway (fiction) https://faculty.weber.edu/jyoung/English%202500/Readings%20for%20English%202500/Hills%20Like%20White%20Elephants.pdf

“How to Become a Writer” by Lorrie Moore (metafiction) https://www.sfuadcnf.com/wp-content/uploads/2015/11/How-to-Become-a-Writer-Lorrie-Moore.pdf

“Light Like Water” by Gabriel Garcia Marquez (magical realism) http://wphoto.pbworks.com/f/light-is-like-water.pdf

“No Name Woman” by Maxine Hong Kingston (non fiction) https://learning.hccs.edu/faculty/nicole.zaza/engl1301/1301-readings/no-name-woman-by-maxine-hong-kingston/view

“An Occurrence at Owl Creek Bridge” by Ambrose Bierce (fiction)

https://blocs.xtec.cat/elruidodelalluvia/files/2013/01/Ambrose-Bierce-An-Occurrence-at-Owl-Creek-Bridge.pdf

“Sonny’s Blues” by James Baldwin (fiction) https://learning.hccs.edu/faculty/selena.anderson/engl1302/readings/sonnys-blues-by-james-baldwin/view

“The Swimmer” by John Cheever (fiction) https://loa-shared.s3.amazonaws.com/static/pdf/Cheever_Swimmer.pdf

“Thank You, Ma’m” by Langston Hughes (fiction) https://www.chino.k12.ca.us/cms/lib/ca01902308/centricity/domain/1689/thank%20you%20%20ma%20am.pdf

“There Will Come Soft Rains” by Ray Bradbury (sci-fi)  https://www.btboces.org/Downloads/7_There%20Will%20Come%20Soft%20Rains%20by%20Ray%20Bradbury.pdf

“The Third and Final Continent” by Jhumpa Lahiri (fiction) https://english.cornell.edu/sites/english/files/Lahiri.%20The%20Third%20and%20Final%20Continent.pdf

“Us and Them” by David Sedaris (memoir–humor) https://legacy.npr.org/programs/morning/features/2004/jun/sedaris/usandthem.html

“Where Are You going, Where Have You Been?” by Joyce Carol Oates (fiction)

https://www.ndsu.edu/pubweb/~cinichol/CreativeWriting/323/WhereAreYouGoing.htm

• << Previous: Creative Writing (McCulloch)
• Next: Give My Regards to Broadway: American Plays and Musicals (Estes) >>
• Last Updated: May 31, 2024 11:45 AM
• URL: https://pds.libguides.com/USSummerReading2024

Cool Course—Design and Development: Couture/Culture

A mid-19th century advertisement. Shankland's American fashions, ca. 1849. [Philadelphia: John R. Shankland]. Retrieved from the Library of Congress.

For many, the fashion world is synonymous with venerable spectacles such as Fashion Week, the Met Gala, and the pages of Vogue . But in recent years, journalists and cultural commentators have broadened conversations about the industry to include questions about  sustainability , labor , and gender inequality .

For more than a decade, an undergraduate Global Liberal Studies and College of Arts and Science course, “Couture/Culture: Fashion and Globalization,” has taken that kind of multi-faceted approach to examine larger issues through fashion.

The class, taught by Liberal Studies Clinical Professor  Jessamyn Hatcher  and Arts & Science Professor  Thuy Linh Tu , considers the industry’s past and present in order to better understand broader commercial, cultural, and political processes.

These include the role of department stores in racial integration and how social media users work to spot knockoff fashion and design theft—topics that are explored in the syllabus through works such as  Working Girls: Sex, Taste, and Reform in the Garment Trades, 1880-1919  and  Threads: Gender, Labor, and Power in the Global Apparel Industry , guest speakers from the design industry, and visits to local exhibitions.

Designer and fashion executive Liz Claiborne, right. Library of Congress, Prints & Photographs Division, photograph by Bernard Gotfryd.

“Using fashion as a lens to examine histories of capitalism and colonialism encourages students to recognize how these have shaped clothing production, consumption, waste, and reuse in the present,” Tu says. “This helps students not only broaden their understanding of the industry, but arms them with ways to conceive of alternatives to our existing social and economic systems.”

Liberal Studies Clinical Professor Jessamyn Hatcher, left, and Thuy Linh Tu, a professor in the Department of Social and Cultural Analysis, react to their students' fashion revival projects. Photo by Tracey Friedman.

The semester culminates with a group project in which students, working in teams, identify a social problem illuminated in a specific component of the fashion system by tracing the historical roots of this problem and then developing a future-focused remedy.

For another assignment, a “textile revival workshop,” students “revive” each other’s garments. After receiving an article of clothing or similar item from a classmate, each student performs a “ fashion hack ” to transform the piece, guided by the owner’s recounting of its history and why the owner would like it revived. Should it serve a new purpose? Or be made more durable to preserve its sentimental value?

“We dedicate a great deal of time in this class discussing the global garment industry and the labor it takes to produce the clothes we wear,” Hatcher explains. “But students might not have ever worked on a garment themselves—or know the difference between a knit and a woven fabric. It becomes important when, for instance, we are trying to puncture the myth that sewing is ‘unskilled labor’ or that garment workers are not ‘creative’ for students to see just how much skill, creativity, and time it takes to perform even simple transformations.”

Photo by Tracey Friedman.

Among this spring’s revivals were a white tank top that was renovated using special leather paints (which bond more effectively to fabrics than do acrylic paints) to add a hand-painted lily in the middle (pictured above at right) and an Ariana Grande “Thank U, Next” sweatshirt altered in ways that randomized the letters, thereby turning concert swag into conceptual art (pictured below).

“Giving students the chance to experiment with creative methods to extend, support, or imagine strategies to positively impact the social and environmental costs of fashion production, distribution, consumption, use, and disposal, even if in small but meaningful ways, is vital to the learning process,” Hatcher says. “We want the students to explore the possibilities, but also the limitations, of projects like the textile revival workshop to enact change.”

Time in Elektrostal , Moscow Oblast, Russia now

• Tokyo 06:12PM
• Beijing 05:12PM
• Kyiv 12:12PM
• Paris 11:12AM
• London 10:12AM
• New York 05:12AM
• Los Angeles 02:12AM

Time zone info for Elektrostal

• The time in Elektrostal is 8 hours ahead of the time in New York when New York is on standard time, and 7 hours ahead of the time in New York when New York is on daylight saving time.
• Elektrostal does not change between summer time and winter time.
• The IANA time zone identifier for Elektrostal is Europe/Moscow.

Time difference from Elektrostal

Sunrise, sunset, day length and solar time for elektrostal.

• Sunrise: 03:45AM
• Sunset: 09:03PM
• Day length: 17h 18m
• Solar noon: 12:24PM
• The current local time in Elektrostal is 24 minutes ahead of apparent solar time.

Elektrostal on the map

• Location: Moscow Oblast, Russia
• Latitude: 55.79. Longitude: 38.46
• Population: 144,000

Best restaurants in Elektrostal

• #1 Tolsty medved - Steakhouses food
• #2 Ermitazh - European and japanese food
• #3 Pechka - European and french food

Find best places to eat in Elektrostal

• Best dinner restaurants in Elektrostal
• Best fast food restaurants in Elektrostal
• Best vegetarian restaurants in Elektrostal

The 50 largest cities in Russia

Plan Your Lyubertsy Holiday: Best of Lyubertsy

Explore Lyubertsy

Essential lyubertsy.

Lyubertsy Is Great For

Eat & drink.